Week 4

Autoethnography – Why it’s a good thing

Let’s start with the definition that will probably be included in every blog post this week.

“Autoethnography is an approach to research and writing that seeks to describe and systematically analyze (graphy) personal experience (auto) in order to understand cultural experience (ethno)” (ELLIS, 2004; HOLMAN JONES, 2005).

In my own words, Autoethnography is the implementation of personal experiences and culture into the study and writing of things to help understand the researchers own personal context and the effects it will have on their interpretation of the material being studied.

I’m pretty sure I may have made it sound more complicated (haha) but this is the way that makes sense in my head. The phrasing of this is due to my personal history of extension history and research- which was all about using the information you’re given to present an argument based on your own ideas. Which I think is definitely similar to autoethnography.

After a quick flick through the Wikipedia page, it makes sense that if we want to study social aspects further, then we must look towards our own views and background to make sense of it, as well as to show new and improved concepts on past studies.

Somethings have already stood out to me as being autoethnographic-ish in this subject. Firstly, in week one with our study of Godzilla- I realised that due to my personal background, I had a deeper understanding of the Japanese culture and the importance of the signage and language format used throughout the film. I then used this in the blog post for that week to explain to other in the class, what it was in my personal context that allowed me to notice these details.

I think this is beneficial when it comes to research and the future of studying topics across cultures. It enables a better understanding of the culture being studied and also of how your own personal context can influence how you see things and interpret what you’re seeing. While more traditional research practices ask you to remain impartial and not choose sides- this is impossible and often leads you to read research papers without knowing fully the context of the writer of the work.

When it comes to the interpretation of film and media consumption- it’s beneficial and important to know the biographical details of both those who created the work and also those who are researching and passing on their opinion.

I hope this made sense, and I didn’t end up rambling too much!



Apparently I’ve already conducted autoethography… who knew?

So I’m not going to lie to you here, writing blog posts in which I have to understand and reiterate my understanding of a concept or reading… well they scare the living heck out of me. I’ve always got the thought in my mind that… what if I understand it wrong and everything I’ve written is just messy and no one understands and oh god what have I done? Yet, the due date is looming so here we go.

Autoethnography. Not a new concept I’ve come into contact with. (That’ll happen when you’re in your fourth year of study). Through the years, the idea of reflecting through blog posts and researching has woven itself through my study. Deciphering this reading and trying to wrap my head around the content was surprising to me in the fact that it was much simpler to understand than I had previously thought. I have always understood the fact that everything I take in and all my beliefs are due to my upbringing and my background. Yet, it was quite jarring to understand that the way I react to certain cultures is also because of my own cultural context.

“Autoethnography is an approach to research and writing that seeks to describe and systematically analyze (graphy) personal experience (auto) in order to understand cultural experience (ethno)” – (Ellis et al. 2011)

I personally understand autoethnography to be a form of qualitative research where the author immerses themselves and uses self-reflection to explore their personal experience. Though, I don’t believe it stops there. To really understand autoethnographic research, it is vital to connect the first reaction or reflection to a wider understanding, such as cultural, political or just social background. This form of research formulates personal connections between the researcher and the text, but then allows them to think about the text and themselves in a wider context. I believe that this type of research can be extremely rewarding, but it doesn’t mean that academic research isn’t also critical.

It also makes you wonder – you’ve probably been conducting some type of autoethnographic research at some level all your life. We’ve undergone new cultural experiences many times in our lives. Having digested this reading made me understand that without even knowing it, I was conducting autoethnographic research on my trip to Europe earlier this year. This was done through the use of video blogging (vlogging) where I documented my trip, my experience with new cultures and foods and many of the wonders of Europe. (I was really getting a head start on all this autoethnography business, so go me).

I believe that the issue of reflexivity is highly important when it comes to these studies. We need to understand ourselves and our own personal framework and how our own bias will enable us to understand and reflect on our autoethnographic research. I know 100% that my Italian background makes engaging with other cultures, such as Asian cultures different to those who are exposed to similar cultures.

My best friend is Vietnamese and it’s through her and her family that I have had the chance to be exposed to a lot more Asian media and customs than I would have been exposed to if we hadn’t become friends in High School. I remember once, she got be a Japanese Candy Kit (this one in particular was called Kracie Happy Kitchen), where you mix powder and water together and it makes mini food! I was honestly amazed. It tasted like an actual burger!! What the heck! I had never been exposed to this kind of thing before. Italians only had pasta and home made focaccia (hello, I was not complaining) but I was honestly amazed by this little contraption and wanted more.

