Contemporary Documentary

This reflection will reflect on “Your studio” and “Other studio.”

“Your studio”:

I engaged with my classmates’ studios actively, I watched their documentaries, heard their background stories, and participated in their in-class pitches. My classmates are hardworking, and their documentaries are excellent. For the two specific documentaries, I chose “Distant Ties: Portraits of belonging in a home away from home” and “The call for peace: Palestinian’s longing”. The Distant Ties gives me a sense of warmth because I saw some Chinese culture. The producer Janeca said she really likes Chinese culture, and she wanted to add Chinese elements when she was brainstorming for it. Therefore, she added lanterns, chopsticks, etc in it. The quality of the image and sound are very high and clear, and there is no noise and there’s no confusion in the connection between the images. Ruby pointed out that video producers should show us their view of the world through a documentary (Ruby, 2005, p3). The editor expresses homesickness with professional editing skills, and the shot of the lantern is my favorite because the Chinese always make and release lanterns during festivals in China.

Palestine is about peace. Peace is what people all over the world want and people all over the world call for and care about. Palestine is a social movement, and a social movement can reflect our lives best, and it refers to social change actions. It is always caused by many people feeling discontented, threatened, deprived, etc. They often have their own slogans, and it is a human right to participate in social movements. I gave my feedback to this group in week 5, so this documentary is my preferred documentary. The topic of it is interesting because the event is important in Melbourne, even in Australia. In this final work, it is the same as Distant Ties, the editing and sound are perfect; the quality of the image and sound are very clear, and there is no noise as well. In the same theory, video producers should record real stories and show us their view of the world through a documentary. The editor expresses the importance of social movement with professional editing skills; this video also encourages young citizens and young people to engage in this social movement.

 

“Other studio”:

I also visited three other studios, I watched their videos and read their background stories. For the two specific works, I prefer to choose them from Golden Age Cinema studio: “Heather” and “The Space Between.” The works in this studio can be fiction and drama. Their funding and budget are much more difficult to estimate than a documentary because it involves a wide range of professional filming techniques and needs many actors to act. And this species of video is rarely remade (Lauren Rosewarne, 2020, p9). Heather is about a depressing and grieving woman who is running from her grief, and she discovers some mysterious doors that lead to different locations. Each location, each door, every sound, every light, and every stair she steps are reflections of her internal world, especially her unease. The production team uses a disorganized space, some upstairs, some downstairs, some pale-yellow walls, and a grey sky to convey her panicked inner world. The whole place is like a maze; she goes up and down aimlessly until she finally escapes from the “maze.” In my opinion, the topic of mystery is difficult to make and direct, it requires a high level of cinematography, editing, sound, lighting, and plot. However, the production team expresses depression and panic with professional lights, music, and editing skills, immersing the audience in her escape.

 

The Space Between is about a young girl who runs away from home and escapes to a place she can’t name. As she walks around, a strong force follows her; it is like a pair of eyes or a nightmare. The production team shows the tension between the strong force and her. At the beginning of the video, the production team uses a cigarette, a lollipop, a dirty wall, a broken window, and an empty corridor to hide her inner unease and panic. And the editor uses professional editing skills to edit her memories to convey her childhood was sweet, but now she is lonely and depressed.

That completes my reflection. This course is meaningful, and the whole process is a challenge for me. These studios are interesting, and these works are memorable and creative, and the editor’s editing skills are very professional.

 

Reference

Ruby, J. (2005). ‘The Ethics of Image Making’. In: A. Rosenthal and J. Corner, ed., New Challenges for Documentary. Manchester: Manchester University Press, pp.209-219.

 

Rosewarne, Lauren. (2020). Why We Remake: The Politics, Economics and Emotions of Film and TV Remakes. United Kingdom: Routledge.

 

Studio: Contemporary Documentary

The first piece I watched was CN Type Beat by Shijie Fu, Yutong Li, Ivonna and Lan. My initial reaction when the video ended was disappointment, only because I didn’t want it to end! I found the proof of concept incredibly engaging, its fast paced cuts, use of live performances and soundtrack kept me hooked. Being a piece centred around hip hop, the aspect that impressed me most was the sound design. The soundtrack and use of what song to overlay over each selected piece of B-roll was clearly something heavily considered in the editing stage, with each song selected keeping the pace of the piece consistent. I imagine the primary audience for this project would be in the 18-25 range and the visuals, especially the performance in the nightclub, would appeal to a lot of that demographic.

