DA- Max Watches Anime!

Pt. 2 – Understanding my role and preconceptions

As I write this, I find myself still striving to truly understanding the process of autoethnography. As  Wall (2008, pg.39) states “autoethnography offers a way of giving voice to personal experience to advance sociological understanding”, which is why it is so fundamental to my research of the 2015 anthology anime series “Death Parade”. Attempting to form a personal narrative out of my experiences of watching the show is proving much harder than expected. Pritchard (2017, pg 108) explains that the positioning of the author’s relation to the research is crucial in gaining the trust of the reader. So, with this in mind, the purpose of this post will be to determine my role and my preconceptions prior to watching “Death Parade”.

Who am I?

Wall (2008, pg. 39) remarks that autoethnography begins with a personal narrative. In my narrative, I am a 21 year-old French male, who has spent most of his life in English-speaking countries. Prior to “Death Parade”, my only encounters with anime were through the consumption of various Studio Ghibli films, which gained mainstream attention. Although I have has had encounters with individuals who are rooted in the anime culture, I was relatively unfamiliar with the anime culture. My research is my attempt to rectify that and to gain an insight into the world of anime.

Preconceptions

Part of the challenge that comes with authoethnographic research, is the way one represents themselves and others. It’s therefore crucial that my preconceptions of the anime culture is written in a way that doesn’t appear as dismissive or ignorant and that I thoroughly analyse my own preconceptions, rather than fall into the trap of being overly-subjective.

My first encounter with anime culture occurred when I was around 6, when Pokemon trading cards were absolutely dominating youth culture. I was living in London at the time, and never fully understood the concept. Having thought about this led me to an epiphany:

My experience with Pokemon partly shaped my preconceived idea that the anime genre was tailored specifically for kids.

This conception simply stems from the fact that I had not been exposed to the adult-oriented anime programmes or films such as ‘Ghost in the Shell’ or ‘Akira’ and furthermore I was much too young to fully comprehend the more sophisticated ideas or themes that can sometimes be explored in children-orientated anime programmes.

 

 

Years later, when I was around 18 or 19, a friend of mine told me about an anime that he was watching, that had apparently taken the anime world by storm, called ‘Death Note’. When he described the plot to me, I was taken aback by its incredibly dark and rather strange concept. Of course, it is entirely possible that my  cultural upbringing was the reason for such a reaction.

Yet, this led me to another presumption about anime: anything could happen. With that in mind, I’m now off to binge-watch a season of “Death Parade”.

Until next time…

References

Pritchard, J 2017, ‘A Journey to the Centre of Self: Positioning the Researcher in Autoethnography’, Forum: Qualitative Social Research, vol. 18, no. 3, pp. 108-127.

Wall, S 2008, ‘Easier Said than Done: Writing an Autoethnography’, International Journal of Qualitative Methods, vol. 7, no. 1, pp. 38-53.

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DA- Max Watches Anime! A Blog Series

Pt.1- Introduction (Picking an Anime Series)

For a longtime, in my early days of uni, I was determined to introduce myself to the phenomenon that is anime. Is that okay to say? Phenomenon? Anyway, the problem was I had NO IDEA where to start. Instead of doing further research, I just veered into J-Horror instead (which is fantastic by the way!) Now, a few years have passed, and I have the chance to explore the anime sensation and I get to claim it’s for research (which it is)! But again, the question was: where do I start?

 

Me, browsing the different genres of anime

So I did what anyone would do these days: go to reddit. It was then I realized I was truly spoilt for choice and that maybe reddit may not be the right way to approach this. I finally decided to just pick the anime that looks the most interesting. Which is what I should really have done from the start. The anime, that I have chosen, is the 2015 anthology series “Death Parade”.

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So, for my digital artifact, I will be writing a series of blog posts that will act as an autoethnographic account of my experience watching “Death Parade”.  By experience, I am not only talking about the act of watching the show, but also my preconceptions of what the show would be and also my interpretation of the show after watching it.

I very much look forward to  delving into my autoethnographic research and also becoming  more familiar with anime. I must leave you now, dear reader, as I embark on my first anime binge.