I’m so excited to explore more into Asian Cultures. I am excited to create short videos of myself reacting to the types of products like the ones above, but also beauty related products such as the bubble mask (how cool!!). I think that Asian cultures can come up with a lot of cool products and I am definitely keen to check them out!

Understanding my world through Autoethnography

The idea of Autoethnography is so foreign to me. So far in my academic career I’ve transformed from the high school system “1st person is evil”, to welcoming how your cultural perceptions has shaped how you understand a situation. Ellis et al. defines Autoethnography as:

“An approach to research and writing that seeks to describe and systematically analyse (graphy) personal experience (auto) in order to understand cultural experience (ethno)”

Therefore, this incorporates how a person understands a situation or event due to how their personal experiences have shaped their way of thinking. To be an autoethnographer, you must first explain your cultural upbringing to your readers/audience and then critically analyse how this has formed your understanding.

If you read my last blog, I attempted a little autoethnography, by critically analysing how I took meaning from watching Godzilla based on my cultural upbringing. It was a different approach to writing that I haven’t noticed myself using up to this point in my academic career. Yet, it makes sense to use this form of research and writing, because it can be used as a tool for further understanding of yourself and those around you.


Photo I took of the beach (Otres Beach, Cambodia)

I noticed myself doing this in my recent travels to Cambodia. I was sitting on a beach, and women were walking up and down the beach selling foot rubs, manicures and pedicures to tourists. I was approached by one woman who was driven to make me buy something from her. I noticed the difference between the selling techniques used by advertising company’s in Australia and her persuasion techniques. She rubbed her hand on my legs and said “Oh! So hairy! You need threading”. I realised this must be how they try to persuade tourists to pay for them for a beauty service. Thinking back to how someone would sell me something in Australia compared to how things are sold in Cambodia is very different. This event made me interested in how the media sold products to Cambodians, and noticed a lot of downgrading their own beauty in order to sell their products. Most of the models on the packaging were white, or looked very similar to white people. This sets the standard of “beauty” in Cambodia and tells people that they aren’t beautiful unless they look white.

I think to how the media sells me products, and I notice a lot of the similar sort of advertising techniques. Therefore, I am interested in researching further into how the Asian advertising market sells its products as part of an autoethnographic project.




Ellis, C, Adams, T.E & Bochner, A.P. 2011, ‘Autoethnography: An Overview’, Forum: Qualitative Social Research, Vol. 12, No. 1, <http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095&gt;

Throw everything you know about research to the wind! Autoethnography is here.

We have been blogging our entire degree’s.

Reflective, observant, and critical. These are the tenets of good blogging practice.

Heavily lacing our work with respective anecdotes, embedded personal tweets, and ~poignant~ gifs, blogging has allowed us to imbed ourselves into the topics in which we are discussing. Although celebrated among the blogosphere, with the visible benefits of this authorial point of view shining through, auto-ethnographical approaches to study are heavily regarded as epistemologically damaging to research.

Although not shocking, it is alarming that the benefits of self-reflexivity is ignored among the general population of the research world.

Auto-ethnography, as defined by Ellis, is the process of acknowledging and accommodating for the subjectivity, emotionality, and personal influence of the researcher within research. This in turn provides varying insights into the work that could not have been investigated otherwise.

This title, although a little pompous and verbose, is quite revealing with regard to the function of this form of methodology. The untraditional practice ‘seeks to describe and systematically analyse (graphy) personal experience (auto) in order to understand cultural experience (ethno)’. Although canonical and autoethnographical research methods are highly varied in their manifestation, they are both governed by a large range of conventions which influence their understanding and the way in which they were constructed. There are distinct parallels to be drawn between both modes of research, autoethnography just decides to acknowledge this bias.

But what is the incentive for classical researchers to transition, or even consider this line of methodology?

The intimate nature of the research may pose unique insights into issues regarding culture possibly overlooked, or out of reach to traditional researchers. Issues regarding identity, mental health, society. These are all very personal points of studying within sociology, one in which researchers have varying depths of interaction with. This introspection, helping the researcher make sense of his or her own experiences in relation to the point of study, is as a result of what Ellis defines as epiphanies.


