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This paper discusses smartphone spectatorship with a focus on user participation, interactivity, and the fusion of digital media and mov-ing images. In the renaissance of mobile filmmaking and participatory culture, there is no longer a definite difference in the quality of cin-ema and mobile media tools. Instead, users’ embodied and social presences define the framework of viewing and production. By re-flecting on the sovereignty of smartphone film culture, this paper highlights the behavioural and cultural trajectories of mobile movie consumption, where content access merges with content production. |
