Author: Watashi wa kerushii desu

Hey guys, I'm Kelsey. I'm doing a double degree in Creative Writing and Japanese, and this is my last semester! :D I love Japan and Korea, especially music (Kpop!) and any kind of exotic foods. よろしくお願いします。

Reacting to a T-pop idol

Kelsey O'Brien BCM320 Digital Asia

So far, I’ve gotten a general sense of the Thai pop music imagesGEUYN83J(T-pop) industry by watching and live-tweeting a 2015 playlist of 12 T-pop MVs. In order to deepen my perspective of the industry, I’m going to follow what I consider to be a normal progression of consumption of pop music: moving from the general industry to a specific artist. As such, I will be reacting to three music videos from a T-pop idol, Third Lapat.

While I know nothing about T-pop, my previous cultural framework naturally affects my consumption of the genre. I am a K-pop/J-pop fan, so am used to catchy pop songs sung in lyrics I don’t understand. I’m also used to the bishōnen aesthetic of Asian pop-stars, so while some might consider these men somewhat feminine, this doesn’t bother me at all; I actively seek out attractive bishōnen idols (yes…

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T-pop: my story so far – again

Kelsey O'Brien BCM320 Digital Asia

Following on from my last post, here I’ll focus on my cultural framework and how it is structuring my investigation into T-pop.

Chang (2007, p. 10) says that the writing style of autoethnography varies, falling somewhere on the continuum between “realist” description, “impressionist” caricature and analytical description, and “confessional” self-exposure. I’ve had immense difficulties with how I should approach this research, but as I said last week, I am a writer, and so despite warnings that narrative autoethnographies are the hardest form to accomplish, this is what I went for, attempting to use narrative techniques like first person, direct thought and description to convey how I’d decided on my topic. Perhaps the first paragraph of direct thought would serve as a hook to my autoethnographic story.

However, autoethnography has faced criticism as a methodology for being ‘self-indulgent, narcissistic, introspective, and individualised’ (Sparkes 2000, cited in Brown 2014 p…

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T-pop: my story so far

Kelsey O'Brien BCM320 Digital Asia

Anxiety-circleI don’t want to do this!

I don’t like anywhere except Japan and Korea!

But I’m not allowed to do them, and I’m probably gonna hate anything I do do, so…

And then I’ll get bad marks and fail and I won’t get the credit points I need and won’t even be able to graduate! Oh God, I don’t want to do this; what am I gonna do!?

On beginning to try to decide on a digital artefact, I, quite simply, tumbled into a dark hole of panicked anxiety. So much has happened over the past six months that I can’t handle any more unknowns, even when they’re as benign as researching an Asian nation that I can’t introduce myself in (私はケルシーです… 자는 켈시입니다). However, as well as being an anxious wreck, I am also a good student, and the course requirements asked me to pick something I was…

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I’m confused, and it’s not just ‘Akira’

Kelsey O'Brien BCM320 Digital Asia

よぅ!

It’s Week 3 of semester, and my BCM320 elective has already given me many new experiences: using Twitter on a frequent basis, blogging, live-tweeting, and particularly the concept of ‘autoethnography’. Ellis (2004) and Holman Jones (2005) define autoethnography as “an approach to research and writing that seeks to describe and systematically analyse… personal experience… in order to understand cultural experience”. I therefore understand the autoethnographic methodology as a cross between an autobiography and an ethnographic study – the researcher participates in some element of a culture, takes ongoing notes of this participation and how it affects them, what they learn from it, etc. and then presents their findings almost as a story rather than a traditional research report – though of course, there’s a wide spectrum between these two extremes.

I’m…

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A Japanese Language Major’s reaction to ‘Gojira’

Kelsey O'Brien BCM320 Digital Asia

I have watched very few old movies in my time, probably only ever one in black and white, and definitely none Japanese. I’ve also had no previous experience with the Godzilla franchise before the BCM320 screening of Gojira (Honda 1954). However, as a teacher last semester described my class, I am a ‘budding Japanologist’, and as such did have some contextual knowledge around Japanese history and Godzilla’s place in it.

I am a twenty-two-year-old Caucasian Australian woman, and while I do not have strong personal ties to Japan (i.e. no family history there), I’ve been interested in it on-and-off since learning some Japanese (the numbers 1-10) in primary school. In recent times, this has led to my doing a degree in Japanese, learning some Japanese history and modern Japanese culture, and a casual interest in anime, Jpop, and Japanese food.

As I’ve said, this was my first experience with the…

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