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| July 2012 |
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21 |
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| 專輯論文Special Issue Articles |
| 圖像和親密屏幕： 流動性與手機照片的日常性 |
| The Image and the Intimate Screen: Mobility and the Everyday in Camera Phone Pictures |
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(2626)
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| 作者 |
Helen GRACE |
| Author |
Helen GRACE |
| 關鍵詞 |
用戶原創內容、手機相機、香港、城市空間、日常生活 |
| Keywords |
User-created content, camera phone, Hong Kong, urban space, everyday life |
| 摘要 |
本文探討屏幕在日常生活中的用途。尤其關注手機相機對於城市空間部署的作用。本文通過呈現2007年至2010年收集的研究數據，討論香港用戶如何利用手機相機製作及分享圖像。除手機相機的屏幕之外，我們還關注電腦屏幕。在電腦屏幕上，我們最初是通過博客來獲取圖像的─博客空間本身形成了一個特定的視野，通過用戶對圖像的評論，我們可看出用戶如何看待這些圖像。本文為手機圖片和用戶原創內容的意義提出了一個大體的研究框架，並描述了手機攝影的興起、用戶的使用方式及審美態度。 |
| Abstract |
This paper examines the screen in its everyday and even banal uses, rather than its monumental uses. Focusing especially on the deployment of the camera phone as a means of producing a sense of being within urban space, the paper considers the practices of camera phone image-making and sharing in Hong Kong, by presenting data from research carried out between 2007 and 2010. We focus not only on the screen of the camera phone itself, but also on the computer screen where the images are first made available to us, within blogs—the blogspace itself forming a specific visual field that determines how the users themselves view their images, as evidenced in the comments they make about them.
We provide a framework for considering the significance of camera phone pictures and user-created content generally. We describe the rise of camera phone picture-taking and identify patterns in usage and in the aesthetic attitudes of users, based on our research. Our research involves a multi-modal approach, that includes both quantitative and qualitative methods—ethnographic research, structured and unstructured interviews, photo elicitation, a questionnaire, and interpretive visual data analysis. Theoretically, we draw on the work of Henri Lefebvre and, in particular, his “theory of moments.”
We pay close attention to the affective/emotional comments users make about their picture-taking practices and their use of camera phones, based on our ethnographic research. We argue that this material deserves to be taken much more seriously because of the intricacies of the everyday that are manifest only in such practices. In emphasizing the specific aesthetic choices of users and the patterns that emerge in everyday use, we argue that the cultural meaning of camera phone images must foreground the role that aesthetics and emotion play in everyday life. Through such research, we observe the fine detail of everyday innovation in expressive forms that are overlooked in technology studies that focus on devices and rational choices. Additionally, we note the increasingly widespread new phenomenon of a highly distributive aesthetics that challenges the traditional privilege that art forms have been granted, demonstrating that user-created content is shifting some major social assumptions and structures.
本文引用格式
Helen Grace (2012)。〈圖像和親密屏幕：流動性與手機照片的日常性〉。《傳播與社會學刊》，第21 期，頁79–104。
Citation of this article:
Grace, H. (2012). The Image and the Intimate Screen: Mobility and the Everyday in Camera Phone Pictures. Communication & Society, 21, 79–104.
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