Collaborative Remix Zones Intertextuality Refers to the linkages

Collaborative Remix Zones Intertextuality Refers to the linkages across texts. The meaning of any text is shaped by what has come before it, as well as in anticipation of future responses.

1. Mobilize the logic of new media to create anew from what already exists, selecting and compositing in a conceptual space that functions in real time 2. Zones where plural pasts, multiple temporalities, multiple artefacts and polyvocalities can join together to reclaim public spaces by challenging transnational media corporations (TMC’s) 3. Embrace new media’s foregrounding of ‘remediation’ which rehabilitates media in a ‘process of reforming reality’

Clips! 1. http: //www. facebook. com/home. php? sk=lf# !/Modern. Family 2. http: //www. youtube. com/watch? v=Ev. Wh 6 P Mi 9 Ek Werner Herzog reads Where’s Waldo? 3. http: //www. youtube. com/watch? v=n 9 FMb. H t 30 u. E&feature=related Dru. Me. Ba CFC Media. Lab

Cinephilia This era is associated with ownership in the home space, rather than with spectatorship in theatrical space

Cinephilia From • Fixation on the Past (as activated through memory) • Physical nostalgia • Closed circuits (auteurs, elites) • Fetishistic relationship with lost object • What has been created • Logic of individual, private • • • To Recognition of the present moment Material artefacts Open circuits of collaboration An engaged relationship with process What can be created Logic of collaborative

It Makes The Walls Talk

What is the Murmur Project? 1. A documentary oral history project that records stories and memories told about specific geographic locations. 2. Stories that are always are told from a personal point of view. 3. looks for the intimate, neighborhood-level voices that tell the day-to-day stories that make up a city. 4. Invites people to share their memories.

How It Works 1. They collect and make accessible people's personal histories and anecdotes about the places in their neighborhoods that are important to them. In each of these locations they install a murmur sign with a telephone number on it that anyone can call with a mobile phone to listen to that story while standing in that exact spot, and engaging in the physical experience of being right where the story takes place. Some stories suggest that the listener walk around, following a certain path through a place, while others allow a person to wander with both their feet and their gaze.

Example: Kensington Market The red dots represent places you can call to hear the stories!

Murmur in: 2003. ) 1. Toronto 2. Kenora 3. Montréal 4. Sudbury 5. Vancouver 6. Orange 7. San Jose 8. São Paulo 9. Dublin 10. Galway 11. Edinburgh 12. Geelong (was first established in Toronto's Kensington Market in

What does it have anything to do with Small film? 1. New way of telling stories. 2. It is Experimental (Avant-garde). 3. Visioning stories: Personal Interpretation. 4. Archived and stored for the future.

For more info: www. murmurtoronto. ca

How Quickly Things Have Changed…

‘Apple of My Eye” (2010) http: //www. youtube. com/watch? v=8 Ew. CLe. D 3 z 9 o ‘Goldilocks” (2010) http: //www. youtube. com/watch? v=Bx 3 x. Jar-Eo. A

Cinéma vérité: “truthful cinema” 16 mm Film Camera (5 – 10 pounds) i. Phone 4 (0 – 0. 3 pounds)

How do SMALL FILMS affect BIG FILMS? HOLLYWOOD show me something I can’t do

AVATAR $237 MILLION INCEPTION $160 MILLION

Thoughts… Is the advent of Mobile Device Video Cameras good for film as an industry and/or art form?

Shrunken Cinema

Digital Copy Drawbacks Launched in 2007 Disguising copyright protection software. Digital Rights Management Expiration dates for file Available on sites like activation. i. Tunes and those of studios Intended to foster compatibility on: • i. Pods • i. Phones etc.

Trailers: Deliberately Shrunken Cinema 1. “Trailers themselves are unstable texts, filled with gaps and jarring edits designed to reveal plot information without giving away too many details about the movie. ” 2. – Chuck Tryon from “Reinventing Cinema” 2. Designed to whet the appetite by condensing the filmgoing experience into a one-minute ad slot. 3. How many times has it done that so well though, that you didn’t feel the need to actually watch the advertised film?

Fake Trailers 1. Fan-made films that recode images and meaning through editing 2. “The Shining” as a romantic comedy 3. http: //www. youtube. com/watch? v=sfout_rg. PSA 2. “Mary Poppins” as a horror film 3. Inserting a homosexual relationship into “Back to the Future” 1. Fake Trailers often serve as parodies for the often loud, formulaic and contrived movie truncations that the studios themselves release to sell their films.

