Tag: article

Social Issues in Monster Movies

These days, monster movies often appear to be quite surface level, rarely showing any depth to their stories. Focusing on big action sequences and showing off the evolution of graphics and effects since the last monster movie.

But what if there is actually more to them?

Cultural and Social Issues

Looking at a classic monster – Godzilla, what more is there to the ‘King of Monsters?

Original: Toho (1954-1974)

Godzilla in a scene from the film. © Toho Co. Ltd. ALL RIGHTS RESERVED

Godzilla, originally a Japanese monster movie franchise, is a good representative of deeper cultural and social issues that can lie beneath the surface.

This monster franchise has been understood to be a response to humanity’s mistreatment of the earth. The first movie focuses on the use of nuclear weapons.

The damage caused by the Godzilla is representative of the Japanese aggression turned back against themselves, post second world war atomic bombings of Nagasaki and Hiroshima.  Even the use of other ‘evil’ monsters in the Godzilla franchise reference other environmental issues mankind faces, that they have bough on upon themselves. This includes Hedorah the ‘Smog Monster’ and mankind’s relationship with pollution. (Lee 2019)

In the movie, Dr Serizawa, a scientist character states “The arrogance of man is thinking nature is in our control and not the other way around.” (Quote at runtime 1:32:17)

Monsters of all kinds, not just in Godzilla are often ‘othered’. referenced as an evil “them”. But in this regard, they are always just a metaphor of a certain ‘evil’ element or issue of nature plaguing mankind, secretly representing “us”, showing humans are the real monster.

Remake: Monsterverse (2014- )

Godzilla in a scene from the film. © Legendary Pictures ALL RIGHTS RESERVED

Hollywood’s remake of the Godzilla ‘Monsterverse” still bases its message of the ‘rise against nature imbalance caused by humans’ with mankind focusing on its own innovation and development and forgetting about co existing with the earth and nature, with no intention in saving it, like in the original series. (Fithratullah 2021)

2014’s Godzilla Hollywood remake – the first in the series, the ‘bad monsters’ are the MUTOs.


MUTOs in a scene from the film. © Legendary Pictures ALL RIGHTS RESERVED

Although, both Godzilla and the MUTOs feed off radiation, Godzilla focus’ on the planets natural deep sea radiation, where the MUTOs are drawn to manmade sources such as nuclear power plants and weaponry.

The MUTOs are also able to use electromagnetic pulses and EMP fields, representing man’s increasingly heavy reliance on electricity – a big American societal issue at the time.

A Common Link

In the Godzilla’s 2014 Comic-Con Teaser Trailer (below), it calls back to nuclear powered destruction with the voiceover being a reenactment of J. Robert Oppenheimer (the father of the atomic bomb) “Now I become death” speech, which references witnessing the first nuclear explosion.

Godzilla 2014 (Monsterverse) Trailer

The opening sequence of the 2014 Godzilla is a depictment of the first atomic bomb test actually being used on Godzilla, who they see as a threat. Here they use Godzilla as a metaphor of nuclear warfare but ground it in historical fact.

The Academics of Monsters

Credit: ProQuest

Jeffrey Cohen’s paper on “Monster Culture (Seven Theses)” defines the different types of monsters commonly found in media.

The first two of Cohen’s thesis can be seen in the Godzilla franchise.

Thesis I: The Monster’s Body Is a Cultural Body

‘The monster’s body ‘literally incorporates fear, desire, anxiety, and fantasy’ and is etymologically “that which reveals,” “that which warns,”’.

The original Godzilla’s key issue revolves around the nuclear warfare. After the atomic bombings in Japan, ‘keloid scaring‘ was often found in the healing process of burned skin of atomic bomb survivors.

Keloid Scaring Credit: www.genken.nagasaki-u.ac.jp

The original Toho Godzilla also has keloid scarring over its body, providing a physical manifesting on the nuclear issue.

Godzilla’s has a ‘atomic breath’, which is another representation of nuclear destruction, playing its part in “that which reveals,” “that which warns,”.

Godzilla ‘Atomic Breath’ in a scene from the film. © Legendary Pictures ALL RIGHTS RESERVED

Godzilla’s size also plays its part in that. Throughout the several decades Godzilla movies have been produced, its height has grown. Starting at 50 meters in the ‘Toho’ series in Japan and up to 120 meters in the more recent ‘Monsterverse’ in America.

