Final touches to PB4.

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Today in workshop my group finalised the script for our audio and video essay. Our approach is to capitlise on the video essays visuals and thus use that essay as a more informative overview of what an institution is and means today, and how K-POP follows Hodgson’s modernised appropriation of the term. In the audio however, we will take a more personalised approach using the medium as an education forum, structuring the arguments for and against K-POP being an institution as a debate.

Attached is the video essay’s script. It is structured in a way that reflects the video’s visual progression and theme.

Geoffrey Martin Hodgson (1946-present), a Research Professor of Business Studies in the University of Hertfordshire, discusses through his descriptive text ‘What are Institutions’ 2006, that the term ‘institution’ is a sociological definition that is in urgent need for A modernized revamp. The term nowadays transcends its traditionalist connotations and requirements, instead reflecting areas of study that inherit society with the rise of Media 2.0.  His 1) requirement states that institutions must have conventions and formal rules and 2) that these rules must concern the interaction and function of their agents’ habits and beliefs. His 3) point exemplifies why the term needs a cognitive shift, as be aware technological mediums transcending previous tangible platforms. We must focus on the way these platforms promote certain societal behavior and conduits governance over collectivist communities.

Thus, K-POP, “(an abbreviation of Korean pop; Hangul: 케이팝) a musical genre originating in South Korea that is characterised by a wide variety of audiovisual elements” exemplifies how institutions can become abstract within our contemporary world. Following its liberation in 1945 from Japanese occupation, South Korea had continued presence of the U.S. military. As America’s political regimes spread throughout South Korea, so did its music and arts that was gradually accepted and interpreted by Korean culture. By the new millennium, K-POP music emerged from chrysalis to the k-pop we know today. Through the introduction of cable TV, catalyst to the post-broadcast transition, Korea along with other countries sold content over seas to create the hundreds of channels we now have at our fingertips daily. This flourished K-POP’s success through its global stage that due to it’s unique take on pop-culture has had repeated appearances on the Western music charts such as Billboard and South Korea’s cultural exports. In 2008, (including television dramas and computer games) South Korea’s cultural exports rose to US$2 billion, maintaining an annual growth rate of over 10%.

Now, we can interpret K-POP as a media institution that follows the platform of Media 2.0’s globalized network, however it is it’s institutionalized practices and governance of ‘idols’ that really affirms its title as an institutions within Hodgson’s modern world. Due to its unique stylisation and product, K-POP has attracted millions of followers around the world. As followers/ fans of ‘idols’ – a term actually used by K-POP that references their chosen celebrities – most of us only noticed the glamourous and entrancing appearance of these elevated individuals. However, under this hypnotic vial there are lots of harsh requirements that concern the success of individuals, governing by a selected few that interprets the institutions habits and function of enterprise and cultural appropriation.

 

DONE!

 

Before k-pop ‘idols’ are qualified and ready to ‘debut’, they go through a tough selected process ranging from personal interviews to dancing auditions. The successful few, out of competitors of the thousands, are chosen off looks and talent and then asked if they are able to enter the entertainment industry and start their training. Now, training goes beyond our Western ideas of voice coaches and reality TV programs, as K-POP trainees get taught how to survive being a celebrity, and thus a figurehead for K-POP’s institution and Korea’s cultural ambition. Signing, dancing and acting are the basic skills that an idol are required to know, however, they are also taught how to walk/sit, laugh, introduce themselves, how to show their talent etc. Now, this is all unpaid meaning that for the amount of time this individual is in training for, which by the way can be for years — example of K-POP idol who has been since kid— isn’t recognised as progressive unless they qualify for a once in a lifetime achievement of being debuted. There isn’t a limit time for training maybe one year maybe ten years, we can always hear from the idol’s interview, they say trainers’ life are hopeless and drawn-out, because there isn’t an endline for them to count on. A girl in idol group ‘twice’ is called Jihyo, who has stayed in the JYP entertainment for 10 years as a trainer, on the day of her debut showcase she was tearing up for the whole song which caused Jihyo couldn’t sing properly. She said she dreamed this moment almost every night, but she cannot believe herself when this moment has arrived.

