Author: maxclement98

Autoethnography: What’s it all about?

When I first came across the term “autoethnography” I had initially dismissed it as another tedious, research-related term which I would struggle to comprehend and eventually get frustrated by. However, mid-way through reading “Autoethnography: An Overview” (Ellis, C., Adams, T.E., and Bochner, A.P. 2011), I had the realisation that the term referred to the method of using personal experiences as a means to subjectively comprehend cultural experiences (Ellis, C., Adams, T.E., and Bochner, A.P. 2011, pg.1), with subjectively being the key word. Because, as the article points out, “autoethnography is one of the approaches that acknowledges and accommodates subjectivity, emotionality, and the researcher’s influence on research” (Ellis, C., Adams, T.E., and Bochner, A.P. 2011, pg.4).

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My IRL reaction to the term “autoethnography”

When I started to think about this form of research, it occurred to me that I have been an autoethnographer since I started university, although for most of the time unknowingly. Through my blog, I have been using personal experiences to gain an understanding of cultural experience. With a huge interest in film, I realized that film-makers too (especially documentarians) are autoethnographers. They reshape their own personal  and cultural experiences and use it to create a narrative which goes on to share a film-maker’s experience. 

With this in mind, I am now beginning to think about how I will use auto ethnography to gain a further understanding on Asian horror films, particularly ‘J-Horror’. As someone who is a massive fan of the 1998 classic “Ringu”, I am incredibly excited to use J-Horror as the basis for my autoethnographic research. In the coming weeks, I will hopefully zone in on the specifics of the research process and through what medium I will present it.

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Until then…

References:

Ellis, C., Adams, T.E., and 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>

‘GOJIRA’: Reaction + Thoughts

Originally posted on: mc560.wordpress.com/

Those people who know me well, will (rightly) tell you that I am a massive film geek. So when I found out that we would be watching the 1954 allegorical B-movie ‘Gojira’, I was naturally thrilled. As the film started, I began to think about the differences between the Japanese film industry and the Hollywood film industry.

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As I said in one of my tweets posted during the screening, NO-ONE makes genre films quite like the Japanese. Unlike many (there are exceptions) Hollywood blockbusters, Japanese blockbusters always seem to try to incorporate some  form of social, religious or political context. With this in mind, it was fascinating to watch the way that ‘Gojira’ uses genre (in this case b-grade sci-fi) in order to make a bold allegorical critique of the bombings of Hiroshima and Nagasaki in WW2. Contrastingly, if you look at the 2013 remake ‘Godzilla’ (which I actually kinda liked) you’ll notice that it has none of the original’s political undertones, but is more interested in establishing Godzilla as a major player in the new MonsterVerse (as is now the trend).

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Having said this, it doesn’t mean that all Japanese films are as smart as ‘Gojira’ and that all Hollywood blockbusters are simply disposable pieces of entertainment that exist solely for financial reasons. It just occurred to me, as I watched ‘Gojira’, that very few American film-makers would be make such a ballsy, political blockbuster.

Another difference between the two film industries, which I briefly discussed with my tutor after the screening, is the perception of their audience. By making such a allegorical film, the director of ‘Gojira’, Ishiro Honda, clearly perceives the audience to be clever enough to understand the ideas and messages that the film is trying to convey. Hollywood, however, often believe that a blockbuster has to be ‘dumbed down’, in order to satisfy audiences and are often very reluctant to finance big-budget films with complicated narratives or concepts (although this trend is starting to die down, thankfully).

In the end,  the screening of the 1954 ‘Gojira’ was an eye opening experience which led to a deeper understanding of the way the Japanese film industry works and the differences between them and Hollywood.

Until next time…

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