Godzilla Size Chart. Credit: Noger Chen

This was so Godzilla would never be dwarfed by newer buildings. As cities constantly got  taller, so did Godzilla, so it would be a relative size to the city, no matter where he was, which links back to the fears and anxieties.

Thesis II: The Monster Always Escapes

Every time the monster escapes, to return at a future date, altering its message to current times and issues within its cultural setting.

‘Monsters must be examined within the intricate matrix of relations (social, cultural, and literary historical) that generate them’.

Within Godzilla compendium, each new monster signifies a new fear or social issues that plagues that certain culture or all of mankind, such as the use of Hedorah the ‘Smog Monster’ and mans relation with pollution.

Godzilla first movie starts with nuclear warfare affecting the east and leads to the issues of electricity reliance in the west. It has adapted not only to a time change but a cultural change but is able to keep the basis of its meaning.

The Symbolism of Monsters

Through out the decades, monster movies have always held a deeper symbolism, representing that current cultures current issues. This goes for the classic zombies and vampires, werewolves or even titans. The fears and fantasies of humas are always there. No matter the monster.

Godzilla has managed to tell stories of man vs nature for decades and each time it adjusts for the time period and culture.

“Every age gets the vampire it deserves.”

Nina Auerbach

References

Cohen, J 1996 “Monster Culture (Seven Theses).” Monster Theory: Reading Culture University of Minnesota Press, viewed March 6 2023 <https://doi.org/10.5749/j.ctttsq4d.4>

Fithratullah, M 2021 ‘The rise of the titan as an impact of human relation to nature exposed through monstervers movies’, viewed March 14 2023  <https://ocs.teknokrat.ac.id/index.php/icllle/icllle2021/paper/view/400>

Lee, J 2019 ‘Why Godzilla is the perfect monster for our age of environmental destruction’, viewed March 14 2023 <https://theconversation.com/why-godzilla-is-the-perfect-monster-for-our-age-of-environmental-destruction-116996>

Lessons and Epiphanies of a Niche

Although my Street Photography project has a ways to go, there have been some important lessons learnt so far.

(See previous posts for story so far.)

Photo Credit: dreamstime

Epiphanies

One – I am an introvert and not always good with strangers, let alone photographing strangers. Upon trying to record video of first video of POV Street Photography, people seeing me with a GoPro and mirrorless camera, strangers were more likely to start talking or commenting to me – unprovoked, upon seeing my cameras. This made initail interactions infinitely easier and I never thought it would result this way.

Two – Coming into this project, I know how long to expect to shoot and edit photos and seeing I have some previous experience in video work and spend so much time on YouTube, I thought it wouldn’t be too much more work to cross platforms.

Turns out, it was exponential. So far, it has more than doubled the workload.

Three – Importance of hashtags.Through talking to people and research, the right use of hashtags and consistency of shooting seem to be key to success of engagement regardless of the platform you use.

Photo Credit: @rawpixel.com

Academic Research

Gede Sri Darma – ‘Opportunities and Challenges of Instagram Algorithm in Improving Competitive Advantage’ is to thank for one epiphany.

In here article, she talks of the connecting people to specific content through hashtags on Instagram and  how frequent posting can increase your audience.

Ghosh, et al. ‘Photography And Communication: A Study Of Interrelationship’  talks of the interconnective relationship of photography as a form of documentation of history.

It breaks down popular forms of photography, saying that photography is meant to “communicate something” and calls street photography “…similar to social documentary” which can help frame how and the point of taking certain types of photography.

Popular Sources

A photographer and content creator based on youtube – Peter Mckinnon had seen traction recently with a video on how Instagram is changing its focus from photos to video and was looking at to a different photograghy platform – Vero.

I found this an interesting point of interest for the online photography community. I continued to look through YouTube as well as reddit and twitter and there seemed to be a consensus that the people who didn’t mind about post photos to Instagram didn’t care much about their reach and engagement of posting their photos, but many of those who did care were looking towards moving to another photo-centric platform.

As a whole, there seems to be hesitation and in the new platform – Vero, people were having doubts they will keep their values to photo sharing social media but are eager for what they currently offer.

Implications

Keeping all of this in mind, there has been some sway in how I have shot some of my photos. While batch editing photos, I have setup my accounts and collated my work so far to be able to plan postings.

