Weekly Post

Weekly blog posts

Webt-who? A Study on South Korea’s WebToons

Our DA studies a new format of comic books that are digital and vertically-composed. Originating in South Korea, WebToon as a platform has expanded into a global cult favourite amongst illustrators and audiences and has changed the way we enjoy comics forever.

Conducted by Claudia Muller (5397212), Mona Fakhry (5476938 , Misha Goldrick (5139284), Matilda Jesiolowski (5632572), and Ray Duy Hải Nguyễn (5508551), we collected our data across our twitter accounts (which you can find on this twitter list), and assembled our findings into our very own, self-created Webtoon which you can find here:  https://www.webtoons.com/challenge/dashboardEpisode?titleNo=232872 (best read on a mobile device for true WebToon experience!

Asia One, 2016, ‘It’s time for webtoons to go global in 2016′,
[online] http://www.asiaone.com/showbiz/its-time-webtoons-go-global-2016

Dispatch & SBS 2018, ‘Top 5 Webtoons That Were Made Into Movies’, 18 May, viewed 6 October 2018, <https://www.koreaboo.com/lists/top-5-webtoons-made-movies/&gt;

Jenkin, H. 2007, ‘Transmedia Storytelling 101’, [online] http://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html

Kim, M 2015, ‘ ‘Webtoons’ become S Korea’s latest cultural phenomenon’, Al Jazeera, 1 July, accessed 7 October 2018, <https://www.aljazeera.com/blogs/asia/2015/06/korea-latest-cultural-phenomenon-150630055 6 53457.html>

Lehar, J 2017, ‘Webtoons – a daily treat in South Korea’, Tuned in Asia, 21 July, accessed 8 October 2018, <https://tunedinasia.com/2017/07/21/webtoons-daily-treat-south-korea/&gt;

Republic of Korea, 9 July 2010, Korean wave, hallyu in Singapore, CC BY-SA 2.0
Jung, H 2015, ‘South Korea ‘webtoon’ craze making global waves’, Business Insider, 24 November, accessed 7 October 2018, <https://www.businessinsider.com/afp-south-korea-webtoon-craze-making-global-waves-2015-11/?r = AU&IR=T>

Rich, J 2017, ‘America’s New Cultural Invasion Is Manhwa, Korean Webcomics’, 18 November, viewed 5 October 2018, <https://www.bleedingcool.com/2017/11/18/america-cultural-invasion-manhwa/&gt;.

Sohn, J 2014, ‘Korean webtoons going global’, Korean Herald, 25 May, accessed 7 October 2018, <http://www.koreaherald.com/view.php?ud=20140525000452&gt;

Won, H.L 2017, ‘Why South Korean Filmmakers Are Adapting Local Webtoons Into Movies and TV Shows’ , Hollywood reporter, [online] https://www.hollywoodreporter.com/news/why-south-korean-filmmakers-are-adapting-local-webtoons- movies-tv-s hows-1054466



Bonjourno, (just quickly, you should read this before you continue on here)

Set the task of exploring a facet of a culture previously not experienced, I opened up to a type of research that prompts the researchers vulnerabilities (Ellis et al. 2011, 14.1.18) and cultural frameworks to gather insights typically unattainable. My field site being cosplay and its anime adaptions, I quickly realised that by immersing myself into the experience I felt vulnerable and certainly out of my comfort zone. Whether that be the idea itself as a daunting action, concealing your own identity as another’s for costume play, or whether it be the unfamiliarity with the field site itself, I was acutely aware that I was letting my feelings, thoughts, and vulnerabilities influence the way the project was migrating (Ellis et al. 2011, 14.1.3), in a way that other forms of research methodologies would certainly not allow for.

This investigation into cosplay originally was rooted in personal experience, but when I found myself hesitating to participate I found myself redirecting towards a more niche area of study; whereby perhaps there was a middle ground to find, whereby I could create looks that were alike to the characters from Studio Ghibli films, designing them to look like everyday pieces or at the very least curating costumes from everyday pieces that I already owned. Could I find a way to interact with a culture I was trying to understand in a way that was part of my own cultural framework?

Howl’s Moving Castle (2004)

Working in fashion retail and with a history of sewing projects behind me, could I take what I understood already and utilise it to imitate the feelings and processes associating with the action of cosplay? Furthermore, could I create a layered account of my experience by introducing my fondness and knowledge of anime produced by Studio Ghibli? These were all questions I set out to answer, and one that could only be facilitated by the means of autoethnography; a method whereby I could introduce an alternate voice amidst a construction of knowledge (Sturm, D. 2014).


