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      Cinema in the Mobile Age: Digital Technology and the Transformation of Audio-Visual Environment

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      https://www.riss.kr/link?id=A103808396

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      다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

      Recently, mobile films, made with phone cameras, are emerging as a new form of cinema. These films create alternative styles of representation and modes of reception. How do mobile films change the cultural form of cinema?This paper first analyzes their style of audio-visual images: the low-definition images, unique camera movement, and loss of distancebetween camera and subject that brings a new kind of realism to filmic representation. Second, this paper considers the audio-visual environment. By viewing images on a mobile phone, the spectators’ audio-visual sense is fused with their tactual sense. Using the mobile phone as a linguistic shifter, the meanings of images change in accordance with the context of reception. Furthermore, these images circulate and are shared within the web space. Third, this paper points to the formal similarities of mobile film and early film. The relation between the styles of the attraction and showing, as well as the dynamic and multiple forms of their reception in early cinema, resonates with the relation between mobile films’ representation and their reception.
      The above considerations provide a new approach to the history of cinema.
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      Recently, mobile films, made with phone cameras, are emerging as a new form of cinema. These films create alternative styles of representation and modes of reception. How do mobile films change the cultural form of cinema?This paper first analyzes the...

      Recently, mobile films, made with phone cameras, are emerging as a new form of cinema. These films create alternative styles of representation and modes of reception. How do mobile films change the cultural form of cinema?This paper first analyzes their style of audio-visual images: the low-definition images, unique camera movement, and loss of distancebetween camera and subject that brings a new kind of realism to filmic representation. Second, this paper considers the audio-visual environment. By viewing images on a mobile phone, the spectators’ audio-visual sense is fused with their tactual sense. Using the mobile phone as a linguistic shifter, the meanings of images change in accordance with the context of reception. Furthermore, these images circulate and are shared within the web space. Third, this paper points to the formal similarities of mobile film and early film. The relation between the styles of the attraction and showing, as well as the dynamic and multiple forms of their reception in early cinema, resonates with the relation between mobile films’ representation and their reception.
      The above considerations provide a new approach to the history of cinema.

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      참고문헌 (Reference)

      1 "Tim"

      2 Gunning, Tom, "Thomas Elsaesser and Adam Barker, Cinema: Space, Frame, Narrative" British Film Institute Publishing 56-62, 1990

      3 "Temps japonais"

      4 Barthes, Roland, "Roland Barthes par Roland Barthes" Seuil 1975

      5 "Nocturnes pour le roi de Rome"

      6 Deleuze, Gilles, "Mille plateaux: capitalisme et schizophrénie" Éditions de Minuit 1980

      7 Hansen, Miriam, "Linda Williams, Viewing Positions: Way of Seeing Films" Rutgers University Press 134-152, 1994

      8 Stiegler, Bernard, "Le temps de l’amatorat" 69 : 161-179, 2011

      9 Boissier, Jean-Louis, "Le film téléphonique comme shifter. In Arts des nouveaux médias:Blog de documentation et d’analyse des arts des nouveaux médias (8e année)"

      10 Richard, Emmanuelle, "Le cinéma se jette allô"

      1 "Tim"

      2 Gunning, Tom, "Thomas Elsaesser and Adam Barker, Cinema: Space, Frame, Narrative" British Film Institute Publishing 56-62, 1990

      3 "Temps japonais"

      4 Barthes, Roland, "Roland Barthes par Roland Barthes" Seuil 1975

      5 "Nocturnes pour le roi de Rome"

      6 Deleuze, Gilles, "Mille plateaux: capitalisme et schizophrénie" Éditions de Minuit 1980

      7 Hansen, Miriam, "Linda Williams, Viewing Positions: Way of Seeing Films" Rutgers University Press 134-152, 1994

      8 Stiegler, Bernard, "Le temps de l’amatorat" 69 : 161-179, 2011

      9 Boissier, Jean-Louis, "Le film téléphonique comme shifter. In Arts des nouveaux médias:Blog de documentation et d’analyse des arts des nouveaux médias (8e année)"

      10 Richard, Emmanuelle, "Le cinéma se jette allô"

      11 Rancière, Jacques, "La mésentente: politique et philosophie" Galilée 1995

      12 "Jean-Charles Fitoussi’s Temps japonais"

      13 Landesman, Ohad, "In and out of this world: digital video and the aesthetics of realism in the new hybrid documentary" 2 (2): 33-45, 2008

      14 "Festival Pocket Films"

      15 Jakobson, Roman, "Essais de linguistique générale" Éditions de Minuit 1963

      16 Astruc, Alexandre, "Du stylo à la caméra et de la caméra au stylo - Écrits, 1942-1984" Éditions de L’Archipel 324-328, 1992

      17 Manovich, Lev, "David Bell and Barbara M Kennedy, The Ciberculture Reader" Routledge 174-182, 2007

      18 Masaki, Fujihata, "About the Pocket Films Festival. In POCKET FILMS Festival in Japan 2007"

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2026 평가예정 재인증평가 신청대상 (재인증)
      2020-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2017-01-01 평가 등재학술지 유지 (계속평가) KCI등재
      2014-01-01 평가 등재학술지 선정 (계속평가) KCI등재
      2013-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2011-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0 0 0
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.01 0.01 0 0
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