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Authors: Jon Agar

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Chapter 21
Phones on film

Our
sense of danger is powerfully shaped by mediated representations of life. Hitch-hiking is now rare in the West not because hitch-hikers are a danger to drivers, or vice versa, but because on film a hitch-hiker tends to be a homicidal maniac. Paedophiles are a menace, but a youngster is far more likely to be run over by someone driving their kids to school – which they do because ‘the streets are dangerous' – than to be abducted. Again a major cause of the school run is our calculation of risk, in this case to children, based on what we read and see, rather than on what statistics might show.

So how we use one technology of mobility – the car – depends on how it has been portrayed on TV, in film or in print. What, then, does the mobile in the media show us? In one straightforward way, the mobile has been a great boon to scriptwriters. A good plot depends on interaction between characters. Communication technologies allow characters who are not in the same room as each other to interact, thereby literally expanding the dramatic range. With a landline telephone, a character is rooted to the spot. But with first cordless phones (which I haven't discussed here) and then mobile phones, characters were set free. The scriptwriters of soaps and sitcoms were perhaps one of the greatest
beneficiaries, since soaps and sitcoms depend more than any other televisual genre on conversation and gossip. So an episode of
The Simpsons
or
One Foot in the Grave
, to take just two examples from the United States and the United Kingdom respectively, can even be dominated by characters on mobile phones.

Film both created and exploited mobile phones as iconic markers of status. So Gordon Gekko, the feral corporate raider played by Michael Douglas in the sharp satire of 1980s excess
Wall Street
(1987), barked orders down the brick-like cellphone while walking on an Atlantic beach. In Gekko's individualistic, greed-driven world, money never slept – and never stopped moving. Gekko would have no ‘dead time'.
Wall Street
repeatedly drew a contrast between this new atomised anti-society and the older traditional society where personal integrity was based on good character, and a firm's worth lay in real products, not junk finance. The cellphone was the icon of the new. And fiction in turn shaped fact. Across the ocean, the city workers in London who ostentatiously waved mobile phones modelled themselves on Gekko, their hero.

So phones on film could symbolise connection between characters, advertise social status or even stand for the absence of society. In the Nollywood flick
Phone Swap
(2012) the reliance on, and new ubiquity of, mobile phones, in this case in Nigeria, is the source of gentle social satire (as well as a promotion of
BlackBerry, one of the funders of the film). Phones can also be, simply, triggers. In
The Hurt Locker
(2008), Kathryn Bigelow's film set among US Army bomb disposal teams in Iraq, they are used to detonate explosives, as they were in real life. But a more intriguing use of the mobile exploited the contradictions – and horror – of being in constant touch. In David Lynch's
Lost Highway
(1997) a creepy atmosphere had already been built up with the delivery of video tapes made by an intruder into the house of characters played by Patricia Arquette and Bill Pullman. Video tapes are information technologies that shift time: the footage merely showed that the intruder had been in the house some time in the past. But creepiness turns to full horror at a party, where the uncomfortable Pullman is approached by a white-faced man with more than a whiff of sulphur about him. The white-faced man insists that they have met. What's more, he insists that he is in Pullman's home at the same instant as he is there at the party. The proof is a mobile phone call. The mobile is an information technology of instantaneous time – the horror comes from the sudden realisation that the white-faced man is in two places at once, so something is seriously wrong.

There are two ways in which mobiles feature in stories of the uncanny, and both reflect contradictory aspects of mobile culture. In series such as
The X-Files
, mobile phones are part of the armoury of good – in this case the FBI agents Fox Mulder and Dana Scully – against
evil. The cellphone here provides horizontal communication between the heroes (Mulder, Scully) who are working outside – and often against – the centralised hierarchical organisation (the FBI).