Image source: https://www.youtube.com/watch?v=WjfHnCjy3Pc

Just like the intense moment Homer Simpson experienced in The Simpsons movie, autoethnographers voluntarily undergo a recurring period of critical self-reflection, with regard to the way in which they have interacted with their subject. Although sounding like what happens to everyone after sending a ‘risky text’, this methodology affords numerous benefits to the research and audience. It is apt in remaining transparent, revealing the binary established between researcher and researched, as well as the self and the other. Classical research studies assumes this dichotomy, but autoethnography aims to bridge this gap. Autoethnography further explores interaction, and insertion of the researcher as a means to reveal narrative nuances present within the subject being studied, acknowledging the present biases affecting the way both things and research operate.

As someone who has had limited, or very superficial interactions with Asian culture, it will be interesting to explore this line of research.


Ellis, Carolyn; Adams, Tony E. & Bochner, Arthur P. (2010). Autoethnography: An Overview [40 paragraphs]. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research12(1), Art. 10, http://nbn-resolving.de/urn:nbn:de:0114-fqs1101108.

Méndez, Mariza. (2013). Autoethnography as a research method: Advantages, limitations and criticisms. Colombian Applied Linguistics Journal15(2), 279-287. Retrieved August 17, 2017, from http://www.scielo.org.co/scielo.php?script=sci_arttext&pid=S0123-46412013000200010&lng=en&tlng=en.

Wait, you want MY opinion? The research methodology of autoethnography




(Bastian 2016)

During my time at university I have been meticulous in keeping my personal views, opinions and experiences separate from my research. The second my rear end was planted in my seat in DIGC330, everything changed. Now before you ask, no, the Fire Nation didn’t attack. Rather, I was introduced to the practice of autoethnography, a research method that combines the well-established fields of autobiography and ethnography. The aim of autoethnography is to produce “meaningful, accessible and evocative” research that is grounded in one’s personal experience (Ellis et al. 2011, p. 2). The resulting research product seeks to deepen our ability to empathise with people who are different from us (Ellis et al. ibid). ­­


(Hayen 2014)

As interesting as autoethnography sounds, how does one actually go about doing autoethnography? First of all, it is important that one understands the research methods that have been combined to create autoethnography – autobiography and ethnography. Autobiography, at its core, is an account of a person’s life in which the author retroactively and selectively writes about past experiences” (Ellis et al. 2011). On the other hand, ethnography involves a researcher becoming a participant observer in a culture that is different to their own and “studying the culture’s relational practices, common values, beliefs and shared experiences” (ibid).

My understanding of autoethnography, essentially the lovechild of these two practices is that an autoethnographer draws upon their personal epiphanies stemming from their own culture, and telling these experiences whilst simultaneously analysing them. Analysis is an absolutely crucial component of autoethnography because without it, the researcher is basically just recounting their life and experiences without any further examination or introspection. And let’s face it, anyone can give a bland and boring account of their life.


Don’t be that person – analysis of your personal experiences and bias is critical (Julie2233212 2014)

Analysis further authenticates autoethnography as a research method by forcing the researcher to exercise self-reflexivity and introspectively examine the reason why they feel or think the way they do about a culture that is different to their own.

By recounting and critically examining one’s own personal and cultural biases and applying this knowledge to how one understands another cultural group, autoethnography can serve as a therapeutic method of seeking to better understand ourselves and our relationships. Autoethnography can also assist with reduce prejudice and promote cultural change (Ellis et al, ibid). What’s not to love?

I am excited to engage in my own autoethnographic research journey when I complete my major project. I would like to examine how my active participation in cosplay and the subculture in Australia has shaped my understanding of Japanese culture. I also plan to interview my grandparents, who know very little about cosplay, to gain a deeper understanding of how understanding and perceptions of Japanese culture can be shaped through exposure to the cosplay subculture in Australia.


Reference List

Bastian, H 2016, The biggest bias we have to deal with is our own, image, hildabastian.net, viewed 18 August 2017, <http://hildabastian.net/index.php/33-march-2016&gt;

Ellis, C, Adams, TE, & Bochner, AP 2011, ‘Autoethnography: an overview’, Forum: Qualitative Social Research, vol. 12, no. 1, pp. 1-12.

