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This paper examines the development of modern media, from traditional filmmaking to the emerging practices of “Transmedia” and “Collaborative Content Production”, and the historical resistance to such modern practices, including the recent rise of the Slow Media Movement. The filmmaking world has increasingly embraced such emerging technologies and forms, with a utilisation of the most contemporary digital media equipment being a main characteristic of modern work in the field. This article demonstrates how technology has expanded and become democratised, allowing anyone to be a distributor and for audiences to engage with content across multiple platforms and in a collaborative manner. There are, however, some who question this growing trend of embracing technology. In January 2010, a group of German theorists published The Slow Media Manifesto, which launched the “Slow Media Movement”. The movement strives for the creation of art and media in what they describe as a ‘deliberate and thoughtful’ manner. Although mostly an academic movement that so far seems to have more impact on media consumption than media creation, Slow Media practitioners are beginning to emerge. Their work strives for discursive, dialogic, social and auratic perfection. Through contextual analysis of several modern and Slow Media works, by practitioners such as Martha Goddard, Maia Iotzova, Spike Jonze, and Chris Milk this paper examines the Slow Media debate and its implications in the world of filmmaking.
Conference proceedings from ASPERA, delivered at Flinders University in July 2015.