Author: monafakhry



Denzin defines autoethnography as “the life experiences as performances of a person” (2014, p. 1). Using the term, pentimiento, “something painted out of a picture which later becomes visible again,” (p. 1), Denzin emphasizes the performative natureof autoethnography and the idea that a lifeis like a painting with layers of meaning.

rawpixel-633849-unsplashPhoto by rawpixel on Unsplash

” The narratives we make in autoethnography ought to invite and encourage responsiveness to the other and a responsibility for the other” – Arthur P., B. (2012)

When your auto-ethnographic experience is presented and becomes accessible to the greater audience, Ellis, Adams, and Bochner’s (2011) place emphasis on the value to write and represent research in aesthetic ways. Keeping in mind important questions such as , how are readers  affected by it? , and how does it keep a conversation going? (Ellis, et al, 2011).

Chang (2008), acknowledges Ellis and Bochner’s explanation and refers…

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Initial autoethnographic experience of Japans modified car scene and street drifting subculture.


I think it is appropriate that I disclose that I am not a car enthusiast what-so-ever. I drive a humble Nissan Pulsar, a commodious drive that does the job perfectly. To me, all cars are just four wheels with some seats, containing a puzzle that lives under the hood that I’ll never really figure out all the pieces to. Prices differentiate depending on what brand emblem is slapped onto it (luxury, sport, performance), model, year, structural inclusion and extras etc (is all I can think of right now) .

Oh, and fast cars go VROOM, VROOM

By now, hopefully the emphasis on my minimal knowledge on car culture and understandings are apparent.

So why the interest in studying Japans modified car scene and street drifting subculture?

evo and ford

The thought came to mind during a Sunday visit over at my brothers place. Parked out front was his beloved 2011 Ford Falcon ute ( XR6 Turbo). Not your typical Australian tradies ute- this car has…

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The Autoethnographic Process: Screening of AKIRA (1988)


“An autoethnography lets you use yourself to get to culture” ( Pelias, 2003, p.372)

Cultural context is a central importance because it shapes my interpretations and experiences. Identifying as being apart of an Australian collective image, it is both material and also something that is part of a cultural imaginary that the process of autoethnography allows me to move away, and reflect from. As Ellis (et, al 2011) explains, “autoethnography is one of the approaches that accommodates subjectivity, emotionality, and the researcher’s influence on research, rather than hiding from these matters or assuming they don’t exist”.

I am saturated with the reference point of having conventional Western images structure my thinking and influence my experience of this film. Autoethnography, on the other hand, “expands and opens up a wider lens on the world, eschewing rigid definitions” (Ellis, et al, 2011) I have become accustomed to.

The city landscapes, neo-Tokyo aesthetics…

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Introduction to Autoethnography: Screening of Gojira (1954)


Seminar 1 of Digital Asia, and I was introduced to a new perceptive approach to research and writing known as autoethnography. This form of qualitative research “seeks to describe and systematically analyze (graphy) personal experience (auto) in order to understand cultural experience (ethno)”, as explained by Ellis (et al, 2011).

A screening of the (1954) Japanese film Gojira or (Godzilla) was the first case study to put this tool into practice.

My familiarity with Asian media and culture is at bare minimum going into this subject. To put things into perceptive , I thought Godzilla and King Kong were one of the same (technically I was correct) , as you can imagine to my surprise Godzilla is in fact an enormous nuclear mutated dinosaur.

pic 1 official

Live tweeting about the Gojira was encouraged and the result was a huge learning experience, pushing my abilities of multitasking to the max…

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