My Account Setups and Shoots

Editing is also important. Currently, vivid colours and moody exposures seem to be current trends. Even some of the ‘moody’ images are currently focusing on the saturation of colours.

I have also researched relevant tags for both Instagram and Vero, ready for posting as well.

Hashtag Research

As BTS photography accounts for further ideas for the value persona of my accounts.

BTS Photography Accounts (To Reference)
Credit: fjhphoto and mosess.portraits

Focusing on posting and platform interactions is the next focus. This to come…

Feedback the Feedback

‘Feedback GIF’ – Credit: Me!, Again!, I like making GIF’s.

Researching and writing from an academic point of view has its challenges. Reviewing said research and writing is another kettle of fish.

Recently, I have started a research project into autoethnographic research of a media niche and today have been looking into others research and providing feedback.

Doing this changes my perspective and challenges point of views on how I go about my own representing my own research.

FEEDBACK

In providing feedback to others, I had tried to start with positives of their work before offering something that may help enhance their work in the future.

The first bit of feedback I had offered that expanding on details of academic sources may be beneficial rather than just stating in the video the articles being used.

Feedback One – Blog Post Link

The following two pieces of feedback, I again started with positives of their work but also offered an academic article that may be of use to their research going forward.

Feedback Two – Blog Post Link
Feedback Three – Blog Post Link

I find it hard to be vocally critical of another’s work and know my wording is affected. After offering some positives, I find it easier to talk about improvements but still find it hard to say what might not work, is missing or needs improving.

Although the pitch’s I reviewed, I thought were pretty solid as a whole, my hesitation could be a detriment to others who may need the pointers to be able to enhance their work.

Looking past my own drawbacks on providing feedback, going through the process of analyzing and curating feedback for others, it gives a new light and critical analysis for my own work.

LESSONS LEARNT

Photo Credit: Financial Advisor Mag

Being my own work and views, I am happy to be more critical of my own work and having the experience of providing feedback to others, I can see what I am missing of my own work, what is needed and how to create better work in the future. Especially when having the rubrics of what’s needed for better marks.

In my work, I tried putting up information visually to provide more explanations and support material to what I was talking about, seeing others work, I think some of the information I put on screen was too wordy and have been better to have it more succinct.

One pitch I watched had a nice of graphics and transitions and found it pleasant and easy to watch and understand their information. In my video, I feel it was more abrupt and could have been more visually pleasing and therefor, more engaging.

Although I referenced all I could through links as I went, many others have had Harvard Referenced their sources in a reference list and upon reflection believe it has a more professional and academic look to it and moving forward will do the same.

Field Site Mapping and Understanding Niches

Field Site Mapping my niche in process

Continuing down the rabbit hole of researching niche’s, before starting, we need to know how to research and what to look for.

Observation

Photo Credit: José Ramon Martinez

Amir B. Marvasti’s  ‘Analysing Observations’ (2014) states: ‘Observation is used to test theories and develop new knowledge.’

And how do we put observation into practice?

Observation in ethnography is defined by the researcher’s relationship to the field of study. This means that the data collection and its analysis and interpretation is produced through personal subjectivity and experience (Marvasti 2014,).

But what kind of categories do we look at when it comes to media? To start with: Personas, Audience, Content, Platforms, Motivation and Creators

When we have this information together, Field Site Mapping is a good way to visualise and interconnect it.

Mapping

Field site – a term for lived experience of a network of relations.

My Media Niche Field Site

Mapping the field site of a particular (media) niche helps to provide a deeper understanding of it, which in turns makes it easier to work within it.

It breaks down networks in your niche between people, places, things, actions, agency, and motivations.

‘Podcast ethnography’ by Lundström and Lundström (2020) article focus’ on methods of field mapping; its processes, locations, and the relations between them.

They ask questions like what presences do they have outside of their main platform, prominence of personas and incorporation of audience responses.

Although Lundström and Lundström focus on podcasts, what they bring up is easily applicable to ask of any media niche on any platform.

Applying to a Niche

Starting research into my interested niche – POV Street photography, Motivations of entering my niche isn’t just to entertain but to show and educate my style of photography as others have done from POV Photography videos on YouTube.

Having a visual map also helps to understand the commonality and connectiveness of the niche and what is important to it.

Why?

Photo Credit: Matt Walsh

While creating content for my niche, I am hoping to refine my skills as a photographer and photo editor but also diversify through video and audio work that is needed to produce POV street photography videos and become a more well-rounded content creator.