As I went on to have my first swing at cosplay, or whatever it was that I deemed a variation of it, I began to realise that the research project was as much about myself as it was about the topic; “..autoethnographies offer a diverse body of works, with many often producing essentially autobiographical accounts of the self as both researcher and the researched” (Kien, G. 2007).

And so here I find myself, at a crossroads whereby I believe I have navigated down an alternate route, truly utilising my own cultural framework to gain a better understanding of other cultures around me. In translation, I will utilise the data I collect to create and curate wearable, everyday pieces that are cosplay, to a degree, and critically analyse the experience alongside further research into the area; a layered account (Ellis et al, 2011). The aspect to tackle now, I find, is distinguishing autoethnography as both a process and a product, a notion brought to my attention by both Ellis (et al, 2011) and Angus Baillie in our seminar conversation, and how they are to interrelate in this investigation.


All for now,


Ellis, C., Adams, T.E., and Bochner, A.P. (2011) ‘Autoethnography: An Overview’, Forum: Qualitative Social Research, 14.1. Available at: http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095

Kien, G., 2007 A Western Consumer in Korea: Autoethnographical Fiction of Western Performance, Cultural Studies ⇔ Critical Methodologies, vol. 7, no. 3, pp. 264-280. http://journals.sagepub.com/doi/full/10.1177/1532708614565454#_i2

Sturm, D. (2014) ‘Playing With the Autoethnographical Performing and Re-Presenting the Fan’s Voice’, Cultural Studies ↔ Critical Methodologies, pp. 214. Available at: http://journals.sagepub.com/doi/pdf/10.1177/1532708614565454

Week Eight: Autoethnography and Bubble Tea

Sitting down to write this, the resulting headache and the sugar sweats from two concurrent bubbles teas has me wanting to trade in my laptop for a dark room and midday siesta….

Embarking on the cultural adventure of the very strange bubble tea, I decided to find a couple of locations to sample, and sit in, soaking up the atmosphere of a bubble tea house.

In the interest of acknowledging my subjectivity, I took two of my friends from Sydney’s northern beaches (the epicentre of Australian monoculture) on this expositional adventure.


My two Manly bred friends Tim and Connor… A product of their suburb

Bubbleberry and Societea are the two Wollongong bubble tea houses I decided on. The attendant at Societea opened my eyes to the  huge variation popularity of the many options. She chose me a juicy mango. Beside the strange tactile experience of jellied balls in cold tea, the layout and exotic atmosphere of these establishments took me by surprise. Saturated in bright colours and poppy asian dance music, the tables laden with with games and colouring in pencils, the whole idea of bubble tea seems to be directed towards a younger audience; one of my first thoughts looked to a frozen yoghurt cafe as a western comparison.


Funnily enough, Bubblebery was a mixture of both. My Asian friend Charisse made the point that bubble tea venues are increasingly attempting to gear to western customers – how perfect to combine it with it’s western counterpart?


There is still so much I do not know, and further research and experience is required, but the exposure to bubble tea houses has definitely given me an insight into what Asian youth culture might look like. One thing’s for sure; whilst the flavours and sounds are different, this kind of place would have greatly appealed to me as a young teenager. With many publications such The Australian (1) promoting Australia’s fantastic reputation for diversity, with particularly good Asian cuisine, I can only see more exotic food and drinks like bubble tea growing from novelty, to a mark of Australia’s increasing cultural diversity.
Furthermore, according to Franchise Business (2,) many businesses and individuals perceive bubble tea (paired the iced tea franchise, valued internationally at $4 billion) as an Australian growth market, ripe for cultural expansion. 

Whilst I confess to having found swallowing balls of jelly amongst sips of sickly sweet iced tea a little strange, I’m sure that my relationship with this exotic drink can only build from here.


  1. Liaw A (2013.) Australia: ‘Best Asian Food in the World,’ The Wall Street Journal. Oct 30, 2013.
    Accessed: theaustralian.com.au/life/food-wine/australia-best-asian-food-in-the-world/news-story/ff56be7b75ed34f2946eeb070c4770b8
  2. Franchise Business (2016.) ‘Why bubble tea is not just a trend,’ Franchise Council of Australia, Dec 15, 2016.
    Accessed: franchisebusiness.com.au/news/why-bubble-tea-is-not-just-an-asian-trend






Week Five: (My) Australian exoticism of Bubble Tea

In section two of Ellis’ paper, he describes the process of an individual collecting information for an autoethnography as ‘studying a culture’s relational practices, common values and beliefs, and shared experiences for the purpose of helping insiders (cultural members) and outsiders (cultural strangers) better understand the culture (1.)’ How am I to embark on exploring a sect of foreign culture, with practises that speak not only to the activity, but also the people and the culture from it was created?

