Bollywood and Eve Teasing

The Digital artefact I have chosen to dissect is the impact that Bollywood has on Indian society, specifically placing a focus on the infamous act of Eve Teasing. “eve-teasing” trivializes sexual harassment of women in public, including catcalling, lewd remarks, and inappropriate sexual contact such as rubbing and fondling. This conduct demeans young women and girls and can harm them psychologically, physically and socially. (Natarajan, 2016). The reason I chose to investigate this phenomenon was due to the fact when I approached people within my social circle about what they knew about Eve Teasing, I discovered they had little to no idea what it was. My goal was to bridge this understanding so that cross-culturally there can be no misinterpretation of what sexual harassment is.

In the early stages of this Digital artefact, I investigated the issue of representation within Bollywood cinema, unpacking political turmoils within Kashmir and representation of indigenous culture and women within Bollywood. Research into issues within Bollywood was profound and illustrated Bollywood as an industry to be somewhat worse than Hollywood itself. The patriarchal industry was embedded with issues however it was the impact that Bollywood cinema had on society which was the most interesting. When brainstorming ideas for the digital artefact I mused over investigating the representation of Kashmir within Bollywood and the transition this culture has gone through in regards to how Bollywood portrays them within films. However, after deliberation and understanding time constraints I found this idea to be far too dense to offer a clear and comprehensive understanding of the topic.

A survey of 550 experts on women’s issues found that India ranked number one in the most dangerous country for women (Angela Dewan, 2018). I wanted to unpack the overarching elements that contributed to this fact. Further investigation into women in Bollywood and Indian society arrived me at the notion of Eve-teasing.

Within Bollywood film, it is evident there is a glorification of male dominance combined with violence within their films which has transcended the society. Combined with the glorification of male dominance, within film Bollywood sexualises the women in film specifically referring to them as ‘item girls‘. This referral is dangerous as within Indian society men have little interaction with women, therefore, their ideas about women and how to approach them are shaped by these films.

This concept blended within a global context due to eve-teasings ability to transcend technological bounds, worldwide individuals experience elements of this harassment in the online realm such as inappropriate messages and comments on social platforms.

Through this digital artefact, my aim was to create awareness of the notion of eve-teasing, video format seemed to suit it the best as it offered a visual dynamic that could not be expressed through audio.

References

Angela Dewan, A. (2018). India most dangerous nation for women, US ranks 10th in survey. [online] CNN. Available at: https://edition.cnn.com/2018/06/25/health/india-dangerous-country-women-survey-intl/index.html [Accessed 31 Oct. 2019].

Gautam, V. and Gautam, V. (2018). Does Bollywood have a women problem?. [online] Aljazeera.com. Available at: https://www.aljazeera.com/indepth/features/bollywood-woman-problem-180325060304877.html [Accessed 1 Nov. 2019].

Green, L., Riddell, J., Herd, M. and Pietrasik, T. (2014). Street harassment of women in Mumbai: ‘The problem is rampant’ – video. [online] the Guardian. Available at: https://www.theguardian.com/cities/video/2014/nov/24/street-harassment-women-mumbai-aditi-mittal-video [Accessed 1 Nov. 2019].

Natarajan, M. (2016). Rapid assessment of “eve teasing” (sexual harassment) of young women during the commute to college In India. [online] Link.springer.com. Available at: https://link.springer.com/content/pdf/10.1186%2Fs40163-016-0054-9.pdf [Accessed 31 Oct. 2019].

Love and Sex With Robots/AI: Podcast

The digital artefact I have chosen to undertake revolves around the notion of Asian acceptance of the loving and or sexual relationship with robotic technologies or artificial intelligence. The societal acceptance of this culture is the reason I am most drawn to investigating this topic. This stems from my personal experience as an Australian male with little to no interaction with any element of this culture. 

The level in which this culture is so divisive is its most alluring quality, ideals about sexuality and religion playing a role in determining overarching acceptance along with individuals media experience to which that would dictate whether they would see both sides of the coin to this topic.  