I am interested in not just how to create content but why specific content within the field works… or might not work, will people learn anything about photography from my videos, how to find and follow trends and how to be identifiable (persona) and keep people interested and engaged in the work I produce now and in the future.

These issues and questions form a basis of problematising this media niche, and I hope to be able to address these throughout my journey.

An online article ‘The University of YouTube: the medium, the user, photography and the search for really useful knowledge’ by Andrew Dewdney (2016) – a London University research professor who attempts to understand photographic theory by use of YouTube and tells of his experience.

Seeing what others have learnt from this process helps me to be able to plan and include in my own work.

So far, this has shown me that looking into how to research is the starting point of the research itself.

More to follow.

A Critical Analysis

Renaissance vs Remakes: Do the recent Disney movie remakes repair past indiscretions in Oriental representations from their original animated versions of their movies?

The recent line of live action movies from Disney remake many of their popular animated films, largely from their ‘renaissance era’ of 1989-1999.

This renaissance period had many culturally diverse movies, but had been accused of having damaging stereotypical portrayals of racial minorities, which they seem to have attempted to correct in their live action adaptations. Keeping close to the original movies while elevating them to more modern standards and currant cultural acceptances – ‘be understood as a deferential companion, not a superior successor’ (Kunze, P 2020).

Here we will focus on one of these remakes – Mulan, to further look into oriental representation.

“a Western style for dominating, restructuring, and having authority over the Orient.”

Edward Said
Mulan’s 2020 & 1998 poster, as found on an article by ign.com

Renaissance Version

Mulan is Disney’s first Asian hero, with its story based on the ‘Ballad of Mulan’ from China. Written between the 4th and 6th century, this was a popular and household story of a young Chines girl going to war in place of her father.

One of the first big issues people had been when production started, the voice casting for Mulan’s animated film opened their search to actors from more of a pan-Asian background, instead of looking primarily at Chinese actors – where the story originated.

Considering the size and cultural diversity of Asia, many took this as either a conflation of culture or view that all Asians are fundamentally the same.

Disney uses obscurity in their movies and ‘often utilizes all characters who have assumed tangible ethnic traits but are from fictional lands’. This is often argued that this ambiguity is used as a defence against any wrongdoing or responsibility concerning historical inaccuracies, misrepresentation, and allows a way to maintain racial biases and hierarchies. Essentially, if it is perceived as fiction then it can’t be made accountable. (Wang, Z 2022)

Continuing with historical inaccuracies – in the animated movie, there was an inclusion of a ‘Chinese Law’ that, at that time, forbade women in the army and that it was treasonous and dishonourable. This was not the case from the source material Ballad.

The animators of Mulan had learnt a lesson from Disney’s animated version of Aladdin released in 1992. Set in the middle east, the movie was criticized for the villains having stereotypical “Arab” traits while the two main characters had lighter skin and more westernised features. Many felt this was a prejudicial way of showing “good” characters from the “bad”. The main characters in Mulan were not given this same westernized treatment. (Wang, Z 2020)

Remake Version

The remake still uses a pan-Asian cast but tries to focus on Chinese born and descendant actors, as they attempt to learn the lessons from voice casting the original animated movie.

The remake adjusts the ‘Chinese Law’ and discipline on why a female couldn’t be in the army, but again, this was not at all in the original ballad.

The 2020 remakes use a Phoenix for symbolism throughout the film, with rising from the ashes and offers guidance and a strong representation of females. The problem here is that a Phoenix is from western culture, primarily Greek. The Chinese culture have a firebird of their own called a ‘Fenghuang’ but it has little in common with a Phoenix.

Picture: a ‘Fenghuang’, commonly referred to as a ‘Chinese Phoenix’

The remake has also misunderstood and misrepresented the idea of ‘Chi’ (also known as ‘Qi’). In the movie, this is used as a newly given superpower found only in warriors. Given to Mulan, this increases her fighting abilities and prowess instead of its original intentions of being the ‘vital life force’ everyone is born with and overtime, with work and dedication it can be used for self-empowerment. (Sonora, 2020)

When the live action Mulan was released in China, it was perceived to be “too American,” with there being a mix of oriental elements and symbols from a Westerners perspective and did not exhibit the defining characteristics of the ballads Mulan origins. (Elmogahzy, A 2018)

Thoughts and Conclusions

Over Disney’s renaissance period, they wanted more multicultural narratives but portrayed a disregard for authenticity and they were confronted by the public on this issue as the company tried to globalise.