‘Bubble Tea, or boba tea, contain tea of some kind, flavors or milk, as well as sugar (optional). Toppings, such as chewy tapioca balls (also known as pearls, or boba), popping boba, fruit jelly, grass jelly, agar jelly, and puddings are often added. (2)’

A sect of Asian culture that has often eluded, confused and intrigued me has been the various Bubble Tea houses, with locations all over Sydney, and one or two in Wollongong. I have not once in my nice, whitewashed life ever tasted, let alone set foot in one of these houses. Whilst much of Asian cuisine has made their way into western culture and become normalised, including many variants of herbal green tea, it seems to me that various fast foods and snacks, mostly consumed by the young Asian population of Australia has not been as widely received as traditional cuisine.

I went, as I’m sure any self respecting young auto ethnographer would, to the cultural gem that is Buzzfeed Australia (3,) to try and gain an impression of the standard Australian opinion of Bubble tea. With your standard assortment of dull gifs and memes, the article explains just how wide the variation of Taiwanese bubble teas can be, using a combination of jellies, tapioca pods, powdered creamer and mousse to flavour their drinks. It’s also gluten free.

The article however, did not mention ‘why’ it wasn’t as popular as other modern Asian cuisines. Whether this is due to the cultural barriers, or simply due to it being plain ‘weird’ in the eyes of Australia, bubble tea houses seem an interesting sect of Asian culture to explore, and experience, from a set of totally fresh eyes. I plan to go to two or three different bubble tea houses, armed with pen, paper and camera and soak up the atmosphere, whilst consuming one of these seemingly exotic drinks.

Through this process I hope that I can discover not only the taste of jellied tea, but also how contemporary Asian food culture has made a life for itself in Australia; and possibly why it is not as widely accepted by myself and my Australian peers. It is relevant however, as our Asian population (and influence) grows and brings with it many seemingly strange and exotic forms of culture.

(DISCLAIMER: there’s a big chance I am guilty myself of painting bubble tea as oriental, and myself contributing to the dialogue of othering. But I believe one has to start with what they know, and acknowledge it. Depending on the success of this autoethnography, I could have a very profound epiphany about Asian youth culture; but we will have to see.)


  1. Ellis C, Adams T E, Bochner A P (2010.) ‘Autoethnography: An Overview.’ Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, [S.l.], v. 12, n. 1
  2. Wikapedia (2018.) ‘Bubble Tea,’ Wikapedia.org/en
    Accessed: en.wikipedia.org/wiki/Bubble_tea
  3. Cooke E (2016.) ’19 Things You Need To Know About Bubble Tea’ Buzzfeed, Oct 15, 2016.
    Accessed: buzzfeed.com/emmacooke24/heres-everything-you-need-to-know-about-bubble-tea

Touching Base – Anime Food Project


Touching base – a term which here means updating on what I have – and mostly – have not accomplished since my last blog post as well as what my masterful plan is moving forward through this research process. Currently, I am at the second and third stage of the autoethnographic research process which involves gathering data and identifying key epiphanies.

After partaking in a flamboyant soiree of ‘food’ themed anime I can safely say I had greatly underestimated the extent to which anime could dramatize humble food. Without diving too much into the topic as it is something I will cover in later blog posts – the flamboyant and often dramatized depiction of traditional Japanese food in anime is something that only seems to make sense when categorised as ‘traditional spontaneous over the top anime’ – a genre of anime I needlessly created to make sense of…

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Ola mi amigos, time for another autoethnography project!

Utilising autoethnography as an approach to research can reveal qualitative insights into areas that may go amiss with traditional research methodologies, made evident by the hundreds of BCM students to pass before me. I can particularly see how the process assists many in Digital Asia, encouraging students to view Asia as ‘another’ rather than ‘other’ through immersing themselves into the culture or point of interest. This week, we were tasked with selecting a specific area of Asian interest to become literate in, prompting an account of our experience with a topic, text, product, service or platform of our choosing, to be broken down into a field site, a data type, speculative research area, and a communication format.

