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논문 기본 정보
- 자료유형
- 연구보고서
- 저자정보
- 발행연도
- 2007.10
- 수록면
- 296 - 305 (10page)
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Over the last couple of years we have become customised to the global media informing us of the revolutionary and democratic possibilities of mobile media. Whether we like it or not the mobile phone has become a vehicle for multimedia par excellence (Boyd, 2005). The epiphany of convergence (Jenkins, 2005), users who just want a mobile phone for voice call find it impossible to get such a device without all the 'extras'. In one way, the rise of mobile media parallels the rise of the webcam (Koskela 2004) by affording everyday users with the ability to document and edit their stories, however, mobile media promises more - the portal to new arising forms of distribution such as MySpace, Cyworld minihompy, YouTube etc. But is mobile media a medium or an art form? And just what types of new modes of digital storytelling are evolving? If audiences are making films, where does this leave the traditional filmmaker? And what are the specific visual and aural economies of mobile media and how do they translate into other contexts?
Is the recent release of the feature length movie shot entirely by mobile phones by South African Aryan Kaganof, SMS Sugar Man, a sign of things to come? Is there some type of realism and authenticity inflected by mobile media as democratic media? Will our cinemas be flooded with handheld, blurry, low resolution films that make Dogma 95 films look like conventional Hollywood film? Or will the miniature and compressed aesthetics of mobiles lend themselves to new avant-garde forms of cinema that may not be presented in the normal cinema context? Will the TV-like 'radio with pictures' quality of mobile media lend itself to highly aural micro-narratives lasting not longer than 2 minutes?
One of the dominant features of mobile media is how it further fetishises the analogue by way of its obsession with modes of realism - or what Ilpo Koskinen characterizes as 'the aesthetics of banality' (2007). In this way, mobile media oscillates between the real and the reel. This paper will outline some ways in which we can begin to conceptualise the rubric of mobile media by discussing a couple of modes of mobile media - such as camera phone practices and mobile moving making. The examples are drawn from my ethnographic research and new media practice.
Is the recent release of the feature length movie shot entirely by mobile phones by South African Aryan Kaganof, SMS Sugar Man, a sign of things to come? Is there some type of realism and authenticity inflected by mobile media as democratic media? Will our cinemas be flooded with handheld, blurry, low resolution films that make Dogma 95 films look like conventional Hollywood film? Or will the miniature and compressed aesthetics of mobiles lend themselves to new avant-garde forms of cinema that may not be presented in the normal cinema context? Will the TV-like 'radio with pictures' quality of mobile media lend itself to highly aural micro-narratives lasting not longer than 2 minutes?
One of the dominant features of mobile media is how it further fetishises the analogue by way of its obsession with modes of realism - or what Ilpo Koskinen characterizes as 'the aesthetics of banality' (2007). In this way, mobile media oscillates between the real and the reel. This paper will outline some ways in which we can begin to conceptualise the rubric of mobile media by discussing a couple of modes of mobile media - such as camera phone practices and mobile moving making. The examples are drawn from my ethnographic research and new media practice.
목차
Abstract
waiting for immediacy: locating mobile media
haptic screens: glazing at banality
REFERENCES
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