Hayen, T 2014, Empathy, image, Hayen Centre for Psychotherapy and Counselling, viewed 18 August 2017, <http://www.toddhayentherapy.com/empathy-in-relationship/&gt;

Julie2233212 2014, Yes, yes…please keep taking about yourself. I always yawn when I am enthralled, image, SomeEcards, viewed 18 August 2017, < https://www.someecards.com/usercards/viewcard/yes-yesplease-keep-talking-about-yourself-i-always-yawn-when-i-am-enthralled-0ad18/&gt;



88 shades of red

Akira is a cyber punk animation set in a Japanese future called ‘Neo Tokyo’. It hinges on a dystopian WWIII future in 2019, where the city is experiencing the aftermath of the atomic bomb and there are chaos and corruption everywhere.

After the past 3 weeks of watching Asian films, I was expecting a slow-paced animation with dated special effects. I don’t think I could’ve been more wrong. Within the first 3 minutes, I was hooked! It was fast paced, I could keep up with the narrative even with subtitles (I started watching the film in Japanese at home…), the music was captivating and there were graphic scenes you just couldn’t turn away from. What struck me the most was the use of colour in the film. It used 327 different colours, which is a record for animated films. 50 of those colours were exclusively created for the film. From the neon lights and futuristic stylised city, the animation is cinematically captivating.

Power and control are reoccurring themes within Akira and the ongoing battle between uprising rebel groups such as the bikie gang and the clowns and the corrupt government controlling the city. The colour red is also critical to the film, as I can find clear associations between the properties of the colour and power, destruction, violence colour. Healy (2017) states on the Odyssey online that the colour red is also associated with a few key characters e.g. Keneda He wears the colour red because of his influence on his gang and performance as the gang leader, The colour red had more obvious connotations, as there were multiple graphic scenes of blood loss, fire, red smoke and red light tints over the whole screen. I also saw a lot of the colour green and made connections between a technological age being green. With the colour being produced in a lot of the experimental scenes.



The catastrophic bombing of Hiroshima and Nagasaki with 214,000 deaths in total, is the force behind the narrative. I didn’t know much about the bombings, so I researched and came across the website http://hiroshima.australiandoctor.com.au/ It had personal accounts of victims (see images below), I got shivers just reading it.

Screen Shot 2017-08-17 at 11.18.40 amScreen Shot 2017-08-17 at 11.19.10 am
Emotions of grief, devastation, psychological and mental struggles are not culturally isolated. It is part of the human condition and that’s what director Katsuhiro Otomo communicates so well through the animation. This is why Akira is such a classic animation as it explores universal human pain that anyone can resonate with and themes that are cross cultural.

Another aspect of the film I wanted to delve into was the legacy of the sci-fi dystopian genre it created and inspired with other films we regard as the western pop culture. The Themes we see in Akira all stem from this aftermath of tragedy from the bombing. The devastating after-effects – orphaned kids, radiation sickness, a loss of national independence, the destruction of nature – would also influence the genre, giving rise to a unique (and arguably incomparable) form of comics and animated film. It turned into its own genre and left a legacy of incredible films. I noticed elements that The Matrix took (capsule, NEO!?), Hunger Games, Stranger things? Stronger: Kanye West (medical pod being examined), same as Passenger! Blade runner (flickering of lights), Tron: The bikes from Akira, the list goes on… Learning point: there is no ‘originality’ in any cinema, film, or art. There are always borrowed ideas. It is just a matter of re-interpretation. Or how you can remix it in a novel way. 

The Original Alienation

I opened my previous post by announcing my non-gamer status. From the beginning, I was already subconsciously distancing myself from the text, its characters and the professional gaming culture. I positioned myself as an alien.


Little alien me writing little alien notes. (source)

“I’m no gamer”

My greatest assumption about the gaming documentary was the kind of content I was expecting. Despite not having watched a gaming doco prior (or at least not according to memory), the thought that I couldn’t be entertained by the sight of people ‘playing’ at a computer was like a self-imposed barrier to the ethnographic experience. I thought, “How am I going to associate with this plot and empathise with its characters?”

I have no aversion to gaming. It’s just something I haven’t partaken in to any significant degree, unless we wanna count Club Penguin.