 

conclusion

Reaching millions and with many more avid followers,  the supremely refined musical stylings of kpop- whether you love or hate it- echo across the globe.

 

Having powerful influence through fashion, make up, dance etc South Korea has become the encompasses Asian pop culture, spilling into Western culture catalyst to Media 2.0’s globalisation. K-POP’s pursuit and false obtanity of utter perfection upholds well established ideals, but it comes at a cost. K-POP’s promotion of Idols that transcend societal norms and reality, which are then embodiment in fans’ dreams and desires, masking how the shrouded climb to stardom is arduous and often cruel.

The star factory process behind the scenes that dictates the export of talent, following formulaic and precise set of  rules and regulations. Exposed to girls through the media however is plain advocacy that doesn’t address this insitution’s omnipresent training and fixation on perfection. K-POP’s institutions are not just what we can see upon first glance. To identify a modern institution, we must closely analyse the true nature of an establishment. Adroit in the art of the mastering the media kpop is (PROFOUND STATEMENT LINKING TO MEDIA)

Who is Marshall Mcluhan?

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In our Week 11 lecture, Mediums Technologies Mcluhan was introduced as one of the most influential and controversial medium theorist to date. Internationally famous in the 1960’s due to his provocative phrases and axioms, he further emphasised a Billig’s understanding of communication that ‘a message is part of part of a debate where arguments flow back and forth’ (1996, Billing, pg 85). Mclauhan explored the idea surrounding the ‘new electronic interdependence’ emerging within the post-broadcast era, investigating whether the neo-liberalism of technology could ‘recreate the world in the image of a global village’. 

This idea of a ‘global village’ I found extremely interesting, as internet providers and mediums promote their platforms connectiveness, creating a unified perception of universalism. In this ABC Interview –

– Mcluhan discussion of advertising as a public art form, the effect of the service environment on man, and man effect on himself through the search for identity. His discussion on medium being a message although is applicable and usually directed to the increasing influence of technology, surpasses just the physicality of machines and explores the spirituality of mankind’s soul. His rhetorics surrounding the idea of communication reflects our society’s changing nature and idea of post-modern truths. Thus, by observing rhetorical analysis of communication we ironically find a message, in the message, of how to message. 

Is Mankind?

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Today in today’s workshop we discussed the communicative revolutions of media, and what is meant by media itself and the messages its produces today. Week 11’s lecture on Mediums and Technologies explored the historical and contextual media platforms, comparing early communicative understandings of the transmission model in contrast to our more post-modern interrelated system of connectedness present today.

As corporate privatization seemed to be a big influential factor of our media today, I decided to go a have a look at some of the more successful business’ advertisements online currently, and see whether I could make any sense of what was going (big picture style). Air B and B’s Is Mankind ad definitely demonstrates a rhetoric surrounding the sharing community concept, which I guess has recently emerged from the internet’s projection of global connectedness. As it has been discussed previously in prior classes, I do know that the sharing economy’s growth in popularity was due to the 2008 global financial crisis, which I guess in it’s aftermath put financial pressure on communities to ‘share and care’. Consequently, a neo-utopian lifestyle has emerged on social media that’s adopted a philosophy that advocated by ‘hipsters’ and boutique cafes.

Now, going back to the class discussion of the privatization of platforms, I don’t know whether this ‘humane’ idea is as legitimate as projected by huge billion dollar companies, because of, well, just that. This specific advertisement tries to unite through the campaign the diverse audience present online as it contemplates the identity of man through the symbolic gesture of a baby’s *evolutionary* progression.  This utilizations of the anonymous face of the technological community sure, demonstrating Air B and B’s acknowledged of unidentified masses (… this is starting to sound very broadcast era-esque). It is for this reason I believe, audiences must continue to challenge the sharing markets privatisation and ‘production’ of unified universalism, as once again we see businesses appeal to generalised audiences. Especially considering they’re attempting to personalise their business by identifying who we, the un-identified technological audience, actually are. It’s weird because it doesn’t take long for the audience to realise that exploitation tools and techniques used in today’s advertising world, which makes me question why privatized companies like Air B n B keep putting money into ads they know will come off as creepily boosteristic and false. Maybe, instead they should try and rehumanise the experience of the technological communication economy by setting up travel agencies etc for people to go into and book through, or maybe that part of the industry is gone and dusted as more and more people seek from the internet the possibility to live.