 

South Korean Horror- An Autoethnographic perspective (Part One)

My post on South Korean horror and A Tale of Two Sisters

Digital Asia

If you read my last blog post about autoethnography, you’ll be aware that I had the intention of using J-Horror as the topic for my autoethnographic research. However, as I was browsing the research done by previous Digital Asia students, I noticed that J-Horror had been covered extensively, which led me to consider other possible topics. Although I have been exposed to South Korean horror,  through films such as the excellent Train to Busan (dir. Sang-ho Yeun, 2016) and The Wailing (dir. Hong-jin Na, 2016), I am much less knowledgable on South Korean horror than I am on J-Horror, which therefore influenced me into changing research topics. So, in forming this autoethnographic research, I decided to watch the psychological horror film A Tale of Two Sisters(dir. Jee-woon Kim, 2003). My autoethnographic response to the film will be split in two parts:

This week’s post will describe, in detail…

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AUTOETHNOGRAPHY: WHAT’S IT ALL ABOUT?

When I first came across the term “autoethnography” I had initially dismissed it as another tedious, research-related term which I would struggle to comprehend and eventually get frustrated by. However, mid-way through reading “Autoethnography: An Overview” (Ellis, C., Adams, T.E., and Bochner, A.P. 2011), I had the realisation that the term referred to the method of using personal experiences as a means to subjectively comprehend cultural experiences (Ellis, C., Adams, T.E., and Bochner, A.P. 2011, pg.1), with subjectively being the key word. Because, as the article points out, “autoethnography is one of the approaches that acknowledges and accommodates subjectivity, emotionality, and the researcher’s influence on research” (Ellis, C., Adams, T.E., and Bochner, A.P. 2011, pg.4).

 

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When I started to think about this form of research, it occurred to me that I have been an autoethnographer since I started university, although for most of the time unknowingly. Through my blog, I have been using personal experiences to gain an understanding of cultural experience. With a huge interest in film, I realized that film-makers too (especially documentarians) are autoethnographers. They reshape their own personal  and cultural experiences and use it to create a narrative which goes on to share a film-maker’s experience. 

With this in mind, I am now beginning to think about how I will use auto ethnography to gain a further understanding on Asian horror films, particularly ‘J-Horror’. As someone who is a massive fan of the 1998 classic “Ringu”, I am incredibly excited to use J-Horror as the basis for my autoethnographic research. In the coming weeks, I will hopefully zone in on the specifics of the research process and through what medium I will present it.

RINGU

Until then…

References:

Ellis, C., Adams, T.E., and Bochner, A.P. 2011 ‘Autoethnography: An Overview‘, Forum: Qualitative Social Research, vol.12, no.1, <http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095>

‘GOJIRA’: Reaction + Thoughts

Those people who know me well, will (rightly) tell you that I am a massive film geek. So when I found out that we would be watching the 1954 allegorical B-movie ‘Gojira’, I was naturally thrilled. As the film started, I began to think about the differences between the Japanese film industry and the Hollywood film industry.

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As I said in one of my tweets posted during the screening, NO-ONE makes genre films quite like the Japanese. Unlike many (there are exceptions) Hollywood blockbusters, Japanese blockbusters always seem to try to incorporate some  form of social, religious or political context. With this in mind, it was fascinating to watch the way that ‘Gojira’ uses genre (in this case b-grade sci-fi) in order to make a bold allegorical critique of the bombings of Hiroshima and Nagasaki in WW2. Contrastingly, if you look at the 2013 remake ‘Godzilla’ (which I actually kinda liked) you’ll notice that it has none of the original’s political undertones, but is more interested in establishing Godzilla as a major player in the new MonsterVerse (as is now the trend).

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Having said this, it doesn’t mean that all Japanese films are as smart as ‘Gojira’ and that all Hollywood blockbusters are simply disposable pieces of entertainment that exist solely for financial reasons. It just occurred to me, as I watched ‘Gojira’, that very few American film-makers would be make such a ballsy, political blockbuster.

Another difference between the two film industries, which I briefly discussed with my tutor after the screening, is the perception of their audience. By making such a allegorical film, the director of ‘Gojira’, Ishiro Honda, clearly perceives the audience to be clever enough to understand the ideas and messages that the film is trying to convey. Hollywood, however, often believe that a blockbuster has to be ‘dumbed down’, in order to satisfy audiences and are often very reluctant to finance big-budget films with complicated narratives or concepts (although this trend is starting to die down, thankfully).

In the end,  the screening of the 1954 ‘Gojira’ was an eye opening experience which led to a deeper understanding of the way the Japanese film industry works and the differences between them and Hollywood.

Until next time…

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WHO ARE YOU? Exploring Online Personas

Who am I? It’s the question we ask ourselves almost everyday. However, most of us fail to identify the differences between our real-life personas and our online personas. Our real-life personas tend to present ourselves as we truly are, whereas our online personas tend to be a more consciously fabricated version of ourselves, or more specifically, the person we want to be. However, another question that can be asked is whether our online personas can affect our real-life personas?

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As I write this post, almost everybody around me is either on their laptops, smart phones or tablets.  With this in mind, it wouldn’t be inaccurate to assume that about half of those people have a social media tab open, whether it be Facebook, Twitter, Snapchat or Instagram. This is the world we live in and as technology continues to develop, our online-personas slowly begin to cast a shadow on our real-personas. Frightening, isn’t it?

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This is Max, logging out.

Note: I would highly recommend watching the episode of Black Mirror titled ‘Nosedive’, which really examines this concept in depth.

Geoblocking

Amongst the many things that the internet has changed, the users’ increasing demand for more content, particularly with streaming services, is undoubtedly the biggest. As information is increasingly quicker to access, audiences therefore demand immediate access to more content. In the world of the internet, patience no longer exists.

Amongst the many things that the internet has changed, the users’ increasing demand for more content, particularly with streaming services, is undoubtedly the biggest. As information is increasingly quicker to access, audiences therefore demand immediate access to more content. In the world of the internet, patience no longer exists.

Geo-blocking, is a system which is implemented to restrict an individual’s access to content which is not available in their country. Streaming services, such as Netflix, are consistently fighting to restrict their users from accessing non-localised content. The problem with such as system is that it  is that it denies the public to the right of online liberty. It is a morally grey area, that is yet to be fully addressed and dealt with.g1494804874294051652.jpg

Geo-blocking, is a system which is implemented to restrict an individual’s access to content which is not available in their country. Streaming services, such as Netflix, are consistently fighting to restrict their users from accessing non-localised content. The problem with such as system is that it  is that it denies the public to the right of online liberty. It is a morally grey area, that is yet to be fully addressed and dealt with.

Archer and Transmedia Storytelling

Transmedia storytelling is a very interesting tool that, if used correctly, allows the audience to further explore the content being consumed. In the case of the hilarious animated spy spoof “Archer”, which is currently in its eighth season, it’s use of transmedia storytelling is designed to allow the audience to directly interact with what’s happening in the episode.

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Although not available for us Aussies, the “Archer P.I.” augmented reality app, launched in anticipation of the latest season “Dreamland”, is described as a “multiplatform augmented reality app” which requires viewers to interact with what’s happening in the episode, as well as certain objects in the real world. The objective is that the audience is helping the show’s protagonist, the legendary Sterling Archer, to find clues and help solve cases. The app is essentially a way for the audience to engage with the world of the show, even after the episode is over. It’s a terrific use of transmedia storytellling that results in increased audience engagement. If only the app was available here though…

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BTW, if you don’t watch Archer, you’re missing out badly

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Australia vs. Piracy: What’s the point?

Remember that ad that you would see every time you watched a DVD?  With the quotes like “ You wouldn’t steal a car”  and “You wouldn’t steal a handbag”. You know the one right? That ad is more than 10 years old now. Crazy right! So what exactly has changed in Australia’s war against piracy since then? To be honest, not much has changed. Apart from the implementation of the Copyright Amendment (Online Infringement) Bill in 2015 and the introduction of Netflix in March 2015, nothing has changed in regards to piracy and illegal streaming in Australia.

The war against piracy, is for me, one that the Australian government cannot win. The internet is so  vast and information is so easily obtainable that it makes it  almost impossible for piracy laws to be enforced. If one illegal streaming site gets shutdown, they’ll just be another one created. So, although they may restrict piracy and illegal streaming, Australia will never succeed in its battle against piracy. So the question is: What’s the point?

Obi-Wan Kenobi - You Were The Chosen One! meme

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