The ways in which memory is transmitted change in relation to the different technologies that are used in the representation of the self and one's private context. This change takes place in quantitative terms - because the time available to today's video amateurs is far greater than what was permitted in the early days of amateur filmmaking - and in qualitative terms - because less attention is inevitably paid to the salience, importance and poignancy of what is being filmed. This does not necessarily mean that negligible aspects are being filmed, but rather that the representation of self and family is also opened up to spontaneous recording experiences, not driven by an essentiality constrained by the costs of filming. And this leads to a deconstruction of the social canons of representation of the family institution, where internal family orders in terms of hierarchies can often be subverted, and where, for instance, the elderly can be represented in a less solemn manner than in the past. This certainly more fluid and immersive dimension leads to a reconsideration, which we might perhaps do in the future, of how the ways of preserving personal and family memory have changed in contemporary times.