Mobile/Smart Phone Filmmaking - A Decade of Mobile Moving-Image Pract…

Mobile/Smart Phone Filmmaking - A Decade of Mobile Moving-Image Practice

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.

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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.

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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).

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.