Anderson (2006) gives 3 criteria for a researcher to effectively undergo analytic autoethnography:

  1. The researcher is a full member in the research setting
  2. The researcher is visible as a member in the research setting
  3. The researcher is committed to an analytic research agenda of improving theoretical understandings of broader analytic autoethnography (p. 375)

I did/do not fit Anderson’s number 1 criteria, which cancelled out the rest. Were my analytical capabilities hindered by my non-‘CMR’ (Complete Member Researcher) status within any level of gaming culture? I’m convinced that if I had even known of someone deeply involved in gaming culture, my non-participant observer’s impression of the film from its introduction would have been positively different.

“That one uncle”

I then realised that ‘State of Play’ was less about games and more about gamers. My slight disinterest was gradually replaced with engagement in understanding the lives of particular characters.

Scenes which involved dialogue with gamers’ family members were moments I reacted to with most empathy. They were scenes which revealed doubts and hesitations about young peoples’ goals and desires. It might be because I am aware of stereotypical Asian parenting attitudes. These are relatively conservative values about family, gender roles and career choices. Maybe I’m wrong to see this from a racial lens, for I’m well aware that these experiences of cultural familial conflict aren’t exclusive to Asian people.

The thing is, autoethnography is about acknowledging and embracing those lenses – racial, gendered, etc.

My growing empathy for the people observed is a core objective of autoethnography. It is a foundation to understanding my own longings and belongings as I connect personal and cultural contexts to my research (Alsop, 2002). Those desires and values I initially expressed were of individualism in particular. I consider its origins the ‘traditionally Asian’ aspects of my upbringing in a Western society that challenged those traditions. I understand the personal conflicts experienced by the film’s characters via the cultural conflicts of my own.

Without the empathy I gradually gained for the film’s subjects, there’d have been less room for my perspectives about eSports athleticism to change, and otherwise, according to Alsop, I’d be measuring the eSports culture against my own inner compass, without “self-reflexivity” (p. 7).



Alsop, CK 2002, ‘Home and Away: Self Reflexive Auto-/Ethnography’, Forum Qualitative Social Research, vol. 3, no. 3, <http://www.utsc.utoronto.ca/~kmacd/IDSC10/Readings/Positionality/auto-eth.pdf&gt;.

Anderson, L 2006, ‘Analytic Autoethnography’, Journal of Contemporary Ethnography, vol. 35, no. 4, pp. 373-393.

The Art of Autoethnography: Part II


Part II- Autoethnography: A Further Reflection

In my last post I made a number of observations in regard to the 1954 Japanese film Godzilla/Gojira. My main observation that I had was that I did not find myself engrossed in the film given the educational setting. In this blog post some of the other observations made will be looked at further in an auto ethnographic context.

Screen Shot 2016-09-04 at 9.56.56 PM

Two observations made during the course of the film related to the display or lack of display made by the characters.

Constant shadows make it hard to see the emotions displayed of the characters faces.

Little emotion is shown by the characters when announcing the deaths of the soldiers. They are stone cold statues.

These observations are made from the view point of a 21 year Australian woman. Australians tend to be relatively open with their emotions and this is expressed in western cinema. Western actors display emotions through their body language and their facial expressions. The way that I interpret the displays of emotion in this film is very different to the way that a Japanese person interprets its.

‘Cultural contexts also act as cues when people are trying to interpret facial expressions. This means that different cultures may interpret the same social context in very different ways’ (Boundless Psychology, 2016)

This understanding of culture changes the way that I reflect upon my auto ethnographic research. Further literature research puts these observations into context. Not only does culture impact the way that we display emotion but it also impacts the way that we perceive and interpret emotion too. With this understanding, cultural nuances must be looked at. An article posted on the Association for Psychological Science titled Perception of Emotion Is Cultural-Specific (2010) describes Japanese displays of emotion. Emotion is more evident through tone of voice than through facial expressions in Japanese cultural.

Screen Shot 2016-09-04 at 10.24.07 PM

What this reflection makes clear is the process of autoethnography. Ellis et. al. (2011) made clear in their text Autoethnography: An Overview is the importance of the elements of methodological tools, literature research and personal experience. It is now clear to me the importance of that literature research in informing your personal experience, without this understanding, the research lacks substance and perspective.

Reference List

Boundless.com. (2016). [online] Available at: https://www.boundless.com/psychology/textbooks/boundless-psychology-textbook/emotion-13/influence-of-culture-on-emotion-411/influence-of-culture-on-emotion-263-12798/ [Accessed 1 Sep. 2016].