During my research into this topic, I found myself in a state of anxiety when researching subjects in a public domain for the fear of judgement someone would question why my search bar said “Sex Robots”. I mused over this fear and I found it boiled down to the idea that this is such a foreign culture. The Ellis reading alludes to how scholars have recognised different people hold vastly different perceptions of the world around them. I believe that this has direct connotations to the experience of individuals and their media practice. i.e what people are exposed to in regards to this culture. From my experience before research, I had the preconception this culture was immoral and even disrespectful purely because my experience growing up and understanding the importance of maintaining genuine human connections. Its only input in our lives is media detailing the weird and notions from individuals predominantly from a religious stance, describing the impious nature of the act. Descriptions of its insanity and how it challenges societal norms with little investigation into factors that would point for reasons for the use of this technology, such as other cultures religion, sexual preference or even business/career ventures. David Levy outlines reasonings for this technological use because of the idea individuals can feel publically isolated which in turn leading to a robot being the ideal option to that of a human. (Levy 2007, 127 – 159).

As mentioned earlier a major element that shaped this ethnographic research the role religion played. Embedded in Japanese Shinto and Buddhist religion there aren’t explicit black and white distinctions between animate and inanimate objects, this factor allows peaceful acceptance of technologies within their society. 

The Ellis reading alludes the importance of understanding a culture’s values and beliefs when conducting an ethnographic study, understanding where personal beliefs stem from but accepting the different culture rather than rejecting it for its difference. I found this method extremely helpful in my experience as it allowed me to adapt my thought process to gain a better understanding of the culture. 

 

References

Perkowitz, S. (2004). Digital People: From Bionic Humans to Androids. Washington D.C.: Joseph Henry Press

I-Fairy robot weds Japanese couple. (2010). The Guardian, May 16, http://www.theguardian.com/technology/2010/may/16/ifairy-robot-wedding-japan.

Boden , M. A. 2006 . Mind as Machine: A History of Cognitive Science . Oxford, UK: Oxford University Press .

Mori , M. 1970 . Bukimi no tani: The uncanny valley , trans. K. F. MacDorman and T. Minato . Energy 7( 4 ): 33 – 35 .

Borenstein, J. and Arkin, R. (2019). Robots, Ethics, and Intimacy: The Need for Scientific Research. [online] Research gate. Available at: https://www.cc.gatech.edu/ai/robot-lab/online-publications/RobotsEthicsIntimacy-IACAP.pdf [Accessed 17 Apr. 2019].

Ellis, C., Adams, T.E., and Bochner, A.P. (2011) ‘Autoethnography: An Overview‘, Forum: Qualitative Social Research, 12:1. Available at: http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095

Love and Sex With Robots/AI: Furthered

In my previous post, I put forward the idea of having a loving relationship or physical relationship with artificial technology/robots. This whole culture is fascinating to me, purely because of how divisive it is. There is an attitude surrounding this culture that is you either accept it or you don’t, and that’s what I find the most interesting.

When I began investigating this culture I  mused over how within autoethnography Ellis et al (2011) states researchers build off past experiences or potentially moments that cause an epiphany however in this realm of society it is hard to step your foot into without seeming like you are apart of it. I possess an outside looking in perspective like any autoethnography however investigating the sexual or loving relationships of individuals is quite difficult.  My experience is through the created content of two different strains of thought.

1. The individuals that hate the industry
2. The Industries that are selling it

As touched on in the previous post about The Uncanny Valley Theory which suggests that humanoid objects which virtually resemble an authentic human but not quite, create uncanny, strangely recognisable feelings of distaste or creepiness to the individual. (Mori, M. 1970), individuals who dislike the culture tend to put forward content that paints the individuals who partake in this culture in a bad light, highlighting their difference and quirkiness to social norms, with little understanding of personal experiences. One of the main experiences I had was the impact of religion on my study. Not that I am personally religious at all, but it deeply affects opinions upon this culture. Perkowitz outlines that “Western religion is hostile to artificial beings, the creation of which is seen as impious or worse” (2004, 215-216). Perkowitz details the western religious aspect to this topic noting the origins of its displeasure towards non-human romantic interaction.

On the other side of the coin is the people that are selling the product and promoting the industry. This is where it becomes a debate that differs from Asian, predominantly Japan to Western cultures. The Azuma Gatebox technology which I mentioned in the previous post is the best example of this type of technology being wholeheartedly accepted and sold in a culture, as there is little to no backlash towards the product.

The Ellis reading puts forward the idea that when researchers conduct ethnography they study a culture’s relational practices, common values and beliefs and shared experiences to help better understand or accept the practice. This method has greatly assisted my research into this field in the way Japan culturally hold an inherent adoration towards technology combining this, there is cultural acceptance towards the anthropomorphising of technology. One of the main theories put forward for this overarching acceptance of robots is the nation’s Shinto religion. Scholars note that Shinto and Buddhism do not create black and white distinctions between animate and inanimate entities, there is no resistance but rather peaceful acceptance. Robots have functioned as officiants in weddings or even been married to one another.

