Author: thesquaad

[BCM 320] Autoethnographic Analysis? Aha!

SQUAAD

One of the most critical components of the autoethnographic method and product is arguably that of the researcher’s self-reflexivity and reflection upon their investigation and information. Indeed, in the words of Ellis et al,“Autoethnographers ask: ‘How useful is the story?’” (Ellis, 2010). As such, the following blog post will be an analysis of my own autoethnographic narrated experience, directed by some of the key tenants of the research methodology posited by Ellis et al in ‘Autoethnography: An Overview’ (2010).

Re-reading my earlier Blog Post, I can see where my upbringing as a white, Anglo-Saxon male has influenced my approach to and rationalisation of, my Digital Artefact and the scope it entails. As an individual educated in a mainstream primary and secondary schooling system, many of my opinions, attitudes and beliefs regarding music, art and culture have been strongly influenced by small-Australian-town norms, my peers and a majority mindset, and…

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[BCM 320] Ethnography for your Ear-Holes!

SQUAAD

Bloom Blap! My car speakers reverberated, Triple J blasting through the radio. My Subaru vibrated with the bass. Aggressive and over-the-top rap bars blared. As I continued my journey, the song would break down in a mixture of synths, echoes, vocal harmonies and percussion in one epic Hip-Hop medley.

I loved every second of it, surprised that I hadn’t yet heard the unknown song before, nor could I recognise the artist singing.

Tom Tilley, the radio host’s voice interrupted my thoughts, “That was a new track called ‘Kids’ by Rich Brian; you’re listening to Triple J!”

Rich Brian? I thought. No way! I was already familiar with the Indonesian-born rapper Rich Brian as I had listened to a lot of his earlier albums while I was still in High School. Back then, Brian’s style seemed to be directly influenced by American rap; or as Jones (2017) puts it, glamorising violence…

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[BCM 320] Akira: An Autoethnographic Experience?

SQUAAD

Hey guys!

This week in BCM 320 the class Live-Tweeted whilst watching ‘Akira’, a hugely-influential Japanese anime film released in 1988. Below is an overview of my experience and the insight and understanding I have gained as a result of my consumption of the film and simultaneous participation in a discussion with my peers. I will appraise my understanding of the concept of autoethnography in relation to my contributions to the Week 3 Live-Tweeting session.

In the words of Ellis et al, “even though some researchers still assume that research can be done from a neutral, impersonal, and objective stance, most now recognise that such an assumption is not tenable” (Ellis, 2010). In light of this, I feel it is necessary to first unpack my own subjective viewpoint and framework through which I entered into this research and Live-Tweeting session before going on to explain what I have learnt…

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[BCM 320] And Now, a Post About “The Host”!

SQUAAD

Hello there!

Recently I watched the 2006 South-Korean film “The Host” and engaged in Live-Tweeting during my viewing of the movie.

As I have previously Live-Tweeted films before in other subjects, I was familiar with this activity. However, unlike what I have accomplished previously, “The Host” is a movie with a societal, social and cultural origin very different from that of my own. As such, watching and Live-Tweeting the film was a unique experience that allowed me to examine my own background and personal framework.

When it comes to Asian culture, ―and more specifically, Asian cinema― I have very little knowledge of the concept and what it entails. Coming from a Caucasian Australian household, much of the media I accessed and consumed during my childhood and the majority of my teenage years was Western; these being television, films, games and music that were influenced by ―or directly exported…

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