The video clip contains nudity. It is most likely not safe for work.
Coproduced by both the Sundance Channel and the National Film Board of Canada, The Art of Seduction is a series of nine short films originally produced for viewing on cell phones. This is the Sundance Channel’s first programming bought specifically for viewing on the web.
By including programming for the third screen (computers and the internet) and the fourth screen (cell phones and iPods) with acquisitions like The Art of Seduction, the Sundance Channel is attempting to compete in an ever-changing media market. First distributed by the Sundance Channel for 2 minutes on Monday nights, The Art of Seduction is now available for download at sundancechannel/seduction. Adding films like The Art of Seduction to its programming makes Sundance even more accessible, especially for audiences who may no longer watch movies in theatres or on cable television. But, at the same time, the fourth screen also complicates the context in which these films are produced, exhibited and distributed. With the advent of digital filmmaking, these films are relatively cheap to make. In the director’s commentary for "Nude Caboose", Guy Maddin discusses his excitement about experimenting in the new delivery medium of the cell phone.
The cell phone medium encourages not only the creation of shorter films (1-2 minutes), but also simpler storylines, less dialogue and more colorful art direction. From a "Nude Caboose" to a "Dirty Dog," an animated stick figure in love to a pole-dancing fireman, these shorts focus on the ways in which love, sex, and desire can be represented on the small screen. At the same time, the medium of the fourth screen also impacts the changing nature of cinema itself. Will short films become the preferred cinematic form in a culture in which audiences are leaning towards downloading films to their phones and computers instead of seeing them in theatres or on televisions? How will cinematic narrative, performance, and direction change when they are designed primarily for the fourth screen? Does the seduction of the cell phone as a new means of viewing cinema require a reimagining of cinematic style itself?