Edited By Danielle Hipkins and Roger Pitt
Un’ora sola ti vorrei: Childhood and Mourning
Alina Marazzi’s 2002 film Un’ora sola ti vorrei [For One More Hour with You] is an intimate work of love and commemoration. It looks at a mother missing, exploring her loss through the iconography of childhood and through the emotions that attach to domestic imaging of children. The filmmaker’s mother, Liseli Marazzi Hoepli, committed suicide in 1972, after a lengthy period of mental illness. Alina, her daughter, was seven years old. The film, largely collaged from home movie footage and family photographs, is the adult director’s means of knowing a relation to her mother, and her mother’s family, and of commemorating that family history. In this way the film keeps alive a relation to the dead. This is facilitated by the protracted work of Marazzi’s grandfather, Ulrico Hoepli, an amateur filmmaker. As Pietro Goisis explains: ‘In the 1920s, through a business exchange, [Hoepli] obtained one of the first cine-cameras. He then got hold of a Pathe Baby, with which he recorded the almost complete story of his family from 1926 until around 1980 on over 60 reels’.2 Hoepli’s filming creates an extraordinary resource for Marazzi, a source and focus for her ← 243 | 244 → memory work, and extensive visual material for her filmmaking (indeed memory work and filmmaking seem closely intertwined).3 Marazzi explains that she was the first viewer to turn to this intimate archive, looking at the images of her mother and of her family for the first time in thirty years. Bringing the images...
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