Smartphones and Evocative Documentary Practices

Chapter

Abstract

Smartphones are part of a convergence culture that is reconfiguring our relationship with media and arguably shifting our understanding of documentary practices. Smartphones may now be understood as powerful enablers that provide users with the tools and resources necessary to capture and share mediated traces of the people and places that form part of our everyday habitus. In this chapter, Dean Keep puts forward a proposition that the smartphone is more than a dynamic networked media tool; rather, it is a “digital Wunderkammer”, a portable database to aid the storage and retrieval of captured moments that can be later used for the production of a wide range of documentary stories.

Keywords

Evocative documentary Smartphones Memory Place 

References

  1. Bruns, A. (2006). Towards produsage: Futures for user-led content production. In F. Sudweeks, H. Hrachovec, & C. Ess (Eds.), Proceedings of the Fifth International Conference on Cultural Attitudes Towards Technology and Communication, Tartu, Estonia, June 28–July 1, 2006 (pp. 275–284). School of Information Technology, Murdoch University, Murdoch, WA.Google Scholar
  2. Cisco. (2015). Cisco visual networking index: Forecast and methodology, 2014–2019 white paper. Retrieved from http://www.cisco.com/c/en/us/solutions/collateral/service-provider/ip-ngn-ip-next-generation-network/white_paper_c11-481360.html.
  3. Germen, M. (2014, July 8–10). The unstoppable rise of mobile imaging and aesthetics. In Electronic visualisation and the arts (EVA 2014). London.Google Scholar
  4. Jenkins, H. (2001). Convergence? I Diverge. For all the talk about convergence, multiple media will never coalesce into one supermedium. Retrieved from http://www.technologyreview.com/article/401042/convergence-i-diverge/.
  5. Keep, D., & Berry, M. (2009, August 23–September 1). Memories, mobiles and creative art practice. In The 15th International Symposium on Electronic Art. University of Ulster.Google Scholar
  6. Kracauer, S. (1960). Theory of film: The redemption of physical reality. Oxford: Oxford University Press.Google Scholar
  7. Manovich, L. (2001). The language of new media. Cambridge, MA: The MIT Press.Google Scholar
  8. Nichols, B. (2001). Introduction to documentary. Indianapolis: Indiana University Press.Google Scholar
  9. Nora, P. (1989). Between memory and history: Les Lieux de Memoire. Representations, 26(Spring), 7–24. Retrieved from http://www.staff.amu.edu.pl/~ewa/Nora,%20Between%20Memory%20and%20History.pdf.
  10. Schleser, M., Wilson, G., & Keep, D. (2013, October). Small screen and big screen: Mobile film-making in Australasia, ubiquity. The Journal of Pervasive Media, 2(1–2), 118–131.Google Scholar
  11. Van Dijck, J. (2007). Mediated memories in the digital age. Stanford, CA: Stanford University Press.Google Scholar
  12. Wood, A. (2007). Digital encounters. London: Routledge.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  1. 1.Swinburne University of TechnologyMelbourneAustralia

Personalised recommendations