Technological Developments in Film Making
The week two reading by Bjørn Sørenssen analyses the relationship between the predictions stated in an essay published in 1948, written by a French film maker and critic Alexandre Astruc and the developments and practicability of technology in film making available today. The title of the essay ‘Naissance d’une nouvelle avantgarde: La camera-stylo’ translates to ‘The birth of a new avant-garde: the caméra-stylo’.
Sørenssen highlights the foresight Astruc displayed by mentioning that film will progress from entertainment to a significant device for connecting individuals. The essay also presented the assumption that there will be fundamental changes to the medium’s production and distribution. Astruc’s prediction that individuals will own their own projector was accurate with the introduction of DVD players and even more recently, computers, smart phones & tablets. Astruc’s judgement that TV will over power the popularity of cinema as the prime (although aesthetically inferior) audio-visual medium was also proven correct.
Astruc’s three conclusions identified by Sørenssen:
1. An increase in availability of new technological resources will allow the public a new method of expression and connection.
2. This increase will result in an egalitarian use of the medium.
3. Access of this medium to the public will allow for the development of new conventions and forms of audio-visual aesthetics.
Kodak’s introduction of 16mm safety film was a successful response to the dangers and restrictions of producing and distributing 35mm film. With the removal of limitations the medium was no longer restricted to expensive professional productions. With the economic availability of 8mm and Super 8 film, family videos were recorded (although not edited at this stage). The introduction of the internet in the 1990s has transformed traditional modes of distribution. Digital editing software has since become available to the public and mobile phones now provide the public with a variety of equipment including video recording capabilities.
Sørenssen summerises the transformation of user participation into three points:
1. Affordable availability to the public in all areas of the medium including production, editing and distribution.
2. Reduction of equipment size allows for individuals to operate equipment on their own with minimal space requirements.
3. Change in modes of distribution creates possibilities for amateur productions to reach mass media through the use of the internet.
Sørenssen (2008) explains that ‘Gegenöffentlichkeit’ (translated to ‘public sphere’ in English) were “… organized in response and opposition to the dominating public space, or counter publicity as it has been referred to in English”.
Online audio-visual culture has further transformed the idea of the public sphere as “a site of information, discussion, contestation, political struggle, and organization that includes the broadcasting media and new cyberspaces as well as the face-to-face interactions of everyday life” (Kellner 2000).
The internet has closed the gap between the private and public sphere with YouTube providing a platform for free video uploads and sharing capabilities. The introduction of the site has provided the public with a tool for communicating through the medium of film. It has also given amateur content producers millions of views through “digital word-of-mouth” (Sørenssen 2008).
Elderly YouTube user ‘Geriatric 1927’ (otherwise known as Peter) creates vlogs about his life experiences and receives 20-30,000 views per video. Peter is embraced by the YouTube community and has improved his technical skills from the advice provided by his audience . This YouTube user challenges the idea of traditional documentary by the mode in which it is distributed. Peter’s videos are controlled by him and are therefore an accurate form of non-fiction narrative is told.
Astruc’s predictions of a future in which the medium of film is liberated are exemplified in Peter’s online presence.