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  • 1.
    Eriksson, Per Erik
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Convergence cameras and the new documentary image2012In: Digital Creativity, ISSN 1462-6268, E-ISSN 1744-3806, Vol. 23, no 3-4, p. 291-306Article in journal (Refereed)
    Abstract [en]

    New digital recording technologies pose new creative dilemmas for documentary videographers. The new type high-resolution video camera with 35 mm sized sensors and mounts for real film lenses generate a type of imagery that does not look typically ’observational’. By testing this imagery’s capacity as the guarantor of documentary authenticity and interrelating this with visualisation theories, this paper aims to explain the ontology of the new digital documentary image, its lure for the documentary filmmaker and its ramifications on reception in order to leverage technological production awareness of the documentary videographer and production members. The empirical data presented in this article is based on an explorative reception study in which five different types of moving image sequences were tested on an audience in order to be able to define the level of indexical appeal in shallow depth of field, high resolution, High Production Value, documentary moving images. © 2012 Copyright Taylor and Francis Group, LLC.

  • 2.
    Eriksson, Per Erik
    et al.
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Eriksson, Yvonne
    Syncretistic images: iPhone fiction filmmaking and its cognitive ramifications2015In: Digital Creativity, ISSN 1462-6268, E-ISSN 1744-3806, Vol. 26, no 2, p. 138-153Article in journal (Refereed)
    Abstract [en]

    This article will address the question of how fiction films are individuated in terms of image quality on the grounds of the recording technology used. As new cost-effective digital recording technologies are introduced to the marketplace, this becomes a salient issue to understand for producers and production teams. In order to define cameras' image quality capacities, three almost identical short fiction film sequences were tested on a young audience in a comparative blind test. Surprisingly, the result unambiguously showed that most viewers preferred the film recorded on an iPhone. Based on Barbara Maria Stafford's theoretical framework on the cognitive work of images and theories that concern ecological moving image theory, the analysis of this article aims to explain the reception study's result by illuminating the sublime and ambiguous figure-ground constellation of the iPhone video and its cognitive ramifications.

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CiteExportLink to result list
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Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • chicago-author-date
  • chicago-note-bibliography
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf