Drawing upon my previous blog I touch base on the underground Korean music scene and my pertinent attitude for personal consumption. As part of my autoethnographic process it is important to consider the cultural framework in which I’ve been exposed, to inform my investigation into my chosen topic. Stemming from this week’s seminar, I’ve borrowed the following questions to stimulate my autoethnographic thinking:
“How does this experience connect to your own personal past?”
“How does your own culture and understanding impact on your experience on the encounter?”
(Source: Moore 2019)
In short, I can recall listening to non-asian hip-hop and R&B music from my immediate surroundings usually at home and at family gatherings, thus informing my preference to the genre as part of my cultural upbringing. Ellis et al. (2011) constructs the notion of illustrating facets of cultural experience through personal experience and it is through the pre-conceived…
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Prior to our introductory exposure into the Asian media landscape, I dabbled in my fair share of Asian music – more specifically that being Korean music. I didn’t just engage with K-Pop, over the course of time I eventually discovered rising solo acts in the Korean R&B and Hip-Hop scene, which I took more of a liking to. I’ve only just rediscovered my appreciation for the Korean R&B and Hip-Hop genre since encountering additional asian media through this subject, and since then have a grown appreciation for underground artists who are earning their international exposure (Just Musically Speaking 2018).
In the offerings that Eastern media had to share through film and television, we had yet to extend and diversify our music palettes. The underground nature and culture of Korean R&B attracted me to the idea of an untapped bank of music knowledge which I had to be a part of…
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From my autoethnographic perspective, anime has been a constant and normal medium of consumption contributing towards my upbringing as a young Filipino-Australian. My first encounters of anime consisted of Dragon Ball Z, Pokémon, Digimon, Zoids, Beyblade, Cardcaptor Sakura, and Hamtaro all of which were broadcast on Cartoon Network at the time and now giving me nostalgic reasons to revisit (Macdonald 2017). In an autoethnographic sense on the basis of Autoethnography: An Overview, my epiphany (Ellis, Adams & Bochner 2011) arose when I stumbled upon anime without any influence at all, ultimately stemming a deep appreciation and love for the art of Japanese animation. Over my years of early development, I’ve adapted and consumed anime as if it were religious; as it gradually ingrained its influential cultural mark.
The anime that changed the game. I never gave it the opportunity to explain its…
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A brand new session = a brand new subject = a tonne of new movies I get to watch for the first time (which I never got around to viewing).
For our first in-class screening, we were exposed to the South Korean thriller/monster film directed by Bong Joon-ho The Host (2006). This was not my first exposure to Korean media as I’ve found myself engaged with Asian cinema and K-Pop (not a Koreaboo, I promise).
Having experienced live-tweeting seminars on films, I was keen to get started on focusing solely on the Asian diaspora eminent within the product in which they originated. Taking this into account, The Host provided both subtle and blatant nuances through expressions in vocal tones, body language, actions, interactions, and comedic relief elements placed throughout the film.
Growing up as an Asian-Australian of Filipino descent, my cultural upbringing was surrounded by a vast collection of Asian…
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