Now, if you ask me what the one thing of interest I have about Asia that I have yet to look into and better yet to barely begin to understand, its cosplay. I have always been aware of its existence and acknowledged its seemingly large following purely from interactions online, but with friends recently getting into it and my club having several interactions with the Universities’ Cosplay society, my interest has been peaked. Although, I was particularly curious to understand cosplay surrounding a broad spectrum of fandoms, but also that which surrounds styles adopted from Studio Ghibli. I’ll get to how I got to this point later in the blog, but growing up I didn’t get the chance to watch much anime at all, I was rudely informed only at the ripe old age of 20 that Winx Club was actually Italian and very much not anime (although it did apparently have a cult following in Japan in the 2000s).

Despite this, in high school my two best friends agreed that we should all watch the others favourite movie. While I picked Gatsby and our friend Tom picked Casino Royale, we were very lucky that our beautiful friend Georgie showed us Howl’s Moving Castle as hers. It was the beginning of my love for Studio Ghibli films. I have seen it twice more since that first movie night, and I have seen a few other cult favourites over the years such as Spirited Away and Kiki’s Delivery Service to name a few. Each and every time I have fallen in love with the illustrations, the colours, the settings, and the ability of the films to transport you elsewhere. This may stem from many years of art classes growing up, or from my studies in Design throughout uni, but I can never let my mind pass over the images without admiring them.

So here we are. Combine a need to understand and know more about the world of cosplay and an appreciation for the style and aesthetics of a studio’s animes and boom. You’ve got yourself a project. Not just any project, an

~** i n d e p e n d a n t   d i g i t a l   a s i a   a u t o e t h n o g r a p h y **~

The thought of tackling cosplay in a project like this is daunting to me, and it isn’t necessarily the idea of dressing up that scares me but the act of putting yourself in a vulnerable state perhaps? It is definitely not the costumes themselves, as I have always been fond of them for their excessive nature and the likeness to the imagination. I taught myself to sew growing up, and I was forever making weird and wonderful pieces that weren’t practical for everyday use. Most of which I have never shown anyone. I am curious, nonetheless, of cosplayers confidence when in character – I will make a very generalised assumption that it’s the ability to be someone who you are not that allows it to bloom, but who am I to know for sure? This fear of vulnerability may be perfect for this particular project, especially with the intended methodology. Ellis and Bochner (2006) support autoethnography ought to be “unruly, dangerous, vulnerable, rebellious, and creative”. My interest in anime, similarly, most likely stems from an appreciation for illustration and art; I was always drawing growing up.

Which brings us to the breakdown of this research project. I needed to set myself some guides as my mind does tend to wander when it comes to research, particularly ethnography.

Experience/Field Site:

  • Cosplay + Anime: wearable pieces?

Data Type

  • Reactions + feelings during experience
  • History and insights on cosplay
  • Physical clothing items and created pieces:
    (HMC) Calcifer earrings, skirt?
    (HMC) Sophie’s hat
    (HMC) Sophie’s dress
    (HMC) Howl’s wings – dress/top
    (Akira) Kaneda’s red jacket
    (SA) No face earrings or patch

Research/ to Speculate

  • Speculating that the fashion and aesthetic of anime often translates into cosplay which is a high level of commitment, is there a middle ground?

Communication & DA Format

  • Instagram account with vlog-style stories and photos to post. Photographs of alike finds, videos of creating processand/or blog posts to accompany.

To kick the project into gear, I began by creating an Instagram account (@cosplaystudies) to detail all of my data in a curated means, and begin to work my way through the topic. I started by looking for inspiration and put my ‘feelers out there’ but trawling through s o   m a n y   hashtags across Pinterest, Instagram, and Tumblr to see what people were actually cosplaying as. I feel that I mustn’t let my own preferences get in the way of understanding cosplay as a whole, rather than a specific alley of the culture itself. A true testament to the ability of autoethnography, as Rachel E. Dubrofsky & Megan M. Wood (2014) dictate “privilege participation in the form of self-reflexivity and active fashioning of the self” can act as an extension of the data or rather as a constraint. A starting point nonetheless, there’s much more to be investigated. I am most looking forward to getting to what I hope to be a very tactile part of the project.


