In relation to social roles in filmmaking practice, the presence of female figures was purely strategic. Employed within advertisements and within magazines, the female figure emerges not so much to promote an image of emancipated women, but rather to show how filming devices were easy to use. However, considering amateur practice from a domestic point of view, we cannot fail to consider as a discriminating factor the persistence of an institutional model of the family that for a long time - almost at least until the 1980s and especially in Italy - was to be conceived in terms of a nuclear and bourgeois family. Only later can we find cases in which this model can be challenged through representations of extended families or families that have role reversals within them. Of course the figures evolve according to the different historical periods and especially with the advent of Super8 we can consider the possibility for filmmakers to confront these practices, sometimes conceived in an artistic way, sometimes always in a private way. There are, however, many aspects, such as the organisation of the setting, the position the cameraman takes in front of the subjects he wants to film, which in the amateur sphere may not always be linked solely to the intentions of the person holding the camera.