Perkowitz, S. (2004). Digital People: From Bionic Humans to Androids. Washington D.C.: Joseph Henry Press

Ellis, C., Adams, T.E., and Bochner, A.P. (2011) ‘Autoethnography: An Overview‘, Forum: Qualitative Social Research, 12:1. Available at: http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095

Mori , M. 1970 . Bukimi no tani: The uncanny valley , trans. K. F. MacDorman and T. Minato . Energy 7( 4 ): 33 – 35 .

Loving AI and Sex with Robots

Would you ever have a physical relationship with a robot?
Could you ever fall in love with artificial intelligence?

The idea of a future that allows individuals sole reliance upon technology and artificial programs to achieve emotional and physical pleasure is a certain future with successful business ventures throughout the globe. Scholars predict this to culminate our society by 2050.

A common response from Western Culture

This inherent fear or disgust towards this type technology has been noted to stem from The Uncanny Valley Theory which suggests that humanoid objects which virtually resemble an authentic human but not quite, create uncanny, strangely recognisable feelings of distaste or creepiness to the individual. (Mori, M. 1970),

The notion of a robotic lover is divisive as it opposes societal normalities. The reception of this technological movement contrasts immensely across cultures. The fact that I had the audacity to ask you that question may cause offence within some individuals however this topic is something that has been readily accepted within Asian cultures, specifically Japan.

At the beginning of my research into this area of society, I was shocked and at the popularity and overall acceptance of this technology within Asian society as it does challenge my personal moral values of what genuine human relationships are.

It is important to understand the schools of thought when it comes to researching this topic. The idea of utilising robotic technologies for sexual pleasure, emotional attachment to an artificial technology and finally a combination of both within advanced technology.

Dr David Levy, A British academic published a book called ‘Love + Sex with Robots’ indicated reasons for why people would want a robotic lover. He investigated the notion of technophilia, preferring a robot purely on the basis it is a robot and finally because of the idea individuals can feel publically isolated which in turn leading to a robot being the ideal option to that of a human. (Levy 2007, 127 – 159). Levy also makes the point of we already pay for sexual pleasures through prostitution, therefore “This indicates that those who consider having sex with robots should have no qualms on the basis of the robot’s presumed lack of affection for them” (Levy 2007).

Researchers and roboticists have come up with many implementations of robot companions like sex robots, emotional robots, humanoid robots, and artificial intelligence systems that can simulate human emotions. Boden notes a range of technologies and artificial companions available or are being developed, Boden notes the most significant is “the realistic simulation of emotion by an artificial system” (Boden 2006,1094). An example of this type of technology, is Azuma Hikari, an artificial system developed by Japanese company Gatebox. Azuma is a holographic projected within a cylindrical tube and is programmed to be a replicate to that of a wife, possessing the role of an intimate companion. Through communication with the user, Hikari learns and tailors her responses to create the desired experience for the user.

Boden , M. A. 2006 . Mind as Machine: A History of Cognitive Science . Oxford, UK: Oxford University Press .

Mori , M. 1970 . Bukimi no tani: The uncanny valley , trans. K. F. MacDorman and T. Minato . Energy 7( 4 ): 33 – 35 .

Wandering Earth (2019)

The Best Film you have never heard of!

A movie that was wild from start to finish and I am having immense troubles trying to find something to speak about other than how astonished I am by this film. I walked away from this film and tried to explain to my housemate what the movie was about, I have never witnessed a more puzzled and confused man when I say
“Picture this, what do you get when you combine the films Armageddon, 2012, 2001: A Space Oddysey and its all a Chinese Production” I felt I had left him speechless other than a loud “WHAT!?”.

Set in the future the post-apocalyptic sci-fi film poses truly important questions about what the world is going to do about the detriments of climate change and the measures the human race will go to save our planet. I have always enjoyed a good disaster movie growing up it was something my family would rent from Blockbuster almost as often as a Friday night comedy movie, my step-dad would always remind us of the importance of a movie like this as they are a “pinnacle of cinema history” in which my mother would laugh at him. Carolyn Ellis outlines the importance of epiphanies in writing autoethnography as it is “perceived to have impacted the trajectory of a person’s life” (BOCHNER & ELLIS, 1992; COUSER, 1997; DENZIN, 1989). These experiences shape our understanding and influence the path we take much similar and simply to the viewing of a film when you are a child.