 

 

 

…

Here is a parody of the Is Mankind advertisement that I thought was very hilarious

CHASING ASYLUM, EVA ORNER ~ REVIEW ~~ 29TH MAY

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Eva Orner’s 2016 documentary Chasing Asylum reveals the traumatic and inhumane treatment asylum seekers face consequent to the Howard government’s 2008 migration reform. Abbott’s widely and over projected answer that in order to save Australia’s (maybe legally dismissed but still psychologically present ‘White Australia Policy’), we must ‘stop the boats’.  As a teenager of generation Y who still doesn’t really know enough about these issues to speak openly about ideas and opinions, Orner’s documentary opens a zip lock seal of Australian secrets, exposing the meaning and truths behind our Governments slogan-istic statements. Taking us undercover into Manus Island and Nauru through hidden cameras and phones, we see the little financial and emotion support the Australian Government gives to Asylum seekers whom are now imprisoned – despite their attempt to obtain freedom – by high metal fences and guards. The documentary discusses the economic strategy of the Pacific Solution, where the Australian Government exploits the financial instability of small South East Asian islands and countries (now Cambodia), paying them to ‘take our seekers’ for financial deposits. The narrative follows a non-linear structure using cross cut interviews with volunteers from Nauru to project the fragmentation felt among current seekers who currently hold no identify and  future. Stripped of given names and instead associated with numbers (sound familiar) their camp is lined with white plastic sheets as walls, with no privacy or personality. Mental illness and suicide is explained as recurring themes on the islands (seeing up to four incidents of self harm daily), with personal interviews taken with seekers discussing they don’t want ‘to live out their youth in a place like this’ – Unidentified man, 28 years old.

Orner, also enforces Australia’s legal obligation and responsibility to protect human rights, exposing how recent approaches violate international treaties and conventions. In the 1950’s the United Nation declared treaties and conventions, catalyst to WWII’s lack of protection, which Australia signed in agreement to welcoming refugees (thus never again can genocide and human rights violations arise like it did in 1930s). Discussed in the film was Malcolm Fraser’s cooperation of these laws, demonstrated throughout the Vietnam War were refugees were flown in (organised by the Australian government) and be settled in Australia. However, in recent years the rhetoric of fear surrounding national security and the politics of Australia’s anti-terror laws have become overwhelmingly present, communicating to the Australian public a perceived threat of potential harm. Since 2001 and the Tampa incident – where children were being thrown off boats as a Afghanistan refugee’s were declined from Australian waters, coinciding with the ‘war on terror’s 9/11, initiating Howards 2008 election speech ‘the future of the Australia we know… protect our boarder… we decide who will come into this country and the circumstance in which they come”, we have seen a series of new laws which the Australian public interprets as a reflection of our countries threat. United by indirect and instructional fear projected by our governments concerning foreign affairs and  foreign members of the world, the government has been able to hide from our sights the atrocities of asylum seekers through fear mongering tactics. However, Orner lifts up this vail and challenges Australia’s perception of Asylum seekers portrayed through the illegality and unimaginable circumstances they have endured to get here, portrayed by the media. Orner enforces that for too long Australians havent felt the right to ask questions because of the illegitimate and dismissal answer that only communicate our need for national security (stop the boats). Thus, Chasing Asylum “engages Australians to think more opening about the individual experiences of displace people seeking a safer life” – Orner, with the ambitious and confronting documentary bringing light the human impact of this global issue.

