Author: rossyupdates

The exploration of ‘Akira’ (1988)

The original post can be found here.

Throughout the course of BCM320, the autoethnographic approach to study will encourage my personal cultural framework to be challenged by cultures and media I am unfamiliar with.

This week in BCM320 I visited unfamiliar territories by watching my first anime in many years. It has been around 9 years since I voluntarily watched ‘Deathnote‘, with subtitles that I read vigorously as I don’t speak Japanese. In this classroom setting, we watched the English dubbed ‘Akira‘ and my viewing experience was incredibly different now as an autoethnographic student. I believe the reason for my interest in ‘Deathnote‘ whilst in primary school was directly influenced by the social atmosphere I was immersed in. With most of my friends being of Vietnamese background, they encouraged me to dive into the deep end and without their encouragement, I probably wouldn’t have watched any anime at all. This had the power to breakdown cultural boundaries and opened an inclusive conversation in the classroom amongst friends.

The live-tweeting experience (or lack thereof) is reflective of my disliking towards the Sci-Fi genre, for some reason I have never been able to enjoy this genre of film, which made this film hard to follow 99% of the time. I found myself reading a summary of ‘Akira’ on various webpages to develop some kind of relationship to the film. And at this point, I still identify as a ‘cultural stranger’ (with much to learn) in the world of anime as I was left unscathed by its culture. On the other hand, I could admire the pleasurable cyberpunk aesthetic, and this is credited to my excitement for the upcoming ‘Cyberpunk: 2077′ video game to be released in April of 2020. I’ve hyperlinked the cinematic trailer for all the Keanu Reeve’s lovers out there. Upon discussing this with my partner, we both came to the agreement of enjoying ‘real’ actors, humans in film and realistic gameplay on gaming consoles (‘Detroit Become Human’, ‘Red Dead Redemption 2’), as we can create a stronger emotional connection to the content.

Image result for akira anime logo

What also intrigued me about ‘Akira‘ was the external impact of the anime, and how it intertwined with elements of Westernised culture that I am familiar with. Kanye West himself proclaimed his love for the film via Twitter and direct commentary throughout his 2009 music video for ‘Stronger‘. For many people Yeezy is their favourite artist, so a natural response is to also view what inspires his artist development. This acts as a form of intercultural communication through popular media and artist trends. West’s publicised love for the film can encourage his 26,749,938 Spotify listeners and 29,180,671 Twitter followers to watch ‘Akira‘. Similarly, the director of the film collaborated with the ‘Supreme‘ label in creating various merchandise from t-shirts to skateboard decks. These pieces of merch were available for purchase in Los Angeles, Brooklyn, London and Paris which continued to spread anime culture across American and European cultures.

Thanks for reading,



Hello Digital Asia! #BCM320

The original post can be found here.

Prior to our first class as I enrolled in this subject, I admit I was hesitant as my consumption of Asian television and film was almost nonexistent. I went into this screening of a Koran film titled The Host, (2006) directed by Bong Joon-ho with no idea what to expect but left pleasantly surprised and overly excited for the semester ahead.

As an Australian Portuguese individual, throughout my childhood I was exposed to Westernised media, most commonly deriving from the United States of America (USA) and Australia, as this was familiar content for my household to digest. When visiting my Great Grandmother and Grandmother I was exposed to European media which was mostly the Portuguese news and the dearly loved programme Kommisar Rex (1994-2008) which I thoroughly enjoyed. My first encounter of Asian media occurred in primary school as my friends introduced me to the (arguably mainstream) Japanese animes Bleach and Deathnote, however, I did not continue to consume this form of media past this point.

As the live-tweeting experience is not foreign to me I felt comfortable with participating whilst watching the film. Although following the subtitles proved to be challenging at times, the mighty combination of a horror thriller, comedy and daring political commentary captured my attention until the very end. The explicit anti-American dialogue is extremely powerful throughout and is evident at the very start of the film as the American mortician orders his Korean staff members to dump dangerous formaldehyde into the Han River. This scene follows the actions of Albert McFarland in 2000, who instructed his employees to dump embalming waste down the drain at the Yongsan military base. Once Joon-ho heard of this news, it was the starting point of his upcoming film (Wallace, 2006).

Image result for the host korean family

In meeting the main cast of the film, the Parks, we are presented with the textbook dysfunctional family, similar to other families in Westernised films, for example, Little Miss Sunshine (2006). Their unusual actions met with a complimentary soundtrack heightened the comedic moments of the film, proving to be the most engaging and arguably my favourite. The narrative of this film is to date the most powerful feature, as 13 years on it is definitely enjoyable, with the political satire also easily applicable to the political climate today.

Image result for little miss sunshine family

As an overall experience, BCM320 hit the mark with a great introductory film to the world of Digital Asia, I am definitely excited to participate in the seminars and an autoethnographic approach to my studies.


Wallace, B 2006, ‘Who’s the monster?’, Los Angeles Times, weblog post, November 1st 2006, viewed 2nd August 2019, <;