The same analysis fits
The Matrix
(1999), in which Keanu Reeves and allies discover that the world is a simulation created by an authoritarian mechanical regime. They can act in both worlds only because they possess state-of-the-art mobiles. And as the entertainment and communications industries converged in the late 1990s,
The
Matrix
acted as an advert for the particular phone used, the Nokia 8110i. So, ironically, the mechanical simulation-creating regime won:

Nokia's mobile phones create the vital link between the dream world and the reality in
The Matrix
. The heroes of the movie could not do their job and save the world without the seamless connectivity provided by Nokia's mobile phones. Even though our everyday tasks and duties may be less important than those of the heroes of
The Matrix
, today we can all appreciate the new dimension of life enabled by mobile telephony. As the leading brand in mobile communications, Nokia is proud to see that the makers of
The Matrix
have chosen Nokia's mobile phones to be used in their film.

So said Heikki Norta, General Manager, Marketing Services,
Nokia Mobile Phones, Europe and Africa, on the day of the film's launch in 1999.

In the second way, the creepiness of instantaneous remote communication is exploited. In the
Scream
movies, which knowingly cherry-picked the whole horror genre, the killer was anonymous, remote but also scarily present as soon as the call was made. In
Lost Highway
the uncanniness stemmed from the impossibility of being in two places at the same time – a short-circuiting of spatial logic. How can someone be both present and not present? Mobile phones give us a powerful sense of co-presence that can be shockingly undermined. I was once chatting to a friend who was walking down the Hackney Road in London. There was a scuffle and then silence. While it was clear what had happened – the phone had been snatched – the shock (for me) lay in sudden helplessness: the realisation that someone who seemed near is in fact far. Constant touch is illusory.

The mobile phone on film can counter and cause the uncanny. These two modes are part of longer traditions in storytelling. The use of the latest communication technologies to counter ancient evil is nowhere better illustrated than in Bram Stoker's
Dracula
(1897), in which otherwise utterly ordinary modern Europeans can defeat the Count because they possess Dictaphones, telegraphs and an efficient postal service. (Recall that Stoker's novel, for good reason, is in epistolary form.)
The
Blair Witch Project
(1999) was deliberately set a few years
in the past, after cheap video cameras (on which the film's beguiling realism depends) but
before
mobile phones. There was no escape for this second team of ordinary humans.

Jeffrey Sconce, in
Haunted Media
, has traced how communications technologies have persistently been associated with the uncanny, from the ‘spiritual telegraph' of the 1840s to oppressive other-worlds of fictional cyberspaces in the late 20th century. So with early radio, catching distant voices by accident across the ether (‘distant signal' or ‘DX fishing') suggested to many authors a metaphor for the fragile bonds between individuals and the potential for traumatic disconnection. ‘Stage and screen at the beginning of the century', notes Sconce, ‘saw a number of productions that featured distraught husbands listening helplessly on the phone as intruders in the home attacked their families.' Later, episodes of
The Twilight Zone
featured uncanny communication from the dead by phone: in ‘A Long Distance Call' (1961) a recently deceased grandmother called her grandson on a toy telephone, and in ‘Night Call' (1964) a long-dead man contacts his fiancée via a telephone wire that has fallen on his grave. Horror stems from interrupted mobility: whether it be from confinement to a grave or, traumatically outside fiction, from mobile phones in the twisted wreckage of train crashes, or the last conversations on the hijacked airliners of 11 September 2001.

Part four
Smartphones
Chapter 22
Intimately personal computers

Right
at the beginning of this book I said that we should pay attention to the technologies that we carry around with us because they tell us a lot about what we value and why. Very few technologies have made the leap, and each one is important. We wear a wristwatch because we live in a society that is choreographed by reference to a common standard of timekeeping. We carry a comb if we care about what our personal appearance says about us to others. We carried a first- or second-generation mobile phone because communication was desirable, even essential, on the move.

But we are now carrying around a new object, one that might trick us into thinking that it is merely an extended phone, but is in fact, I think, a radically new personal device. The smartphone, towards which the first 3G phones were inching, is not just a phone. It's a computer. And computers are unique – they are, in a crucial respect, unlike any other technology – and uniquely important in the history of the modern world.

