Over the past week, I have been reflecting upon my topic and how I am going to present this in a digital artefact. After much consideration, I have decided to compare my experiences of crime movies that have been produced by East Asian countries or cities. Given my interest in South Korea, I will focus on this as a site of production, as well as China, Japan, Hong Kong and Macau as an attractive locale for filming. I have observed over the course of my study into this genre (which I have not blogged about as yet) that while there are similarities in regard to cinematic quality, there is a prominent but underlying tension between these sites of production which often go unnoticed. These movies commentate on their country’s difficult geo-political-cultural relationship with China and their struggles to carve out their own individual identities.
So the next obvious question will be how I am going to present my findings from the autoethnographic study? One of my strengths is writing. Now I know what you are going to say; ‘perfect write an essay’. Since I have been given the opportunity to produce a more creative-based project, I have decided on a happy medium between writing and a digital platform – Storify. Two separate Storify pieces will provide a detailed examination of two broad results from the autoethnographic study; one the complicated definitional boundaries of the ‘crime’ genre and two; the tensions between East Asian countries/cities/states. Storify is a flexible medium because it allows the user to integrate videos, images, Twitter feeds and Facebook posts within a body of text. Hence, it will provide an effective balance of exploring academic concepts through more informal language and engaging media.
But what is auto-ethnography and how does it tie in with my research? Autoethnography is a research method where “the author is both informant and investigator… the autoethnography is not simple personal narrative” (Cunningham, J.S. 2005, p-2), but rather connecting personal experiences with wider cultural implications. This method has allowed me to connect my own experiences of watching these movies with academic literature in order to better understand East Asian cinema. For example; as raised previously I have discovered that many of these films have an underlying resentment toward China. I would not have been able to discover this if not for autoethnography, if not for directly experiencing it. I was then able to connect this ‘experience’ with an industry report which seems to mirror this observation; “government shake-ups and new policies – such as the Chief Executive elections and the recent National Education curriculum, which is designed to encourage understanding and patriotism for China – are fiercely opposed when perceived as moves by the Chinese Communist Party to assert their influence on Hong Kong” (Ma, K 2012, p3).
So now I continue on my quest to better understanding Asian crime cinema through the use of autoethnography.
Cunningham, J.S. & Jones, M 2005, ‘Autoethnography: A tool for practice and education’, CHINZ ’05 Proceedings of the 6th ACM SIGCHI New Zealand chapter’s international conference on Computer-human interaction: making CHI natural conference proceeding, New York, July, viewed 10 September 2014, http://goo.gl/AOhB75
Ma, K 2012, ‘The Asian screen: the state of China and Hong Kong’s film industry and the emergence of Transmedia’, Hexagon Concepts, October, viewed 10 September 2014, http://www.scribd.com/doc/109335662/The-Asian-Screen-1-Hong-Kong-China