That’s all for now,


Dubrofsky R. E., Wood M.M., (2014) Communication and Critical/Cultural Studies Vol. 11, No. 3, September 2014, pp. 284

Ellis C., Bochner A. P. (2006). Analyzing analytic autoethnography: An autopsy. Journal of Contemporary Ethnography, pp. 433.

The Overzealous World of Anime Food


As a connoisseur of fine – although technically take away – food I can safely say I have had my fair share of experiencing different foods from a number of varying cultures. All be it the often-watered-down western version of these traditional dishes that are either delivered along a sushi train or in a paper bag in a takeaway container. Never the less I’ve always been open to a wide array of different foods and open to trying new dishes despite my stereotypical Australian tastebuds that would often take a glass of milo over most other drinks or actual food.


One particular facet of international cuisine that I take a particular interest in is traditional Japanese food. Growing up out west over the blue mountains there were never any Japanese restaurants or small sushi hubs – or really anything other than old Jaza’s bakery and pie shop – for me…

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Akira: A deep dive into the tortured soul of Japan


*Back in week three, I viewed Akira both in class and at home. I was so thrilled at the ending, I decided then and there at 1am, to write down my thoughts (1.) This piece is an extension, and development, of those thoughts.*

Akira left a particularly strong impression on me. A self confessed film buff, I am yet to properly delve into the world of Anime, and could not have asked for a better introduction. With an deeply symbolic plot, beautiful musical score and rich animation (years ahead of it’s time,) unpacking it’s many layers could constitute an entire book in itself. But personally for me, the autoethnographic process saw me perceiving and analysing this, both due to my background in film, and as a product of a privileged Western upbringing,

Coming from my background, a viewpoint rooted in Western cinema, Akira is somewhat of an enigma, not only stylistically but also structurally.
Budget wise, when 8 number figures are tossed around, films backed by large amounts of money are usually marketed to the common denominator – Take Marvel Studios for example; and their tendency toward big budget transmedia production, mass marketed to successfully reach deep into the pockets of the world’s teenage boys (2.)

As a result, It is quite unusual that a high budget film takes stylistic and conceptual risks, grappling with themes of the human condition, nuclear devastation and imperialism (usually left for the low budget and the indie) but when coupled with the ability to afford beautiful artists, animators and musicians, sophisticated ideas are given the presentation they deserve – and identify with the viewer, right down to their core.
Maybe it’s my tendency to dabble in film snobbery, but I often find myself shaking my head at the amounts of money thrown at your standard cookie cutter, high action blockbuster, and (what I feel is) it’s it’s incredible wastage. It is wonderful to experience a film of incredibly high artistic quality, with not only money, but thoughtful art direction behind it.

But financial management and creative competency aside, it the the film’s dark tone, coupled with vivid scenes of violence and destruction that truly drew me to Akira. Japan’s wartime history obviously lends itself to exploring themes of nuclear violence, not only in the political sphere, but also the visual; a morbid fascination with the imagery of destruction. One only needs to look as far as 1988 film ‘Barefoot Gen’, and it’s famous scene, shot from the perspective of the ground, in Hiroshima on the 6th of August (3.)

I talked of this in my previous piece, but as a young white man, safe in his Australian bubble, I am not often exposed to the true horrors of human nature –  and to immerse into scenes of mass destruction is an experience seldom felt by myself or my peers.
Jed Smith (4,) a favourite journalist of mine, has written extensively on the idea of lived experience. “Without a lived-experience, we are unable to understand or truly empathise. So what’s important is to find some way those sensitivities can be acquired.”
Akira was an especially earnest and powerful experience as it allowed me, lucky enough to have lived a life predominantly free of suffering, a window into the experience of someone literally watching their world fall down around their ears.

As a medium to convey lived experience, Akira hit the nerve for me in two key ways.
Firstly, I watched the tortured character of Tetsuo descend further into madness and anger, before being enveloped by his power, begging for the help of those closest to him. Followed the final scenes of Neo Tokyo, bathed in light before it’s end spoke to me on a level further then imagery, themes or metaphor… For the first time in my life, I watched with a mixture of horror and fascination, at just how devastating mass destruction can be, both on a large and individual scale.