The film begins peacefully and I am 100% sure it is only one of the two times “Wandering Earth” experiences any peaceful scenes, the other being the end. Due to this, the film is non-stop action maybe to a point that you almost feel sorry for the characters because nothing seems to be going right as death constantly hides behind a corner.

Interestingly, the international representation sent an unusual message about Australia, with a character stating he was half-Australian and remained to be one of the most useless and annoying characters throughout the film. It is hard to complain about something like this when I believe it may be the first time it has ever been done but felt strange nonetheless, could possibly be a message about how close Australia is with the US as they featured little to know mention throughout the film.

Is the use of a hopeless Australian representation to show how we blindly follow the US in everything they do? literally 0 help #bcm320

— Connor Lennon (@ConnorLennon13) August 21, 2019

If you are big on character development and connection a film like this is probably not for you as I believe its main goal is to send a bigger message. A message about the issues of climate change and what parties are taking an active role in changing the course of history.

China now sits at the forefront of being one of the major players in tackling climate change which is a major positive step towards a brighter future.

The real reason for China’s U-turn on climate change

 

 

Akira (1988)

Japanese Anime holds a profound position within my life. I have always found it interesting but would only ever find myself being invested in the genre if it was dubbed into English or maybe I wasn’t even aware it was Japanese Anime in the first place as the Western domination had removed any idea that it was.

My ethnographical approach to this screening stems from Ellis et al’s Autoethnography: An Overview described 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).

The Screening of Akira was quite shocking, to be honest, the seminars ethnographical approach was hindered with the use of dubbing however it still allowed the ability to experience a film like nothing I had seen before.

One thing I found quite confronting about this film was the fact the film showed a major lack of respect towards women. Even the so-called heroes of the film such as Kaneda blatantly disrespectful and this is seen as the norm across this film. Christian Alsop notes the idea of the foreign as ” amorphous and unstructured. It does not allow for anticipation because we cannot read it, cannot interpret what is possible or impossible, attractive or repulsive.” (Alsop, Christian K. 2002)

interesting to focus on a supreme lack of respect towards women let alone authority.. #bcm320

— Connor Lennon (@ConnorLennon13) August 14, 2019

In my investigation into this genre, I discovered anime and Manga was born out of tragedy, specifically two events that changed modern history. The dropping of the Atomic Bombs, Little Boy and Fat Boy. The deep influence of the A-bomb on anime and manga. Many works that pull from the collective memory and trauma of the bombings are seen as part of a “victim’s history” narrative which works to promote sympathy from the viewer on behalf of the children they so often depict. This idea of depicting children within narratives is present in Akira as it creates relation within their audience. This idea of building on tragedy intrigued me immensely as it would hardly be noticed until one considers every anime you have ever seen. Great tragedy unfolds within the stories commonly associated with immense destruction of the setting. Depictions of the idea Neo Tokyo “New Tokyo” is a common name for a fictional futuristic version of Tokyo.

Overall I found this movie confronting and confusing however it has sparked an interest in the genre I had not shared previously that may in-turn trigger further viewing of this media.

Akira: An Analysis of the A-Bomb and Japanese Animation

The Cultural Significance of Manga and Anime

Alsop, Christiane K. (2002) Home and Away: Self Reflexive Auto-/Ethnography’, Forum Qualitative Social Research 3:3.

PTSD from “The Host”

Live-tweeting continues, delving into a far different realm of thought within Asian culture and media. This seminar poses the question of “how to we experience cultures other than our own” and what better way to contrast cultures than to compare my experience with outlandish Asian Media.

The first screening took us down the path of South Korean Horror with Bong Joon-ho’s The Host (2006). This film was wild, to say the least, offering a plethora of emotive responses within the audience mostly comedic value which I am still unaware if this was the intended goal. My knowledge of this genre was limited which is something I understand will be common throughout this semester as I personally have lived a sheltered life when it comes to Asian media. I have an understanding of the existence of this market but had never been drawn to it wholeheartedly which I believe stems from personal ignorance and the grasp that Hollywood and American media holds upon Australian lifestyle.