Most devices are special-purpose machines. A comb straightens hair. A watch tells the time. A lawnmower, to give another example, mows lawns. The whole design is made to achieve this purpose. While you can use a lawnmower for other tasks – for example, propping
open a door – these are limited. A computer, on the other hand, is a general-purpose machine. And it only needs three components to work: a set of instructions, a memory and a processing unit where the instructions work on the data held in the memory. You can make a computer out of almost any material. Charles Babbage designed a machine made of brass, wood and card that was the 19th-century equivalent of the computer. But we use electronics, because electrons can move at unimaginably faster speeds. The first electronic stored-program computers were built in the middle of the 20th century, at a time when the radio industry had spurred the development of lots of electronic components, such as vacuum tubes, and global conflicts increased the demand for fast calculation. These first computers were enormous, filling rooms with racks of valves and wires. But over the following decades the components got smaller and the computer shrank. The new transistors of the 1950s were tinier than vacuum tubes. Wafers of silicon the size of a fingernail, etched in the 1960s, contained hundreds and then thousands of transistors. Smaller devices were more widely useful, creating a powerful feedback effect driving miniaturisation and the spread of computers. In the 1970s small and personal computers appeared. By the 1980s they populated homes and businesses across the world.

We use the desktop computer, the general-purpose machine,
for all kinds of tasks. I'm sitting at one now, writing this text. I'm also keeping an ear out for the live cricket tournament under way in Sri Lanka. I have Skype open in case someone calls, and my music is a click away too. I have Excel spreadsheets open for students' marks, and both Firefox and Internet Explorer browsers running, some linking in to organisational databases, some displaying email, while another is playing a David Foster Wallace inauguration speech on YouTube. Frankly it's amazing I can concentrate. But there are two points to making this list. One, the computer is incredibly flexible for a single machine. And second, it's so useful, so involving, that I'd like to carry these capacities around with me.

There are three concentric rings of ‘personal' technologies. The outer ring consists of ‘owned' technologies that are mine, that I use but do not move around with me. The desktop computer is an example. It's too heavy, and anyway it is anchored via a nasty mess of wires and cables. In the middle ring are ‘portable' technologies. I have a laptop computer which I carry around if I need it. But it's a bit of hassle, and I'm always aware that I'm burdened. If I stop I'll put it down. I'd rather leave it at home. Nevertheless, it is designed to be a ‘personal' technology that works on the go – it has a battery that lasts long enough to be able to be useful, and the case has a handle, among other features. Finally, there is the inner ring of ‘intimate' technologies. These are
portable but are carried without exertion. They are kept close to the body. They are so useful or important or engaging that we don't register their weight. Very few technologies make it through to the inner ring, and some of those that do date from the earliest periods of human existence. Right now my intimate technologies are clothes (Palaeolithic), shoes (ditto), glasses (a medieval innovation) and – my intimate general-purpose computer, my little chip of modernity – a smartphone, an iPhone 4.

The things I use my smartphone for are just as diverse, perhaps more so, as they were in the case of my desktop computer. I check my mail, send texts, update a Facebook status and skim through tweets. I browse, using Safari, websites that carry everything from national news and sport to London ornithology. I share my pictures on Flickr, listen to music on the iPod and play Angry Birds, Blitz and Welder. Under dark clear skies I can hold the iPhone up and read the stars using Starmap Pro. When bored I flick left and right through my apps to find something to do. I even, occasionally, use it to make a phone call.

I was in ‘constant touch' with my old Nokia phone in the sense that wherever I was I could talk to my friends, relatives and colleagues. But the ‘constant touch' of the iPhone is something more: it absorbs my attention and even when it doesn't I find that I unconsciously reach for the familiar smooth weight. My fingers, eyes and mind
are absorbed. And I am not alone – I have been in full train carriages where every passenger was communing with his or her smartphone. Each in a private bubble of constant touch.