(1) Isaksson N (2018.) ‘Week 3 – Akira.’ Digital Asia, August 10, 2018.
Accessible at: https://digitalasia.blog/2018/08/10/week-3-akira/

(2) Admin (2018.) ‘Avengers: Infinity War and the Marvel Marketing Machine,’ Flickering Myth, March 12, 2018.
Accessible at: https://www.flickeringmyth.com/2018/03/avengers-infinity-war-marvel-marketing-machine/

(3) Kuroihitsuji (2017.) ‘Hadashi No Gen – Release the Bomb,’ Youtube, Feburary 14, 2017.
Accessible at: https://www.youtube.com/watch?v=D22kzf_bDvg&t=1s

(4) Smith J (2018.) ‘An Idiot’s Guide to the Australian Class System,’ Monster Children, March 7, 2018.
Accessible at: https://www.monsterchildren.com/71836/idiots-guide-australian-class-system/


My personal experience with this film was rather limited. I couldn’t quite engage with this film for a majority of reasons. My biggest issue with this 2-hour film was that it


was anime. For as long as I can remember, anime has been a fear of mine. A lot of people enjoy anime, so I wouldn’t dare to say a word against it but it’s never been my cup of tea. I have seen

people cosplay as certain characters from different films or TV shows, I’ve seen first hand how these things can take over peoples lives. I guess I don’t want to fall into that trap. It’s easier to push something away like anime then let it consume my life for years to come.

When looking at the second step of Ellis, C., Adams, T.E., and Bochner, A.P. (2011) ‘Autoethnography: An Overview‘, Forum: Qualitative Social Research, 12:1, I realised something. My past experiences with anime have never ended well. As a child, I was told that anime was a terrible film or TV show and many people have wasted their lives on this. I don’t necessarily think that is a bad thing now, but I was always told that.


To fully engross with step three of this process I had to completely understand what I was really watching in class. Akira is a 1988 Japanese animated post-apocalyptic science fiction film that is set in a dystopian in the year of 2019. Akira tells a story about a local biker gang and their childhood friend, yet after a motorcycle accident a threatening military rebellion is in the sprawling futuristic metropolis of Neo-Tokyo. Unbelievably this anime film had a total production budget of $8.2 million, making this film the most expensive anime film of all time.


Step four is based about further knowledge and studies facing the issues of the project. In this case, the issues or criticism facing this film. Lucky enough, this film has a very low account of negatively. Many critics believe this is one of the greatest animated and science fiction films of all time, setting as a landmark in Japanese animation. It got a raging 87% on rotten tomatoes with an overall rating of 7.5/10.


My response to the film is rather different compared to the rotten tomatoes review. It was an interesting film, I found myself rather engaged in certain moments of the film. Unfortunately I can’t seem to look past the aspect of it being anime.

1954 Godzilla

In week 1 of live tweeting we explored an old Japanese science fiction film, Godzilla. godzilla5-091215

Although this film was made in 1954, it is one of first films in this franchise. I have never watched any of these franchise films, so I really had no idea what to expect with this film. All I know is that Godzilla is on the lose in Japan, damaging various buildings and homes of those who live in Japan.

Personally, I am not a fan of this film and the live tweeting we had to do for this film. Being in Future cultures last semester, the films we viewed in class were intriguing and captivating. I almost felt comfortable doing the live tweets for BCM325. I had a lot of say and it was easy to interact with other classmates about the films.

For myself, and many other students in class it was hard to keep up with week ones film due to the language barrier. I believe one of the most liked comments from this week was observing how hard it was to live tweet a film in a different language. But it something I will have to learn to adjust to.

Usually when I live tweet, I go by sound. I will listen to the film whilst researching interesting facts or finding relevant gifs that hopefully applies to my comment. But with this language barrier it allows me to explore a new way of live tweeting. At first, this was a little hard to see and understand. But by the end of this weeks live tweeting it somewhat made sense. I have to use other ways to connect to the films, other then listening. This will give me the ability to reach new heights with my live tweeting allowing me to branch out to other students in different ways.

When it comes to making sense of the film, I really lacked an understanding of this film. Growing up as a child I was very use to speaking two languages. So I guess I had a somewhat understanding of linking two different languages together. I don’t think I would have ever been allowed to watch films like this as a child; the closest I got was probably the rugrats movie.

As I’ve grown up, I’ve lost the ability to speak two languages and stuck to boring yet slightly mindless comedy films. I am not one to watch thrillers or any horror films. This was yet another challenge I had to overcome when doing this weeks live tweeting. I really struggled coming up with interesting live tweets as I’m so use to making something comedic. This is usually how I reach out to people, whether its family or friends.

This week’s film has really pushed the boundaries for me, but it’s also something I have enjoyed exploring. I’m interesting to see the next few live screenings, and seeing how I can tackle it.