Ellis, C., Adams, T. and Bochner, A. (2011). Autoethnography: An Overview. Forum: Qualitative Social Research, [online] 12(1). Available at: http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095 [Accessed 30 Jul. 2016].

Psychologicalscience.org. (2016). Perception of Emotion Is Culture-Specific – Association for Psychological Science. [online] Available at: http://www.psychologicalscience.org/index.php/news/releases/perception-of-emotion-is-culture-specific.html [Accessed 1 Sep. 2016].

A Contextualised Note To Self – Who Said Professional Gamers Should Get A “Real” Job?

In my blog post from a few weeks ago, I introduced the concept and method of auto-ethnography and recorded my first encounter with the documentary State of Play (2013). This post will take my autoethnographic account one step further in interpreting and analysing my initial thoughts, assumptions and reactions to decipher their wider social and cultural meanings.

Autoethnography is based on the idea of experiencing “epiphanies” which are self-claimed liminal moments of clarity and emotional intensity perceived to have significantly impacted the trajectory of a person’s life (Ellis et al. 2011, p.2). When researchers conduct autoethnography, they retrospectively attempt to contextualise and make sense of these epiphanies by engaging in a critical dialogue with culture, history and social structure (Denzin 2016, p.131).

Epiphanies Epiphanies

In my first viewing of State of Play, I was surprised to discover that video gaming is an official profession in South Korea. This was an…

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Unlucky In Love

About a month ago, now, I endured the original Japanese film, Gojira, which made me both overwhelmed and underwhelmed at the same time. As revealed in my previous post, I took this feeling to be love. Gojira and I had a good run, but our honeymoon phase is over. We’re breaking up. It’s best for both of us. I’m having a love affair with Japanese horror films, but I won’t talk about that now.

As the true-blue cultural outsider that I am, I noted in my last post about how different 1950’s Japanese couples were from the modern Australian couples I was used to seeing, especially in terms of the character’s lack of physical contact in the film. I figured I should give it some more background info. Australia has a Christianity-based “guilt culture”, which is ruled by internal moral standards, whereas Japan has a “shame culture”, meaning it is ruled by external moral standards. There are many potential reasons for this, including linguistic, governmental, and multicultural theories. I’ve yet to really decide if this theory promotes the idea of the ‘other’ a bit too much for my liking, but you can read more about it here if you feel so inclined.



The Japanese term for the touchy-feely behaviour I’m talking about is Icha Icha. It can mean anything from a peck on the cheek to wild sex. It’s got the same kind of ambiguity there is in English when a friend says they ‘hooked up’ with someone and you don’t really know what courteous ‘ohh’ sound you’re meant to make in response.

Basically, Japan relies on social shame and disapproving glares to make sure everyone keeps their hands to themselves. At first I thought that it was a bit like in primary school where we were all yelled at not to touch each other, and then I thought that it would make people repress their emotions and that can’t be healthy. Then I had a bit of a mini epiphany like, ‘actually, who the hell am I to decide what is or isn’t healthy??? I have no background in cultural studies or psychology. Maybe I should shut up and be a bit more accepting.’ And then I was like ‘wait, I’ve gone off topic again.’

To properly and concisely revisit my thoughts on the couple I thought was ‘weird and detached’ (a line which I didn’t really want to share online at first in fear of being pegged a racist): I’ve discovered that Japan still considers it taboo for couples to have public displays of affection, but they aren’t against hand-holding anymore, which they used to be in the 1950’s. I’ve thought about this a lot over the past week, and I’ve decided that a) this difference isn’t even a bad thing, it is just a thing, and b) maybe Australians should take note because I wanted to evaporate in a lift yesterday when a couple started making out next to me.

Here is somewhere else to look at info on couple etiquette in Japanese culture – again, it’s a bit of US, THE NORMAL ONES vs. JAPAN THE ALIENS, but with the website name being ‘Outsider Japan’, what can you really expect? It’s interesting, just be wary of the language used. This site is also very interesting with much less of an US and THEM mentality.

In my last post, I did talk about the character archetypes I noticed, but I won’t mention them here. They will appear in a later post when I talk about female representation and character archetypes in Japanese horror films. It’s going to be a shocker.

I’ll leave you with this nugget of wisdom: a bit of classic Australian ignorance can be somewhat cleared up by autoethnographic research, especially with the help of Ellis et al.