Although it is acknowledged that Disney is actively trying to do a better job of representation in their films, especially within the live action remakes, after comparing and looking more closely at the Mulan films we see that it isn’t just about the visual representation of a race on screen, it is also about having a more accurate representation and depiction of their culture, history, and perspectives.

Disney as an American company, tries to cater their movies to a wide audience. Mulan’s remake gives a lesson in the negative values of adding Western culture and viewpoints into a popular traditional oriental story which in a movie made and is aimed at a specific oriental nation.

Disney seems to be wandering away from use of ambiguity and moved to recognising the cultures its stories are based on and can do it well… at times. Their animated movie of 2016 Moana was based on Polynesian culture and mythology and was well received while it stuck closely to the story’s heritage.

Although there does seem to be a need to be more attentive to the culture they based their movies on, Mulan seems to be a bit of a hiccup along the way. Disney has been showing progress and learning from past films and mistakes and overall, appearing to be becoming more mindful of other cultures.

References

Kunze, P 2020 ‘Revise and resubmit: Beauty and the Beast (2017), live-action remakes, and the Disney Princess franchise’, viewed 25 March 2022 <https://www.tandfonline.com/doi/pdf/10.1080/14680777.2021.1944259?needAccess=true>

Wang, Z 2022 ‘From Mulan (1998) to Mulan (2020): Disney Conventions, Cross-Cultural Feminist Intervention, and a Compromised Progress’, viewed 25 March 2022

<https://www.mdpi.com/2076-0752/11/1/5>

Elmogahzy, A 2018 ‘A “Whole New World”: Race and Representation in Disney’s Live-Action Remakes of Aladdin, The Lion King, and Mulan’, viewed 16 March 2022     <http://etd.auburn.edu/handle/10415/6466>

Sonora 2020 ‘Are We Boycotting Mulan 2020 for the Wrong Reasons?’, viewed 26 March  2022

<https://sonorahillsauthor.com/2020/10/22/are-we-boycotting-mulan-2020-for-the-wrong-reasons/>

Jrnl 102 – A3

Reflections

The original idea for my “What’s Hidden” interview was to create an overall happy story that also came with a surprise or a twist. During the interview, with the aid of some pre planed questions and concepts/ideas, I was able to help guide a recording of a story that could build up a ‘complication’ that would have a happy twist payoff.

The ‘Three-Act Structure’, as seen illustrated by Philipp Truebiger helps to break down a structure of a story and can help guide the writing and editing process to a more fulfilling story.

This structure helped me pre plan my interview and story structure and helped influence my final edit.

During brainstorming ideas for the story, I had read and watched all the links on Moodle to our previous cohorts work on this same topic. This helped plan out ideas and their structures that would eventually narrow down to my final work.

In amongst the linked stories was “What’s Hidden? – Addiction” by Aidan Kidson who ventured into various addictions ranging from the more serious, such as smoking, to a lighter tea and chocolate.

Having a piece take on addiction that also had at times a novel turn, I wanted to a piece that I could do something similar. So, I created a piece that not just had a twist, something that would intentionally sound like it was leading to bad news but then would reveal something good and unexpected.

In the week 11 lecture covering ‘HEARING WITH LIGHT, SEEING WITH SOUND’, with the section ‘Editing for rhythm’ told of the Three key elements of rhythm: “time, energy and movement”.

After some peer review feedback, it was noted that my original edit of the audio too tight and was a little repetitive towards the end. It was suggested I take out a sentence to be able to add in more gaps, breaths and umms which will make it more natural sounding and less robotic, while still be able to keep the same run time.

This also ties back into ‘Editing for Rhythm’ that will produce a better sounding and paced audio.

The photo’s used were all ones I had taken, though some were (obviously) taken at an earlier date. All the B roll photos were taken for this assignment as well as more recent shots of the family and kids.

The audio took a lot more time editing than originally thought. This was due to that the interview run time was around 25 minutes and wanted to initially focus on following the journey of Phoebe Faith’s research into twins and what she discovered.

This included the different types of twins, how there can be the likes of mirror image twins and her personal experience of twins compared to a singleton birth, as is with her first child.