Three things came together to help smartphones dominate in this way. None was inevitable. First, the mobile networks had to have the capacity to handle greater amounts of data. This transition was anticipated and pushed in the allocation of and payment for third generation (‘3G') licences in the early- to mid-2000s. Second, a device had to be designed that made use of these capacities. As is often the case in the years when a technology is young, there was a huge number of smartphone designs pitched, rejected or launched. Some of them, for example the very first iPhone, depended on older GSM technologies rather than 3G. Nor was the smartphone the first intimate personal computer (handheld ‘organisers' date back to the 1980s). However, in retrospect, it is the iPhone that stands out as the device in which key features were decisively introduced. Smartphones were not invented by Apple, but they were defined by Apple. Furthermore, the iPhone did not succeed through the talents of its designers alone. If anything, the closed world of the ‘cult of Mac' was a hindrance to be overcome rather than an advantage, at least if the iPhone was to be a truly mass-market device. Thirdly and finally, then, the smartphone had to be discovered by its users, who experimented
and found out what the smartphone was good for. Only mobile users can build a mobile culture. Let us look in more detail at each of these three secrets to the success of the smartphone.

Chapter 23
3G: a cellular world made by standards

In
1950, the major ports of the world swarmed with human activity. The job of a stevedore or longshoreman, someone who loaded and unloaded ships, was a skilled one: goods could come in a wide variety of shapes and sizes, and the quickest, most efficient way of moving them had to be worked out. Once dockside, the goods might wait for some time, each minute costing money, before they could be moved to market. Each port had its own system, its own traditions and its own considerable pool of labour, amounting to thousands of dockers. In the 1960s and 1970s this picture of the working dock was transformed by containerisation: goods would be packed in identical steel boxes, making the jobs of lifting on and off ship, and of transporting to and from a port, much simpler (and cheaper). Some historians credit the innovation to the experiments of the United States military in the Second World War, in which essential supplies had to be shipped to Europe and across the Pacific in a form that was secure. Others highlight the entrepreneurial spirit of Malcolm McLean, an ex-trucker whose SeaLand Inc. company began shipping goods in containers along the east coast
of the USA from 1956. By the 1970s it was clear that a revolution in the global transport of
material
goods had happened, and that it was underpinned by two fundamental developments.

First, a global technological system for transport went hand in hand with the spread of a single standard. While many agreed that a standard container was a good thing, there had been much debate about what the standard should be. The outcome was a container eight feet high by eight feet wide, with lengths either 20, 35 or 40 feet. (Universal agreement on the width and the height were crucial for stacking containers, the length not so – think about how a sound brick wall can be made with short bricks and long bricks.) If there had been many competing standards in use, then global trade, and with it the forces of globalisation, would have been significantly reduced. Second, as the standard spread – which it did by a combination of commercial and governmental decisions – the old practices and infrastructure had to be torn up and replaced. Starting with Port Elizabeth, New Jersey, container ports were built to move the standardised containers onto ships converted for the new boxes or onto trains and trucks. Some old ports – not least London, which had once been the busiest in the world – died. Others, such as Long Beach, California, were refitted at great cost. The new infrastructure was massively expensive, but was paid for by the savings in transporting goods and
in savings of scale: all the world was using one standard. Ninety per cent of the world's trade moves in containers.

A fixed infrastructure and standards mutually agreed beforehand facilitated global mobility: in the case of time zones, mobility of pocket watches; in the case of containerisation, mobility of material goods; and in the case of the internet (where the fixed infrastructure was landlines and the standards were TCP/IP protocols), mobility of
non-material
goods. (There are profound reasons why the latter two cases of means of moving packets, material and non-material, appeared at the same time.) And from fairly early in its history, there have been visions of how a fixed worldwide infrastructure of cellular phones would enable the global mobility of communication. We have seen how very different
national
systems of mobile telephony were built, and now we will see what makes a
global
system and why.

Jorma Niemienen, then president of Mobira, imagined in 1982 that the mobile world could be built on Nordic lines:

NMT [Nordic Mobile Telephone] is an example of the direction which must be taken. The ultimate objective must be a world-wide system that permits indefinite communication of mobile people with each other, irrespective of location.

