Random Reality Recaps – Contextual Essay

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When considering the success of any type of project, highlighting and reflecting on the concept, methodology, utility and overall trajectory is crucial. For this semester’s digital artefact, appraising the project’s success and limitations is also a significant aspect. Deciding to continue the digital artefact started for a previous subject was a simple decision. It became clear, especially towards the end of the previous semester, that the digital artefact, ‘Random Reality Recaps’, had a great potential, if changes were made. As a result of making these changes, and adjusting the problems which brought down the quality and the reach from last year, I felt that this digital artefact achieved the utility originally outlined, as well as the personal goals that were created at the start of the semester. While the concept and methodology remained similar, the tweaks made at the beginning, and throughout, allowed for the overall trajectory to be far more successful. The iterations were crucial, and as a result of learning from the audience, and understanding the feedback loops, ‘Random Reality Recaps’ truly succeeded any of my original expectations.

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Peer Review – Bec’s Bookshelf

For this peer review, I have chosen to follow the development trajectory of Rebecca Neilson’s digital artefact, ‘Bec’s Bookshelf‘. The reasoning behind choosing to follow this artefact was due to an immediate interest in the content she was creating. I’ve actually been following her blog since last year, when she did her artefact for a previous subject, and thoroughly enjoyed the content she was producing. When the opportunity was brought forward, to personally follow another project, it become very apparent that this was not going to be a difficult decision to make.

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Professional Wrestling in Japan – Researchers Cultural Framework

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If you checked out my last blog post, you know that I am currently conducting an auto-ethnographic project on ‘puroresu’, otherwise known as professional wrestling in Japan. In that last post, I discussed the rise of professional wrestling in Japan, with a focus on the company ‘New Japan Pro Wrestling’. Since that post, I have completed more research, and live-tweeted another match, but more importantly, have begun to understand how my topic in reference to my own cultural framework, and the background of knowledge, or personal framework, that already exists.

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Professional Wrestling In Japan – An Autoethnography Project

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For this project, I plan to delve into the world of professional wrestling in Japan.

When I was younger, I was very much a fan of the WWE, the most prominent and notable wrestling promotion, possibly in the world. It currently airs in more than 150 different countries, broadcasting to over 36 million viewers. While I still, to this day, tune in sporadically, especially if my younger brother happens to be watching it while I have nothing on, I’ve only ever experienced professional wrestling through the WWE, and as such, this project will be an entirely new experience, as previous to this blog post, I had very little knowledge of this field site.

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Australian Media Content Critical Reflection

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In more recent times, there seems to be a narrative forming online in regard to Australian media content, especially directed at Australian film. That is, that these films will, more often than not, will be seen as unpopular. That they will struggle to achieve any sort of success at the box office, and that as a whole, be ultimately be viewed as a failure. This certainly hasn’t always been the perception, as one only has to look towards the 10BA era of Australian films to see the many popular and internationally successful films produced, which not only included The Man from Snowy River (1982) and The Year of Living Dangerously (1982) but also the foreign studio-financed blockbusters Mad Max 2: The Road Warrior (1981) and Crocodile Dundee (1986). However, when comparing this period of Australian content to today’s, there is no denying there has been a dramatic change.  To put it simply, in recent years, it seems that Australian films have struggled to capture the public’s attention. While problems such as, “low production and marketing budgets, distribution bottlenecks, and the poor investment decisions of monopsonistic screen funding agencies (Burns and Eltham, 2010)” are very possible causes of this, funding continues to be a major concern. It’s clear that changes have to be made, in order for Australian media content to be protected.

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