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dc.contributor.authorDockney, Jonathan
dc.contributor.authorTomaselli, Keyan G.
dc.date.accessioned2016-07-21T08:34:22Z
dc.date.available2016-07-21T08:34:22Z
dc.date.issued2010
dc.identifier.citationDockney, Jonathan., & Tomaselli, Keyan. G. (2010).Third screens, third cinema, third worlds and triadomania: examining cellphilm aesthetics in visual culture.Communitas, 15, 97-111.en_ZA
dc.identifier.issn1023-0556 (print)
dc.identifier.issn2415-0525 (online)
dc.identifier.urihttp://hdl.handle.net/11660/3643
dc.description.abstractThis article discusses cellphilm aesthetics and their resultant effect for visual culture in the 21st century. The new media have impacted traditional analogue structures with profound effects. The cellphone, for example, has become a part of the film and television industries. Accessibility and relative ease of use have ensured their popularity. The article operates from previous work on cellphilms and establishes an argument for the social value that cellphilms have and their attendant social impacts. What becomes important is not so much their comparative aesthetic qualities, but what these qualities mean for their users and the social contexts. The article discusses aesthetics based on work on many cellphilms including Shane (WFC 2009a), Trains (WFC 2009b), The Sacred Orchid (2009), Pussy G’awn Crazy (2010), and Aryan Kaganof’s SMS Sugar Man (2008).en_ZA
dc.language.isoenen_ZA
dc.publisherDepartment of Communication Science, University of the Free Stateen_ZA
dc.subjectCellphilm aestheticsen_ZA
dc.subjectNew mediaen_ZA
dc.subjectVisual cultureen_ZA
dc.titleThird screens, third cinema, third worlds and triadomania: examining cellphilm aesthetics in visual cultureen_ZA
dc.typeArticleen_ZA
dc.description.versionPublisher's versionen_ZA
dc.rights.holderDepartment of Communication Science, University of the Free Stateen_ZA


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