After editing down the audio, to keep to time I found that the discovery of the genetics of Ms. Faith’s type of twins with the tie to her grandmother was a better, more intimate angle as well as touching on her experiences so far.

Music, SFX and References

I had used 2 music tracks. The first one used was ‘Ces’ by Ben Nestor. (https://www.freemusicarchive.org/music/ben-nestor/single/ces). This song was used to add a more dramatic and sombre tone before the reveal.

The second track was ‘Summer (Piano)’ by Zight (https://www.freemusicarchive.org/music/zight/single/zight-summer-piano). This song was a lighter and more upbeat track that came in after the reveal of the good news of having news.

The SFX used were all of the 3 children laughing, talking and general day to day sounds, which were recorded myself. No others were used.

References

Truebiger, P ‘Three-Act Structure’, weblog post, viewed 30 October, <https://philipp.truebiger.com/three-act-structure/>

Kidson, A 2019, ‘What’s Hidden? – Addiction’, weblog post, viewed 18 September,  

<https://aidankidson.wordpress.com/whats-hidden-addiction-jrnl102/>

Ellingsen, S, Macey, J 2021, ‘Week 11: Multimedia – Hearing with light, seeing with sound’, lecture, JRNL102, University of Wollongong, delivered 11 October 2019.

What’s Hidden

A2 “What’s Hidden” Multimedia Story

Pregnancies are never straight forward, even if it isn’t your first. Complications can be scary and not unheard of while in term, but there can also be many surprises.

Phoebe Faith admitted that her first pregnancy was “fairly overwhelming”, but upon finding out that she was pregnant for a second time, “I thought I knew what to expect”.

During Ms. Faith’s first scan of the pregnancy, she was informed on some unexpected news. This news would make her adjust her previous view on the nuclear family she always wanted.

Heavy research followed into her new pregnancy status, which would also lead her to learn more about her family lineage then she ever knew before.

Babymed states that the average chance of having fraternal twins is 1 in 85. Fraternal twins are genetically passed down through the female lines, where the likes of Identical twins do not.

Since finding out this fact, Ms. Faith had discovered a part of her family history she never knew. Her grandmother not only carried the gene for fraternal twins but was also a triplet herself.

The Raising Children website explains how identical twins come from one fertilized egg splitting into two, whereas fraternal twins occur when there are two simultaneous eggs being fertilized at the same time.

Also, where identical twins may only be both of the same sex, fraternal twins do not. Ms. Faith’s fraternal twins are one boy and one girl, named Austin and Remi respectively.

One in two deliver twins prematurely. Ms. Faith’s twins had arrived two weeks early.

Ms. Faiths twins are now seven months old. Over that seven month, she has learnt many things about twins and raising them.

“People joke “it’s two for the price of one”, but it’s actually two for the price of two.” Ms. Faith said.

There is much still unknown about twins, though there is a lot of research still being undertaken. With much still undiscovered, Ms. Faith is excited to be a part of her twins lives and is excited to see how they grow and interact between themselves and others over the coming years.

Having three children under three years old, two of which are twins may go against her original dream of her ideal family, Ms. Faith now would not want to have it any other way.

Story Tweets

1         https://twitter.com/tobyisastudent/status/1454364304195534848
2         https://twitter.com/tobyisastudent/status/1454365640152674306
3         https://twitter.com/tobyisastudent/status/1454366772866342922
4         https://twitter.com/tobyisastudent/status/1454369698166886410
5         https://twitter.com/tobyisastudent/status/1454370228012347394

Media Audiences

Remembering a time I was a part of an audience.

Around 1998/99, I was 12 and the internet was becoming more popular and increasingly more accessible, showing off the wonders of information sharing. Even if the dial up tones still haunt my dreams to this day.

These early days of dial up were responsible for the success of a “found footage documentary” that people have tried to replicate and will never be able to in the ‘modern’ days of the internet we are now accustomed to.  

Now, news about this “found footage” had reached the internet about a year before the “documentary” was released in cinemas. Now, I did not have access to the internet at home or at school but I had a friend Luke, who was my way into this world, and am forever thankful for it.

I remember hearing and becoming involved in a smattering of conversations at recess and lunch about the found footage of these American college kids, the missing persons reports and the coming “found footage” soon to be released. Although I didn’t get to see the documentary at cinema’s I did see the ‘Blair Witch Project’ shortly after at Luke’s – the same friend as before.

