by David Rosen.
It’s an ultra low-cost medium. It’s easy to use. It also offers a sense of immediacy — you can do away with crew or shoot surreptitiously. It turns anyone into an amateur filmmaker — but as the smartphone is being adopted by professional filmmakers, it’s fostering a new aesthetic.
Filmmakers first started using the smartphone to film in 2005; the following year Italian directors, Marcello Mencarini and Barbara Seghezzi released a feature-length doc, “New Love Meetings (Comizi d’Amore),” shot in MPEG-4 with a mobile phone. In 2007, South African director Aryan Kaganof released “SMS Sugar Man,” a feature-length narrative shot using the Sony Ericsson W900i.
In 2011, directors Hooman Khalili and Pat Gilles released the feature, “Olive,” shot on a Nokia N8, and Korean director Chan-Wook Park released the award-winning short, “Paranmanjang (Night Fishing).” Last year’s Oscar-winning documentary, Malik Bendjelloul’s “Searching for Sugar Man,” integrated 8mm film and iPhone video.
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