The Camera Phone in the Concert Space: Live Music and Moving Images on the Screen.
In this article, I argue that screen relations have profoundly redirected affective and aesthetic strategies of live music experience to culminate in a complex relationship with camera phone technology that is characterised by feelings of possessiveness, a sense of control over narrativising one's e...
| Publicado en: | Music, Sound & the Moving Image Vol. 12; no. 1; pp. 33 - 53 |
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| Formato: | Artículo |
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Liverpool University Press / Journals
Spring2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=132282522&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 132282522 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17530768 3DEN jtl: Music, Sound & the Moving Image issn: 17530768 maglogo: N pubinfo: dt: Spring2018 vid: 12 iid: 1 pid: 39786 pub: Liverpool University Press / Journals artinfo: ui: 132282522 10.3828/msmi.2018.2 ppf: 33 ppct: 20 formats: fmt: @attributes: type: P size: 1.2MB tig: atl: The Camera Phone in the Concert Space: Live Music and Moving Images on the Screen. aug: au: GLITSOS, LAURA su: Camera phones Concerts Possessiveness Technology Music audiences sug: subj: Camera phones Concerts Possessiveness Technology Music audiences ab: In this article, I argue that screen relations have profoundly redirected affective and aesthetic strategies of live music experience to culminate in a complex relationship with camera phone technology that is characterised by feelings of possessiveness, a sense of control over narrativising one's experience, and new sentiments towards concert community. I examine the ways in which the camera phone produces new and alternative viewing pleasures because of the way the technology can structure new narratives of the concert experience. However, I note the conflicting, and at times very negative sentiments, emerging from the ubiquity of the camera phone. In particular, I examine the disruption of social viewing practices by those holding up the device or by the brightness of the display that distracts other viewers from the stage, as well as the ways in which the camera phone has been constructed in popular discourse as a technology which detracts from living experience 'in the moment'. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Music, Sound & the Moving Image is published by Liverpool University Press, and its content may not be copied or emailed to multiple sites or posted to a listserv without Liverpool University Press's express written copyright permission. However, users may print, download, or email articles for individual use. item: Music, Sound & the Moving Image holder: Liverpool University Press / Journals dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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