Now knowing what we know about the movie and it being a work of fiction, that was not known before its release and the online marketing campaign took full advantage of the times and various media outlets – online, news, movies reminding me of the original granddaddy of multiplatform media events – the Red Barn Murders in 1827. A news event that was covered in print, plays, film, music and more.

Passive audience are often described as gullible and easily influenced, of which, in the early days of the internet was most certainly true as, at this time, people did not know any better.

“The usual role of audiences is a kind of message receiver, they are said to be passive, and take in ideas from what the media told them.” (Joyce Ho, 2011)

Since the ‘Blair Witch Project’ and with the evolution and adaptation of the internet, people seem to be interacting more with and spending more time with media online. Audiences have had a major shift from ‘passive’ to a more ‘active’ role, being more critical with the media they consume.

‘Active audiences are those people who receive media information actively as well as make sense of the messages based on their social and personal contexts.’ (Newsmoor.com)

The ‘Blair Witch Project’ had a very small budget and very few people working on the film but help show what indie films can produce a successful cross platform multimedia event that is talked about now decades later, and what you can you do when you take advantage of the diverse media platforms available to you.

“Popular culture is made by the people, not produced by the culture industry” (John Fiske, 1989)

Reference List

Ho, J 2011, ‘What does it mean to say the audience is “active”?’ Viewed 14 March 2021, https://www.grin.com/document/198787

Fiske, J 1989, ‘Commodities and Culture’, Viewed 14 March 2021, http://xroads.virginia.edu/~DRBR2/fiske.pdf


‘Active and Passive Audience definition difference & examples’, Newsmoor.com, Viewed 14 March 2021, https://newsmoor.com/active-passive-audience-differences-example-active-audience-theory/

Consumption and Meanings of Popular Culture

Book cover for ‘The Hunger Games’

Popular culture is consumed in a myriad of ways, one of my favorites is books; the one that swept me up the most was the first ‘Hunger Games’ by Suzanne Collins. Released in 2008, reading it myself in 2012 when the first movie was released, this futuristic dystopian franchise captured the hearts of many in the pop culture community.

Now, Pop Culture is defined by Storey (2015) in many ways, including: ‘well liked by many people‘; ‘work deliberately setting out to win favour with the people‘ and ‘popular culture is mass-produced commercial culture’ which all relate to the Hunger Games, especially the latter with over 28 million units sold in the USA alone, and that is just for the first book in the trilogy.

A core premise of the book series itself even uses pop culture with the story being based around a reality TV show, albeit a fairly morbid one where kids and teens fight for their lives. With the globalisation of reality television’s universal themes and appeal to audiences are able to cross mediums, finding the spectacle of reality TV engaging due to the relatability.

Junaid; Ikhsan (2020, p. 174-175) state:

‘Reality show is a phenomenon that becomes the traction in the novel. The indicators of the reality show are on screen appearance, the power of people’s support, planned dramas, and great prize availability.’

With the use of televised selections and pageantry of the contestants, a murderous styled Big Brother house, viewers able to participate by sending gifts and the winners tour all stem from various reality television foundations including (Regions) Idol and Got Talent and the fore mentioned Big Brother and something that most people have experienced by some degree.

They also stated:

‘Heroine is being phenomenon of the popular culture recent years. The indicators of heroine are heroism, courage, displaying strength, and claiming the right to authority.’

With the rise of strong female roles around that same time in movies and books, it definitely fell into the category of ‘deliberately setting out to win favour with the people‘ and even glances off the side of representation in global media.

As for their ‘imagined communities’, the support from the online was growing ever more, especially when there is involvement from Danielle DePalma – the people hired for the Hunger Games socials media campaign turned to and engaged with their fan base.

 Ari Karpel (2012) article on this topic stated:

 ‘Our first mission was to start connecting with the fans of the book by utilizing Facebook and Twitter’

And,

‘We started assigning fans different roles within this virtual world. We have district mayors and district recruiters, which really got them active and sharing over Facebook and Twitter.’

Although some of the imagined communities may have been set up and influenced by a media company, there was an interaction and relationship between people involved with the marketing and the fans themselves, making the fans feel like they were even apart of the story in some small way which which motivated them to spread their passion for the story to others which created a domino effect to others, going down the line. They had claimed up to a million likes on a single post also showing the popularity of the communities.

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