In
Vancouver in 1986, before the first call had ever been made on the second – i.e. digital – generation of phones, a gathering of telecommunications planners launched the third. Initially called ‘Future Public Land Mobile Telephone System' or FPLMTS – ‘unpronounceable in any language' writes Garrard, correctly – ‘the initial concept for the third generation was very simple: a pocket-sized mobile telephone that could be used anywhere in the world.' Third-generation (3G) mobile phones started as a geographical idea, but as the internet rocketed in the 1990s it provided proof that there was public interest in, and a nascent mass market for, mobile online services. 3G became more and more a plan for mobile phones that would handle data – internet-type services, videos, games – as well as voice. The relative successes and failures, respectively, of i-mode in Japan and WAP in Europe and the United States, were dressed up as rehearsals, generation two and a half, for the data-rich 3G.

Despite the lessons taught by the cases of competing mobile standards in the United States (or indeed, the success of single standards such as Europe's GSM or McLean's containerisation), third-generation mobile has splintered into several different standards. So much was at stake – perhaps the biggest telecommunications sector of the 21st century – that uniform agreement was perhaps impossible to achieve in the face of divergent commercial interests. So International Mobile
Telecommunications 2000 (IMT-2000, the more friendly name for FPLMTS), became the umbrella for five different standards, employing variations of all three means of packaging up and sending data over mobile networks: TDMA, FDMA and CDMA. Each had different coalitions of backers, reflecting the state of a mobile industry that had already become internationalised after a series of mergers and new operations, led by voracious companies such as Vodafone and Hutchison, and by the American ‘baby Bell' companies' attempts to expand away from the restrictive home markets in the 1990s. Despite the internationalisation of the mobile sector, an interesting pattern was apparent by 2002: American- and Japanese-based companies were doing better at pushing 3G than their European competitors: in a reversal of the transition from first- (analogue) to second- (digital) generation cellphones, when the United States lost the lead partly because its first generation was too successful, the success of European second-generation systems, particularly GSM, had led to apathy towards 3G.

The first licences for the spectrum space allocated to 3G mobile phones came up for grabs at the very end of the last century. With internet stocks still riding high, and where an auction format was chosen by governments, mobile companies bid against each other, driving the price for spectrum to stratospheric levels. When the bidding was over in the United Kingdom, the
government received a windfall of £22.47 billion ($35.4 billion), which was prudently earmarked by the chancellor of the exchequer, Gordon Brown, for paying off part of the national debt. Licences went to the four existing operators – Vodafone Airtouch, One 2 One, BT Cellnet and Orange – and a newcomer: a conglomerate, backed by the Hong Kong-based Hutchison Whampoa, which launched its service called, simply, ‘3'. In Germany, a bigger potential market than Britain, the auction raised $45.6 billion, five times the amount initially expected. France refused to run such a market-driven scheme and preferred to retain central control, offering four licences at fixed prices of $4.6 billion each. Only two were taken up. Sweden, even more planning-minded, awarded licences at $10,000 each, plus a cut of profits. The German and UK windfalls were watched jealously in the United States, where the practice of local auctions was again followed for the sale of broadband Personal Communication Service (PCS) licences, with the outcome in early 2001 that a mere $16.86 billion was raised for 422 licences (113 of which went to a joint venture between Vodafone and Verizon Wireless).

But what had caused this American shortfall? By the time of the US auction the internet stock bubble was bursting, and the giant bids that had seemed necessary to secure important territories and markets in earlier months now seemed decidedly dicey. Indeed, the bids made by companies such as Vodafone were justified
by appeal to the strength of their stock market value, and as these slid alongside other telecoms stocks, the expenditure looked more and more untenable. Moreover, 3G could not operate on the existing infrastructure. Entirely new networks of base stations and mobile switching centres needed to be built. Like the containerisation of ports, the great capital outlay in a gamble on a new standard was to be new infrastructure (the costs are comparable). By 2002, the licences were active but, apart from in places such as the Isle of Man, a third-generation experimental island, very few services were launched until 2003. The success of third-generation mobile phones, at this point, depended on the unknowable willingness of the public to buy them, and without good content – in the form of addictive entertainment or really useful services – a repetition of the WAP debacle was possible. On the other hand, there were great hopes that the third generation might prove to be like a global i-mode, to the great relief of the world economy.

