Mobile/Smart Phone Filmmaking - A Decade of Mobile Moving-Image Practice
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This document discusses mobile filmmaking as a global phenomenon from 2004-2008. It provides context about working with early mobile devices that were not intended for filmmaking. It references works from early mobile filmmakers and discusses the aesthetics of mobile media. It notes how a use-based and technology-in-use history shifts focus from spectacular technologies to ubiquitous, everyday technologies. The document discusses the transition from industry to community in mobile filmmaking and distribution through DVDs, eBooks, and magazines. It also describes the author's work showcasing mobile creativity and innovation through organizations like MINA and online workshops.
![Kia Ora &
Hello
Dr. Max R.C. Schleser
Major Coordinator VCD / Digital Media
Nga Pae Māhutonga School of Design
College of Creative Arts Toi Rauwharangi
Massey University Tu Kinenga Ki Purehuroa
email: M.Schleser@massey.ac.nz
twitter: @MaxMobile
Co-Founder of the
Mobile Innovation Network Aotearoa [MINA]
www.mina.pro](https://image.slidesharecdn.com/smartlabpowerpoint-140806161907-phpapp01/85/Mobile-Smart-Phone-Filmmaking-A-Decade-of-Mobile-Moving-Image-Practice-1-320.jpg)
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Mobile/Smart Phone Filmmaking - A Decade of Mobile Moving-Image Practice
- 1. Kia Ora & Hello Dr. Max R.C. Schleser Major Coordinator VCD / Digital Media Nga Pae Māhutonga School of Design College of Creative Arts Toi Rauwharangi Massey University Tu Kinenga Ki Purehuroa email: M.Schleser@massey.ac.nz twitter: @MaxMobile Co-Founder of the Mobile Innovation Network Aotearoa [MINA] www.mina.pro
- 5. Max With a Keitai (Schleser Japan 2008)
- 6. Publications
- 8. 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…
- 11. Short mobile films Checklist (Cardona 2004) Speech Marks (Hawley 2004)
- 12. Early Mobile Filmmaking (feature films) Nausea (Matthew Noel-Tod 2008) SMS Sugar Man (Kaganof 2007) Triton (Labourdette 2007) Max With a Kaitei (Schleser 2008)
- 13. 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)
- 15. Nokia (2008)
- 16. 2004-2008 Working with devices that were not intended for filmmaking
- 17. 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).
- 19. Mobile Filmmaking as a global phenomenonMobile Filmmaking as a global phenomenon
- 20. www.mina.pro
- 22. Showcasing Mobile Creativity & Mobile Innovation
- 23. Distribution DVDs & eBooks http://bit.ly/eBookMINA
- 24. IdN Magazine New Zealand Mobile-Movie Festival expands Reach MINA 2012
- 25. MINA app - Geo-locative mobile photography
- 26. More a personal conversion than a formal interview
- 27. The Guardian #Thinkfluencer (2013) http://www.theguardian.com/technology/video/2013/aug/29/thinkfluencer-episode-1-selfies-video
- 28. Social and Networked Media <> Audience engagementCharacter of Innovation & role of the audience
- 29. Social and Networked Media <> Audience engagementCharacter 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 21st 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.
- 32. #24Frames24Hours online workshops 24Frames 24Hours Workshops #24F24H
- 33. Networked media as distribution platform
- 35. Glocal classroom in a blended learning space
Editor's Notes
- The underlying theme of my work is the recognition of mobile devices and smartphones as creative and educational tools. Research addresses the question ‘how are mobile and social media technologies used to create innovation through creative and cultural practices?’ This presentation relates to the workshop > 2pm-6pm at Universidad de Caldas and the screening event Friday 5-6pm in the Olympia room
- Re-Write the rule book of filmmaking and defining new imaging practice
- The last DV cam that I owned > Sony DSR PDX 100 (2004) > Christmas present to myself
- 2004/5 > PhD Exploration of urban spaces using personal comments. It became obvious that mobile filmmaking has intimate and imideate qualities that you normally do not find in the media-scape. The pixel gives reference to the medium. An investigation into the emergence of new kinds of moving-imaging practices. The celebration of the everyday is very much positioned as an Opposition to the shiny HD format video.
- Dziga Vertov (1929) The Man with a movie camera was influential for my work. In my PhD I explored filmmaking practices and alternative documentary forms from the 1920s (before documentary was defined in the Griesonian tradition) and shifted these pracites into the Digital Realm. Filmmakers are looking for new images and the pixel defined a new aesthetic in the mediascape. …’being-there’ This allows the audience/viewer to identify with the location. … The Keitai (japanese form, figure, shape and movement) aesthetic is connected to the qualities of a state of ‘in-betweenness’… Mobile devices push the media experience into a new domain…
- http://www.bloomsbury.com/us/amateur-filmmaking-9781441191496/ http://www.routledge.com/books/details/9780415809474/ https://rowman.com/ISBN/9780759121133 http://www.tandfonline.com/doi/abs/10.1386/jmpr.10.2-3.101_1#.U2qBFa1dU60 Through the curation of the mobile screening program works can be analysed and innovation within the field located. A shift from a visual aesthetic towards collaborative practices continues to broaden the boundaries of the field.