Week 7 Feedback [UPLOADED]

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Holly Karas – The Return

https://vimeo.com/165663806

 

Process / Blue Hat – Holly’s work shows a lot of creativity and sophisticated editing techniques. Her opening shot, which gives the title of location, director’s reference and subject/project brief title was done very professionally as she had obviously taken into consideration the average time frame for credits. The titles were also a good editing tool as they confirmed location and the portraits ambition, helping the audience feel comfortable and comprehensive of the portraits points.

Facts / White Hat – Using the subject playing acoustic guitar for the sound track was a really beneficial idea because it matched the tone and subject matter of the piece whilst providing a personable and unique experience for the audience. The playing was very nice to listen to and definitely played a major part on the overall aesthetic of the piece.

Feelings / Red Hat – This piece made me feel personally quite good, and very comfortable with the subject. The subject talks about performing and the anxiety and nerves she had to deal with and overcome in the process of being a live gig performer. This is a topic that most people can equate to, making the topic and the portrait in general an very intimate experience which encompasses the idea of the PB3.

Creativity / Green Hat – Holly uses multiple camera angles whilst filming her subject which overall allows her film to take on a level of sophistication. By using diverse angles and editing them together in a way that compliments narrative the film adopts a three dimension feel, transcending the basic 2 dimensional linear approach seen commonly in amateur film making practice.

Benefits / Yellow Hat – The subject is an animated and confident speaker which affirms the audiences interest for the duration of the video. Whilst speaking she is moving around a lot, using hands and sitting positions to emphasise and communicate part of her answers. Ultimately these characteristics enhance her personality and relationship with the audience, as it communicates further personalities traits of the individuals transcending the restrictions of script.

Cautious / Black Hat – Next time a few more scenes of the subject could be beneficial and engaging. As the subject is creative and does perform maybe some clips that shows her on stage so we can get a further idea of what her artistic and creative nature is like. However, filming in studios and/or bars require legal documentation and large team cooperation which may have been daunting and too complex for a PB3 assessment. Either way though, a good idea for the future!

Isobell Roberts ‘Project Brief 3′ 

https://youtu.be/vo3sDyLrLQE

Red Hat/Feelings – I really felt a connection with Isobell’s subject which is a positive result considering PB3 was suppose to be an intimate portrait. The starting question of ‘do you ever stop learning’ was instantly engaging, whilst the subjects demeanor being calm and collected allowed for her quite difficult and complex discussion on human nature and our ability to ‘learn and grow’ to be comprehensive. The subject’s overall mature complexion was a positive attribute to the complex and open ended portrait discussion.

Blue Hat/ Process – I think the editing of this portrait demonstrates a level of experienced, which speaking to Isobell is consequent to her practice on Premiere during PB 1/2. Ultimately for Media,  the skills we are focusing on, (especially in regards to industry experience), is the physical comprehension of Premiere and our manipulation of editing techniques, therefore the more practice meaning the advancement editing skills would be beneficial.

White Hat/ Facts – The general discussion of the portrait is interesting and entertaining. Isobell explores creative cinematic techniques, that extend the black and white tone of the discussion. This equates the films complex script with a complicated and creative inhibition. Thus, there is a good balance between straight narrative structure and visual entertainment.

Green Hat/ Creativity – Following the subject throughout the course of the day, even in intimidate situations such as driving to and from work, created a personable experience for the audience. This was a good creative move as it personified the subject within the video whilst allowing the audience to experience life very much ‘in her shoes’, which is the aim when creating a film about personalities.

Black Hat/Cautious – Next time maybe you more camera techniques that balance and hold the lens. Having the camera not on a tripod does make it difficult to watch within scenes and also doesn’t equate to the videos mature narrative/script.

Yellow hat/ Benefits – Overall a very interesting film and subject matter. Having the discussion on learning which is a universal theme allowed for great audience participation and engagement!