As we have seen, sales of licences for third-generation (3G) networks raised immense revenues for European governments, less so in the United States where the auction was held after the crash in the technology stock market. Similar networks were launched in Japan, but elsewhere in 2002 you had to be in odd places like the Isle of Man to see what all the fuss was about. In the United States, 3G has followed the patchwork
pattern that had been established with earlier generations of cellphones. So, for example, as early as December 2001, Verizon offered a 3G service – so long as you happened to live in a corridor of land from Norfolk, Virginia to Portland, Maine, or in the Salt Lake City area, or around San Francisco and Silicon Valley. (What is more, it would only work if you plugged it into a computer, so was not very convenient.) Further 3G services were launched soon after in cities such as Chicago and New York. Sprint, a company that has always concentrated on long-distance calls, souped up its old network to carry 3G nationwide in August 2002. Fanfares also greeted the launch of 3G in Europe, including Finland and Austria (September 2002), parts of Russia (October 2002), the United Kingdom (March 2003), Italy (May 2003) and Slovenia (December 2003).

But it quickly became apparent that launching 3G was quite different from turning on an old-style mobile network. With an old cellphone system, once it was turned on you could make calls, and that was pretty much it. But 3G promised a cornucopia of data services, and these weren't all ready at once. The bounty remained firmly fixed in the future. (Imagine! It will be just like sitting at your computer: you'll be able to do anything that you could via the web, except that you'll have to squint.) So, in the early 2000s 3G crept out, with a dash of video messaging here and a smattering of live football and games there. It would be
half a decade before we experienced what 3G really could do.

The launch of 3G witnessed a curious, reflexive twist on a familiar pattern in the history of communication technologies: the ways that the typical real-world ‘use' of a technology has often been one discovered by users rather than that anticipated by producers. So, for example, Marconi thought radio would be primarily a means of sending code not voice (indeed he called it ‘wireless telegraphy'). Producers of early telephones sold them as one-way ordering devices, not instruments of trivial two-way chatter. Both email and text messaging were afterthoughts, mere secondary applications in the eyes of the designers of packet-switching and digital cellular networks. We have also seen how M-PESA as primarily a peer-to-peer money transfer system was the discovery of Kenyan mobile users rather than the anticipated main purpose of the scheme's architects. In all five of these cases it was customers who pioneered the typical pattern of use. As 3G-type services like video messaging were added to phones, it seemed that for the first time in the history of communication technologies, the producers were not only aware of this pattern, but were also banking on it happening again. So in late 2002 – before 3G proper – Vodafone deployed the Manchester band The Mock Turtles to ask their UK customers: ‘Can you dig it?' Quite a lot of money was riding on the answer to this question. If the users did not ‘dig'
3G by finding its typical use, soon and with gusto, then billions of pounds and dollars, euros and yen would be lost. In fact, while video messaging failed (as it always does), the smartphone, and with it 3G, has thrived.

By 2005 some of the 3G hopes were being realised. Old players such as Vodafone, as well as new such as Hutchison Whampoa's 3, were attracting custom as coverage improved and new handsets launched. 3's new X-series of mobile phones, for example, offered a phone that carried Google searches, access to the online auction site eBay, communication via Skype, and even a television service. Furthermore, in a move which reassured customers, a flat rate was introduced for data downloads. (Nevertheless, a frequent news story in the mid-2000s featured panicked customers, often parents who had lent their mobiles to their offspring, only belatedly finding out just how expensive an unrestrained bout of data consumption could be.) Even so, the enormous outlay on 3G licences meant there was nervousness, especially because the mobile technologies were changing so fast. One example of this change was the rise of Wi-Fi hotspots in the same period. A Skype video call over a Wi-Fi network saved money for the consumer but had to be written off as lost income to the network operator. But an even greater change was the entry of a new player to the mobile market, one which would redefine what a mobile could be: Apple's smartphone.

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