Dead TV: Cancel Delete

Research Background: 'Dead TV' is an experimental video work that explores the growing practice and scholarship of mobile filmmaking. The affordances of mobile phone devices, mobile apps and the Web are altering the way fiction and non-fiction is portrayed to viewers, as demonstrated through the aesthetics of works in international screenings and scholarly books (Goggin & Hjorth, 2013; Berry & Schelser 2014). Research Contribution: 'Dead TV' is an assemblage of photos recorded on a smartphone that capture over an extended period, abandoned television sets (as 'dead media'), on the side of the road. The representation of the photos replicates the multi-touch screen actions used to select and curate images on a smartphone. Working with the concept of 'immediacy' this work explores the affordances of smartphones in relation to how these devices are used to produce video content. The 'portability' and 'accessibility' of a smartphone is used to record TV sets as they are discovered. The work contributes to discourse on mobile aesthetics and practices, as part of the Mobile Innovation Network Aotearoa Conferences and Screenings (Wellington, Auckland and France). Research Significance: 'Dead TV' investigates how new media technologies are altering film and video practices. The aesthetics of mobile filmmaking are used to critique the changing role of the media producer and question the differences between professional and non-professional practice. This experimental video work extends my current research into transformations occurring in nonfiction audiovisual form and practice. It provides an original perspective on the aesthetics emerging in mobile filmmaking, as evidenced in the works going to overseas festivals as part of the packaged peer review selection.

研究背景：《死亡电视》（Dead TV）是一部实验性影像作品，旨在探讨移动影像创作日益普及的实践与学术研究现状。移动设备、移动应用程序与万维网的可供性(affordances)正改变着虚构与非虚构影像的呈现方式，这一点已在国际展映作品与学术专著的美学风格中得到印证（Goggin与Hjorth，2013；Berry与Schelser，2014）。
研究贡献：《死亡电视》以智能手机拍摄的系列照片为核心汇编载体，记录了长期以来散落在路边的废弃电视机（即‘死媒体’）。该作品的照片呈现方式，复刻了智能手机上用于选择与整理影像的多点触控屏幕操作逻辑。本作品以‘即时性’概念为切入点，探讨智能手机在影像内容创作中的可供性。创作者借助智能手机的‘便携性’与‘易用性’，可在发现废弃电视机的瞬间完成拍摄记录。作为新西兰移动创新网络（Mobile Innovation Network Aotearoa）会议与展映活动（于惠灵顿、奥克兰及法国举办）的组成部分，本作品为移动影像美学与实践的学术讨论提供了新的支撑。
研究意义：《死亡电视》探究了新媒体技术如何改变电影与影像创作实践。作品借助移动影像创作的美学风格，批判了媒体创作者角色的转变，并对专业与非专业创作实践间的差异提出了质疑。这部实验影像作品拓展了笔者当前针对非虚构视听形式与实践变革的研究范畴。其为移动影像创作中涌现的美学风格提供了原创性解读视角，相关作品也作为同行评审打包遴选作品的一部分，参与了海外电影节展映。