Embed Size (px)
DESCRIPTION
This presentation will outline the emergence of a creative mobile media practice that surfaced within the last ten years. A Decade of Mobile Moving-Image Practice will focus on the emergence of mobile-mentary (mobile documentary, Schleser 2011) and mobile filmmaking in an international context and examine the developments within this new field of creative practice. In order to map out and curate the proliferation of this new field this presentation will discuss the research projects MINA and the International Mobile Innovation Screenings (2011-2014). In 2006, mobile phones outnumbered the volume of digital video, film and still cameras sold worldwide and industry forecasts 2 billion camera phones, but as an academic discipline this area is still under-examined. This presentation will outline the distinctive character, new methods of making and consequentially establishing representations and new forms of expression that are afforded by a creative mobile media practice. A number of independent practioners utilized smartphones as creative tools since the first camera phones appeared and contributed to generating new ways to think about smart phones as creative tools creating inspiring and innovative forms of visual expression. By means of creating a historical positioning and curation of mobile pioneers, mobile characteristics and qualities can be described. The discussion in this presentation will also explore the continuous innovation, refinement of aesthetics, on-going theoretical and methodological developments in a field that is now also recognized by the creative industries. While the industry maintains a conservative and commercial approach, this presentation points at mobile filmmaking as a cultural practice and argues for a case to embed mobile filmmaking in the academic discourse to illustrate possibilities for changes in the current mediascape.
Citation preview
Kia Ora & Hello
Dr. Max R.C. SchleserMajor Coordinator VCD / Digital Media
Nga Pae Māhutonga School of Design College of Creative Arts Toi Rauwharangi
Massey University Tu Kinenga Ki Purehuroa
email: [email protected]: @MaxMobile
Co-Founder of the Mobile Innovation Network Aotearoa [MINA]
www.mina.pro
Max With a Keitai (Schleser Japan 2008)
Publications
2:20-3:20 // 3:55-4:55https://www.youtube.com/watch?v=1jc2iLI5Mx0
Aesthetic of mobile media art (2009)
Max with a Keitai (53min Japan 2008)
“Camera phones are not, however just another kind of camera. Located as they are in a device that is not only connected to the telecommunications grid but that is usually carried with us wherever we go, camera phones are both extending existing personal imaging practices and allowing for the evolution of new kinds of imaging practices.”
…’being-there’ This allows the audience/viewer to identify with the location. … The Keitai aesthetic is connected to the qualities of a state of ‘in-betweenness’… Mobile devices push the media experience into a new domain…
Short mobile films
Checklist (Cardona 2004)
Speech Marks (Hawley 2004)
Early Mobile Filmmaking (feature films)Nausea (Matthew Noel-Tod 2008)
SMS Sugar Man (Kaganof 2007)
Triton (Labourdette 2007)
Max With a Kaitei (Schleser 2008)
Contemporary Filmmakers
Why Didn’t Anybody Tell Me It Would Become This Bad in
Afghanistan (Frisch 2007)
J’aimerais partager le Printemps avec Quelqu’u (Morder 2008)
Immobilité (America 2008)Moscow Diary (Kossoff 2010)
Nokia (2008)
2004-2008Working with devices that were not intended for filmmaking
Writing in The Shock of the Old – Technology and Global History since 1900, David Edgerton, says that too often histories are written as if no alternative could or did exist (Edgerton 2007, p. xiii).
According to Edgerton a “technology-in-use” and a “use-based history” can “shift attention from the new to the old, the big to the small, the spectacular to the mundane, the masculine to the feminine, [and] the rich to the poor” (Edgerton 2007, xiv).
“history is changed when we put it into the technology that counts, not only the famous spectacular technologies but the low and ubiquitous ones” (Edgerton 2007, 212).
Industry >> Community
Mobile Filmmaking as a global phenomenonMobile Filmmaking as a global phenomenon
www.mina.pro
Showcasing Mobile Creativity & Mobile Innovation
Distribution DVDs & eBooks
http://bit.ly/eBookMINA
IdN Magazine New Zealand Mobile-Movie Festival expands Reach MINA 2012
MINA app - Geo-locative mobile photography
More a personal conversion than a formal interview
The Guardian #Thinkfluencer (2013)
http://www.theguardian.com/technology/video/2013/aug/29/thinkfluencer-episode-1-selfies-video
Social and Networked Media <> Audience engagement Character of Innovation & role of the audience
Social and Networked Media <> Audience engagement Character of Innovation & role of the audience
“Interactivity is a property of technology, while participation is a property of culture”
Jenkins, H. (2009) Confronting the Challenges of Participatory Culture – Media Education for the 21 st Century. The MIT Press: Cambridge Massachusetts.
“the long and complex history of the relations between cultural producers and their material means of production has not ended, but is still open and active” (Williams 1981, p.118). Williams, R. (1981) Culture. London: Fontana.
Sociabilty and Connectivity
#24Frames24Hours online workshops 24Frames 24Hours Workshops
#24F24H
Networked media as distribution platform
Glocal classroom in a blended learning space