- Filmfestivals > San Paulo and Paris presentation of my film. > FILMOBILE
- The FILMOBILE and MINA initiatives are published this month incl. papers from Brazil and interview with a Columbian Filmmaker Felipe Cardona
- Curated early mobile filmmaking practices such as work in the short film domain You can only talk about a mobile phone film in relation to another mobile phone film
- Lumiere Cinema – Birth place of British Cinema I organised the first ever cinema screening of mobile feature films
- 2nd Wave of Avant-garde filmmaers: Dutch Frisch / France Moder / USA America / Kossoff UK
- Conrad Mess – Terintio style mobile short films: All you need is a mobile phone and friends
- 2008 – Did not think about Aps
- SHARP SH-04 was introduced in Japan by Jphone in 2000 – Iphone in 2007 and app store 2008 > Workshop we are using no computers > Apps for music, apps for editing, apps voice recording
- Hollywood and HD craze (apps that film in 2K or next version of the sony phone has 4 K) Mobile Phone filmmaking is enabling to work with communities – voice recoring capabilities have reached an OK standard – kind a good enough for broadcasting
- Now in 2013 Mobile Filmmaking is an established genre in Filmmaking and more than a dozen film festivals display this. Different funding models provide a framework for this new form of filmmaking. Some festivals are private enterprise such as in Australia or the USA. In Asia film festivals are supported in the development of national cinemas. A model that is similar in France. Also smaller countries like Macedonia now have mobile film festivals. I can see great opportunities for China, India and Latin America. Prior to MINA activities this field of Digital Media and its formation in mobile creativity and mobile innovation was not present in Aotearoa/New Zealand.
- Online presence, symposium and screening
- Storytelling bridging the gap between industry and communities
- MINA is celebrating mobile creativity and showcase mobile film screenings that explore new trends and developments in mobile filmmaking, digital storytelling and mobile aesthetics. .
- In order to make mobile filmmaking accessible MINA created a DVD and eBook… MINA catalogue was accessed more than 1600 times alone
- Last year we expanded our reach and worked with partners like IdN magazine… next to SBS Documentary (Australia), Culture Visuelle (France) and the Big Idea (New Zealand) among others
- GPS technology for mobile photography. It allows one to geo-locate and was used to crowd-source the locations. The community decided which locations to film. 2 days scouting location and interviews.
- Referring to Ingrid Bachman’s panel yesterday: Its is a dialogue. Think about the smart-phone as a lens based communication device it should be a personal conversation. Max the filmmaker…
- Try to take a selfie with a broadcasting camera
- With the rise of social media not only new means for content production emerge, but also one can reconsider the role of the audience. Collaboration, crowd-sourcing and co-creation involve the audience in all forms of media production from financing to distribution. Furthermore I would argue mobile media can be a tool for creative engagement. These days it is not about access to technologies, but the development of visual literacies (ie mobile filmmaking).
- With the rise of social media not only new means for content production emerge, but also one can reconsider the role of the audience. Collaboration, crowd-sourcing and co-creation involve the audience in all forms of media production from financing to distribution. Furthermore I would argue mobile media can be a tool for creative engagement. These days it is not about access to technologies, but the development of visual literacies (ie mobile filmmaking). Culture, Raymond Williams (1981) uses the terms “alternative” to indicate “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). Being aware of the significance of cultural production in relation to access and the means of production, this research is sympathetic to the idea of change from within the mediascape. Users are not only creating stories, but also contributing to the formation of new aesthetics and innovation in the field of documentary filmmaking. The materialisation of mobile video in the mediascape in the years 2004 to 2007 was initiated through the users of the technology. Writing in Culture, Raymond Williams (1981) uses the terms “emergent” and “residual” to describe changes in the domain of cultural production: residual, as they reference the work of earlier decades as an alternative that was established in the last century; and simultaneously, emergent, as the projects have different motivations and work with different technologies, creating residual aesthetics that can represent emergent cultural formations. Williams classifies three types of external relations in cultural formations; (a) specialising, (b) alternative and (c) oppositional. The work of the avant-garde is situated in the latter category, (c). Fuelled
- Here are some statistics from the USA provided by Mobile Future (a collation of mobile business and entrepreneurs), who were catching up in the mobile media sphere for a long time. Now with the iphone mobile media has reached a critical mass. 43% games, 26% social media, 10% entertainment, 10% utilities (not sure what the other 11% are for ?)
- In a recent interview in THE NEXT WEB I argued that sociability and connectivity are key factors to be considered in digital media projects. Only developing an app will not necessarily move a projects forwards, but it is about the recognition of the audience and the development of communities in digital media to make projects sustainable.
- Some workshops took place via online communication here a link between Malaysia and New Zealand. Students learn that mobile filmmaking is also about connecting with people in other countries.
- new ways establishing connections through creative practice (ie mobile filmmaking) Facebook not made for filmmaking but it can be used as a distribution platform.
- Expanding the platform paradigm User-based narratives creating a digital montage – connecting young filmmakers around the world. Recognized through the mobile HCI award
- Process driven bringing people from around the world closer together through the creative practice of filmmaking Something I will be able to develop further are new online environments that brings people together in a glocal classroom and a blended learning space. This environment not only creates opportunities but also challenges and it will be key to develop literacies and skills that enable young creatives and people to part-take in this online culture.