Mobile Story Making In An Age Of Smartphones

The participatory turn in media, arts and design along with interrelated developments in the proliferation of social and network media have changed our understanding of the contemporary mediascape. Mobile Story Making in an Age of Smartphones reveals how smartphones and storytelling are forming a symbiosis that empowers twenty-first century citizens and creatives around the world. The edited collection further develops definitions and debate around creative mobile media and its impact on media, art and design. It brings together mobile artists, digital ethnographers, filmmakers working with smartphones, illustrators, screenwriters as well as musicians utilizing apps and mobile devices, who explore new directions in the creative arts with a focus on screen production. Lastly, it demonstrates how mobile devices and smartphones can make a difference in peoples’ lives and catalyses creativity in order to tackle current socio-cultural issues.

This book explores contemporary approaches to mobile storytelling, with contributions covering mobile education, news and screen storytelling, creative practice research, and the impact on vulnerable communities and social innovation. With 18 original chapters, Schleser and Xu bring together international media and communication scholars, digital storytellers, filmmakers, musicians, and educators to discuss the significant contributions made by mobile storytelling within academia, culture and society, resulting in a vibrant and interdisciplinary collection that will be a valuable resource to researchers across the arts, humanities and social sciences. This edited collection is a result of the collaboration between Mobile Studies International (MSI) and the Mobile Innovation Network & Association (MINA) at the International Mobile Storytelling Congress (IMSC) at the University of Nottingham Ningbo China.

With the rise of smartphones and the proliferation of applications, the ways everyday media users and creative professionals represent, experience, and share the everyday is changing. This collection reflects on emergent creative practices and digital ethnographies of new socialities associated with smartphone cameras in everyday life.

In this companion, a diverse, international and interdisciplinary group of contributors and editors examine the rapidly expanding, far-reaching field of mobile media as it intersects with art across a range of spaces—theoretical, practical and conceptual. As a vehicle for—and of—the everyday, mobile media is recalibrating the relationship between art and digital networked media, and reshaping how creative practices such as writing, photography, video art and filmmaking are being conceptualized and practised. In exploring these innovations, The Routledge Companion to Mobile Media Art pulls together comprehensive, culturally nuanced and interdisciplinary approaches; considerations of broader media ecologies and histories and political, social and cultural dynamics; and critical and considered perspectives on the intersections between mobile media and art. This book is the definitive publication for researchers, artists and students interested in comprehending all the various aspects of mobile media art, covering digital media and culture, internet studies, games studies, anthropology, sociology, geography, media and communication, cultural studies and design.

Mobile, smartphone and pocket filmmaking is a global phenomenon with distinctive festivals, filmmakers and creatives that are defining an original film form. Smartphone Filmmaking: Theory and Practice explores diverse approaches towards smartphone filmmaking and interviews an overview of the international smartphone filmmaking community. Interviews with smartphone filmmakers, entrepreneurs, creative technologists, storytellers, educators and smartphone film festival directors provide a source of inspiration and insights for professionals, emerging filmmakers and rookies who would like to join this creative community. While not every story might be appropriate to be realized with a mobile device or smartphone, if working with communities, capturing locations or working in the domain of personal or first-person filmmaking, the smartphone or mobile device should be considered as the camera of choice. The mobile specificity is expressed through accessibility, mobility and its intimate and immediate qualities. These smartphone filmmaking-specific characteristics and personal forms of crafting experiences contribute to a formation of new storytelling approaches. Stylistic developments of vertical video and collaborative processes in smartphone filmmaking are evolving into hybrid formats that resonate in other film forms. This book not only develops a framework for the analysis of smartphone filmmaking but also reviews contemporary scholarship and directions within the creative arts and the creative industries. Smartphone Filmmaking: Theory and Practice initiates a conversation on current trends and discusses its impact on adjacent disciplines and recent developments in emerging media and screen production, such as Mobile XR (extended reality).

This book offers a multidisciplinary approach to locative media, concentrating on specific authors and practitioners whose works exist in print and digital manifestations. The book shapes the discourse for an extensive theorization of locative media works from a narrative perspective. It investigates how different genres ⸺ print novels, fictional and non-fictional locative narratives, locative games, and audio texts ⸺ are affected by locative media practice. Part I examines print manifestations of locative media in William Gibson’s fiction. Part II discusses e-book and audio book locative narrative experimentations, suggesting ways to create and categorize locative texts. Drawing on hypertext theory, Part III views Niantic locative games as an instantiation of locative media storytelling practice that challenges digital narrativity. This study captures a transition from a print-based textuality to a digital locative textuality and culture, and proposes flexible innovative models of interpreting narrative textual forms emerging from the convergence of locative and narrative media. ​

The need for decolonizing mismanagement practices in galleries, libraries, archives, and museums, of First Nations peoples’ materials and knowledge has been widely recognised. Authors from Indigenous and non-Indigenous backgrounds powerfully challenge entrenched assumptions of knowledge capture and dissemination of the western academy.

As seen in Time, USA TODAY, The Atlantic, The Wall Street Journal, and on CBS This Morning, BBC, PBS, CNN, and NPR, iGen is crucial reading to understand how the children, teens, and young adults born in the mid-1990s and later are vastly different from their Millennial predecessors, and from any other generation. With generational divides wider than ever, parents, educators, and employers have an urgent need to understand today’s rising generation of teens and young adults. Born in the mid-1990s up to the mid-2000s, iGen is the first generation to spend their entire adolescence in the age of the smartphone. With social media and texting replacing other activities, iGen spends less time with their friends in person—perhaps contributing to their unprecedented levels of anxiety, depression, and loneliness. But technology is not the only thing that makes iGen distinct from every generation before them; they are also different in how they spend their time, how they behave, and in their attitudes toward religion, sexuality, and politics. They socialize in completely new ways, reject once sacred social taboos, and want different things from their lives and careers. More than previous generations, they are obsessed with safety, focused on tolerance, and have no patience for inequality. With the first members of iGen just graduating from college, we all need to understand them: friends and family need to look out for them; businesses must figure out how to recruit them and sell to them; colleges and universities must know how to educate and guide them. And members of iGen also need to understand themselves as they communicate with their elders and explain their views to their older peers. Because where iGen goes, so goes our nation—and the world.