The Host was excessive from start to finish wasting no time introducing the ravenous monster into the film which is an interesting manner to conduct a film. Contrasting directly with your average horror/monster such as Steven Spielberg’s Jaws in which utilise the feeling of suspense creating fear within the audience. This tactic was interesting however it never made the film seem at all spine-chilling

Tweeting was a vastly different experience when compared to previous live-tweeting, primarily at the hands of following a movie in a different language with subtitles was stressful,  but combined with a plot that gradually became more ridiculous as the film went on was something I had never experienced before. Similarly, the characters presented relatable characteristics such as being blatantly hopeless within extreme situations which different immensely to the standard leading role of this genre of film.

In my research into the boom of the Korean film industry, I wanted to understand why Australia hasn’t fully adopted the idea of it into our lives. It doesn’t help that Sydney Morning Herald begins articles about the genre with South Korean cinema is not just unusual. It is downright odd, in both its content and the freakish rise of the K-film industry in the last 15 years.

Reflecting on the first seminar I am curious to learn more about this aspect of media as it something I have found to be quite distant from however I am aware of its immense scale within the overall market, therefore, learning more about it offers numerous benefits to my degree.

Digital Artefact: Don’t Get Me Started On Sliced Bread

 

My Digital Artefact is represented in a series of podcasts that addresses the sport of surfing. Not necessarily the sport itself but the culture that surrounds the sport. taking an in-depth investigation into individual elements of the culture such as social media, business ventures, innovative technologies and other features of the sport. The podcasts would assess the topic and theorise the future trajectory of the world of surfing in regards to the analysis of patterns and trends experienced in the past and present. I was fortunate enough to secure a co-host Nicholas Isakkson in this podcast which greatly assisted in a conversational aspect to the DA.  In the initial stages of this digital artefact, my main goal was to address the realm of social media, this was a major interest of mine for its power to completely reshape industries and allow new pathways that don’t necessarily adhere to the normal professional sporting structure. Academic Gashaw Abeza writes in Relationship of marketing and Social media in Sport “social media opened up a wider opportunity to stay in touch with customers in a direct way, to engage in dialogue and know and understand customers than better before”. This basis for my DA allowed me to investigate my first podcast on Instagram and its impact on surfing’s online presence. 

The first instalment:

 

I wanted to create a sense of difference within my podcast that didn’t just feel like a speech but rather a conversation, having Nicholas around was beneficial for that but more so being about to discuss something we were interested aided us immensely. The development of the name “Don’t Get Me started on Sliced bread” gave us the chance to begin the topics from a comedic standpoint rather than a basic explainer, allowing ourselves to be cynical. I utilised this method because I understood that audiences psychologically are drawn to negative news as opposed to positive.

Throughout the development of the podcasts, my ideas became clearer and reflected the topic of future cultures and technologies in their own individual ways. further discussion was placed on how these things would impact the future was generated. On approaching peers with my series of podcasts, I had asked them for general feedback and what could be added to secure a good final instalment. A common answer was creating a video of Nicholas and myself as it would be more engaging to actually see both of us in action. Another point raised which was common in my feedback from classmates was making the podcasts shorter in length.

One of the main issues I believe I faced in this task was the possibility of being a little bit to close to this topic, the idea that my idea may be a little bit too niche for the general audience as individual topics of discussion would not transcend well with an audience with limited knowledge about this sport. However, I do believe that this aids in my general trajectory of the digital artefact, as it gives me the chance to move forward into this realm of discussing the sport of surfing for surfers not tailoring to a communications audience.

Overall I am pleased with how this DA has turned out as it allowed myself to investigate a passion of mine while addressing the aspect of future cultures of the topic.

All of my other podcasts are available on SoundCloud

References

Abeza, G. (2013). Find@UOW. [online] Ey9ff7jb6l.scholar.serialssolutions.com. Available at: http://ey9ff7jb6l.scholar.serialssolutions.com/?sid=google&auinit=G&aulast=Abeza&atitle=Relationship+marketing+and+social+media+in+sport&id=doi:10.1123/ijsc.6.2.120&title=International+journal+of+sport+communication&volume=6&issue=2&date=2013&spage=120&issn=1936-3915 [Accessed 24 Mar. 2019].

Towson University. (n.d.). Gashaw Abeza. [online] Available at: https://www.towson.edu/chp/departments/kinesiology/facultystaff/gabeza.html [Accessed 24 Mar. 2019].