Snack Culture 1. “We now devour pop culture the same way we enjoy candy and chips – in conveniently packaged bite-size nuggets made to be munched easily with increased frequency and maximum speed. This is snack culture, and boy is it tasty (not to mention addictive. )” 2. Nancy Miller “Minifesto for a New Age”

Sometimes, cramming important plot points into a smaller and smaller film running times can create really funny fan videos. • http: //www. angryalien. com/0605/pulpficti onbuns. asp • http: //www. youtube. com/watch? v=C 0 q 6 m 0 q. DVp 0 • http: //www. youtube. com/watch? v=m 4 OC x. Qh. Pm 58

Television (the old “small screen”) VS. The Internet (the new “small screen”) 1. http: //www. youtube. com/watch? v=Mg. Jx. GK Bad 3 M 2. Which technology do you think this video is celebrating? 3. Do you think the impact of a text is related at all to the size of the screen?

Mini-Cinema A Digital Diary for i. Pod

• Catherine Russell addresses the operations of Midi Onodera’s “movie-a-day” project: 365 short films created for the i. Pod and emerging digital audience • Russell deconstructs the handheld format through two classic theories • Cinema of Attraction - Tom Gunning • Theory of Haiku Montage - Sergi Eisenstein http: //midionodera. com/? p=915

“The project embraces the world of information, trivia and received wisdom that remains more sincere than ironic despite Onodera’s colourful reworking of it. . . the 365 videos rigorously interogate the nature of the image as an object. The techniques Onodera uses includes a play with framing in which the image size and shape is consistently varied, a dynamic use of saturated colours and special effects that alter space and time. ” Q: If the project is constructed for mobile use in uncontrolled environments, how does this effect the gaze and experience of the spectator?

Russell argues: “if we hold the whole world in our hands with an i. Pod, all sentiments are going to be diminished. . . turning cinema into memory boxes. ” Q: How does the method of forcing cinema into a miniature change the modes of production and participation of viewing? And how does it change other elements of the cinematic experience? http: //www. youtube. com/watch? v=Dlzi 3 Ah. W 0 t 8

Russell labels this new movement as Toy Cinema: “As an inversion of the Baziniam goal of “total cinema”, what use does the i. Pod have? . . . Does this project forecast a future in which the immersive spectacle of total cinema, along with its fiction of the unified subject is abandoned. ” Q: Is the handheld platform a fleeting trend, or a lasting progression of cinema? http: //www. youtube. com/watch? v=l. Q 3 D 4 Cq. Hb. JMdn. physorg. com/

the location of the image cinematic projection and scale in modernity

• Mary Ann Doane discusses two major traits of cinematic projection in a modern miniature world, referring to Andre Bazin’s theory of Indexicality and medium specificity. • How do we archive digital cinema when it is in a nonmaterial form? • How does digital cinema affect the technical aspects of the projection process and miniature viewership?

“Historically an archive has always been an object - a text, a painting, a print, an artifact, a tool - something tangible, something consistent, with the idea of storage in a location (a library, a museum, a filing cabinet, an archive). ” • Q: How is digital media archived and does the process change the definition of what an archive can be?

• Doane’s second main argument is that the miniature experience changes domestic viewership from public to a private setting, noting that: • “Earlier apparatuses designed to produce an illusion of movement. . . were distinguished by their manipulability, the miniature scale of the illusion, their invitation to play, and their orientation towards either the single viewer or very small groups of viewers in a domestic rather than public setting. ” Q: Does this forced, handson viewing practice change the spectator’s gaze and viewing participation?

• Doane further distinguishes traditional film from miniature media by contrasting the exhibition mediums; the first being a projection process through light, the latter being a tangible object that produces an image “The image can be produced in two ways; through it’s attachment to a material support (an optical toy; [aka, i. Phone]) and through the interception, the beam of light through a surface. ”

• Doane continues to compare miniature media to earlier toy devices, such as the zeotrobe. But for her, the key to new forms of cinema is finding new ways of unrestricted light based projection, like artist Anthony Mc. Call. “Representation, if it could be called that, extended beyond the screen to invade the space of theater or screening room itself. ” http: //www. youtube. com/watch? v=c. Wq 9 r. V--To. A

• Q: How can both the filmmaker and viewer manipulate the projection and exhibition process of both conventional light projection and new digital miniature viewing?