Ambiguity – Vanessa Wong

https://youtu.be/FV4G4cqn0Yo

Facts / White Hat – The personal found footage in the portrait I thought really complimented the surrounding concept of identity in the piece. The last image of the subject as a child looking at the cameras reflection in the mirror created a double lens shot which was a fantastic way to conclude the piece. As the piece encompasses the affirmation of identity the childhood videos along with the ironic title ‘ambiguity’ reflects on the subject and the portraits ambition, positively challenging the audience to think deeper and perhaps more personally about the piece.

Creativity /  Green Hat – The opening shots thats referenced international political situations and different approaches towards same-sex marriage and rights and responsibilities was a creative and powerful introduction to the portrait. By making the found footage as political message and reminder instantly humanises the subject, as the footage reminds us through first person experience the contextual controversy and debate surrounding the concept of the piece. It helps the audience sympathise and empathise with the subject as it reflects current issues through a personalised perspective.

Cautious / Black Hat – I think every film maker has to be cautious when it comes to portraying minority groups through a singular voice. It is hard when creating a film to be as objective as possible when monitoring and editing clips, especially when trying to balance the subjective attitude and perspective of a person’s idea of them self. I personally had no issues with this portrait and thought that it represented the ‘ambiguity’ of self recognition well, due to personal experiences that have made me have a neo-liberal philosophy and outlook on life.

Process / Blue Hat – In this instant I think camera framing and editing could be more sophisticated. However, this is an experimental project and considering the director has not made many films the footage was shot nicely, especially interviewing scenes.

Feelings – Red Hat – This film made me feel happy. I like Vanessa’s approach of talking about identity and the characteristics that surround the rights of an individual as such issues are universal and very much in the spotlight in this  generation. I think film is largely about representation and representing an experience to the audience that they would not be able to experience through normal daily life. Thus, the portraits intimate setting and narrative allows for a personable experience which is the ultimate desire in a portrait piece.

Benefits / Yellow Hat – Overall i thought this was a really engaging and interesting piece.

PB3 Assessment feedback – Before and after submission.

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I was very sceptical about how my PB3 project would be interpreted and marked. The assessment pushed my creativity and physical skills and passion as I was regulating an interview that I wanted to be interesting for the viewer whilst respecting my subject and his limits. My overall mark was a distinction which I was happy to receive as I made sure to refer back to PB2 feedback and work on it’s criticism. However, for PB4 I am going to try and extent my use and knowledge of premiere/illustrator to try and get a HD. As I have been getting a 70-75 average on my assessments so far I would like to get a 75+ plus to confirm my progression in the course and knowledge in media.

PODCAST: Psy & The Rise of K-Pop : Mark Russell – 16TH MAY

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A podcast with Mark Russel and his understanding of Psy and the Rise of K-POP.

“With worldwide familiarity of Korean pop culture increasing through the viral exposure of Korean musician Psy’s hit record “Gangnam Style”, this episode Korean Kontext speaks to Mark James Russell, author of “Pop Goes to Korea”.

Having lived in South Korea for over 13 years, Russell is a regular writer on Korean culture and entertainment for the New York Times, Newsweek, and Hollywood Reporter among other titles. Having also spent several years developing and producing several documentaries about Korean pop culture and history, Korean Kontext thought he would make an ideal candidate for trying to understand South Korea’s increasing prominence in the worlds of film, music and art.

What does the rise of Psy tell us about the popularity of Korean music in the United States, how is the internet helping bubble Korean content creators to the top of the game, and what role can government play in catalyzing the cultural output of its people? Mark answers these questions and more in essential listening for anyone interested in Korea’s growing cultural prominence”

 

The interrelated pregnancy of globalisation, institutions, and media and their birth to KPOP.

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PB4 so far has been quite a challenging task to grasp. It’s symbiosis of the topics; media, institutions, and KPOP and their demonstration within a video and audio documentary essay, proves to be quite challenging as correct structure is needed to coherently prove … Continue reading →

Personifying Institutions….

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For our PB4 video, we decided to consider personifying ‘Institution’ to create a more personalised and understanding approach. In the same way that Julia Roberts is personified, by personifying institution it allows us to communicate with the audience KPOP and MTV’s ambitions and what makes them an institution.