Tweets Round 2

The second round of tweeting was an interesting spectacle, to say the least. Following on from the feedback received from the previous assignment it was clear as a cohort, individuals truly stepped up and realised the importance of creating discussions and debatable topics. This encouraged far more in-depth analysis of the film and indefinitely increasing knowledge of the film. creating and maintaining top quality and insightful tweets is a difficult thing to master and curate however I do feel my tweets achieved greater engagement this time along with personally engaging in others.

Week 8: I, Robot

Following the break, bringing myself back into the routine of tweeting was a difficult task which I believe was a common trend amongst the class, combined with the fact I love this film. Maintaining quality tweets tough, however, I feel as though some of my tweets achieved a sense of accomplishment in their engagement. posts received far more likes and retweets than I had experienced in previous films which is largely positive. In the previous reflection, it was encouraged to utilise scholarly articles. My tweet regarding the term “Ghost in the Machine” received retweets and likes but no engagement other than my mistake of not incorporating a link to my finding. Engagement with others increased which is a major improvement since previous occasions

Week 9: Robot And Frank (2012)

Reflecting on Robot and Frank is interesting as I feel as though my tweets were far more insightful and research-based however received relatively little engagement other than simple likes or retweets. Comments were minimal therefore discussion became a rarity however I do feel this is as a result of my tweets not being open-ended. I did increase my engagement with other tweets which was a significant improvement from previous occasions but there was definitely room to improve in this field.

Week 10: Marjorie Prime (2017)

Similarly to Robot and Frank, I offered far more insightful tweets and what I believe would spark somewhat philosophical discussion about the film, Including quotes from the director that I held a preconceived notion would be a conduit for greater discussion. Posing questions that after weeks of this task would promote debate however this was not the case. I did receive some engagement in my tweets such as likes and retweets but minimal comments. I did increase my personal engagement with others to try and promote discussion of the film which was beneficial to the class and the thread.

Week 11: Blade Runner 2049 (2017)

This film is definitely one of the favourites over this whole semester and tweeting about it was very interesting. The most engaged tweet I had was a comment regarding Gosling’s decision to “rock a vegan leather jacket”. I believe this tweet was one of the most liked tweets all semester (sort of sad as it was only 12) but a win regardless. Following this my Twitter engagement on my tweets was extremely low, in which I attribute to my lack of sufficient background research into scholarly articles preceding the classes commencement but also the fact I found it personally difficult to remove myself from the screen which is something that will need working on.

 

Week12: The Matrix (1999)

The final screening session exceeded my expectations of myself and others in the tutorial. I feel as though this was attributed to associating the film with a newfound angle to the Matrix. Angus pointed out the coming out of the directors as transgender. This new angle completely reshaped my research and viewing of the film which in turn reshaped a primary focus of my tweets. societal discussions towards the queer perspective of the film appeared far more insightful leading to different paths in which previous weeks had become.

Do we live in a deterministic world? genetic determinism, social determinism, If our world is predetermined, does that mean we don't make choices? #bcm325

— Connor Lennon (@ConnorLennon13) May 30, 2019

I was able to pose a question that secured a genuine discussion amongst my peers, this was something I had been trying to accomplish throughout this semester will little success. Open questions had always been the goal though I had never managed to gain the amount of insightful engagement that I had with this tweet. I attribute this to a realisation it is indeed the final week, therefore, students click into gear of what is expected of them but also it was a matter of asking the right questions which I had not yet succeeded in.

A flaw in the task: I believe this task experiences a major flaw within the individuals who are apart of it. There is a level of lack of self-confidence that is present in each week’s task with a constant reliance on humour and closed comments or basic links. As a collective, it is difficult to move forward when everyone is stuck on the same path. A possible way to overcome said issues could be in-class workshops to increase user awareness of the need to be more investigative and tweeting skills. accessible online toolboxes are difficult to utilise in real time when one represents a lack of self-confidence in the online sphere. This is something that could be a good starting point for further growth within this specific task.

Overall I genuinely did enjoy this task and I do believe it was one of my favourite tutorials I have ever had at university for its difference to general norms of a tutorial but also the skills I have gained about the Twitter-sphere. the Analytical process of future cultures within the themes of each film was a new approach that I thoroughly enjoyed.

Don’t get me started: Drones

To quote syndrome from Incredibles, “With everyone is Super, no one will be”. Has the idea that anyone can be a videographer ruined the art of film making? Or is it the best thing since sliced bread for not only surfing but all sports. A new “Angle” if you will. There are two ways of looking at it. Oversaturation of content ruins content but giving everyone a chance to do something is a positive direction.