The overall content in CN Type Beat is also something I found to be very appealing, as someone who doesn’t know much about the Chinese hip hop scene in Melbourne, I found that the proof of concept conveyed the narrative and had a clear goal on what it was trying to show. Overall, I found CN Type Beat to be a fantastic watch!

The second piece I watched was Distant Ties by Janeca Cabanayan, Joline Kinsachi, Kelly Elizabeth Lukman & Olivia Thomas. Similar to CN Type Beat, I found Distant Ties to be very engaging. While being a drastically different pace from the first piece, I found it conveyed the narrative and feeling of homesickness very well. The main aspect I loved was the use of B-Roll layered over the interviews, especially in the beginning, where shots of cultural symbols are spliced in within the larger overall scope of Melbourne, creating a feel on cultural isolation.

I believe the slower pacing, letting certain shots go on without any dialogue over the top was key, as the visuals and sombre backing music alone were enough to evoke a feeling of melancholy.

Overall, CN Type Beat and Distant Ties were both done very well. The cinematography, pacing and sound design all evoked the desired feel and emotions from me, the viewer, each piece assumingly wanted to achieve.

Studio: Golden Age Cinema

The first piece I watched from the Golden Age Cinema studio was Heather. I was incredibly impressed by the surreal atmosphere Heather created, its non linear structure and backroom-esque environment only added to the intrigue of the overall story.
I feel the conscious choice to structure the film the way it was only added to the mystery, leaving the audience wondering why the main character was in the predicament she was in for the majority of the film, only to be explained in a way that allowed the audience to engage with the overall narrative even deeper, having them fill in the gaps as to what happened in the lead up to the beginning.

The second piece I watched was Out of Sight, which was again, incredibly engaging. The main aspect I liked was the use of cuts to evoke the feeling of stress and confusion the protagonist was feeling upon the audience. I feel the use of some music may have assisted in the scene the protagonist notices the cameras, but it did a good job nonetheless.

The transition from the camera feed into the surveillance room was also something I was hoping for as I watched and loved to see! Paired with the final shot of the camera pointed at the locked door, I loved the feeling that the faceless antagonist gave off, it really added to the mystery.

I feel a key idea Golden Age Cinema aimed to achieve was to have a strong atmosphere in every piece. Heather with its cool colour grade, hand held shots and intentionally disorienting structure allowed the audience to feel the stress the protagonist was feeling. Out of Sight, focussed on the environment around them as they hiked (webs, long grass, gumtrees) it eluded to a feel of isolation seen in similar horror movies which added to the stress the protagonist and audience felt. Both pieces achieved this to a high level and were both great watches!

Shutters Closed – Isabella Cook, Tristan Buesst, Clare Walker and Jonty Yeo

Shutters Closed explores the history of 3 iconic Melbourne storefronts. Our proof of concept highlights Peony Garden, a storied camera shop surrounded by mystery, once a heaving Chinese restaurant that served RMIT students in the ’80s and ’90s, which has now shut its doors and remained untouched for years;. Paperback Bookshop, a Melbourne institution that has served countless readers since its inception decades ago; and Pellegrini’s, a true Melbourne icon, where the atmosphere, interior and menu remain unchanged, preserving its history as a timeless espresso bar.
The project includes the personal stories and connections of 3 individuals, each one closely tied to these spaces, exploring their reflections on how, despite Melbourne’s constantly evolving urban landscape, each location has essentially remained a time capsule from when it first opened to the current day.

Our group, Isabella, Tristan, Clare and Myself spent the second half of the studio working on Shutters Closed, first using our time together in class to investigate locations and discuss ideas for how we wanted to approach and frame the project, filming and photographing our locations and finally settling on a clear angle after the first screening of our draft proof of concept. From there we collaborated to create the final cut of Shutters Closed.

Personally, I found the entire process of creating Shutters Closed to be an incredibly valuable experience. As a group, we were all at different stages in our degrees, each contributing our own unique skills. Combining our strengths in such a collaborative environment was truly eye opening. It also marked my first hands on experience outside of the edit suite in media production, where I learned to operate sound equipment and filming gear for specific shots. The skills I gained throughout this assignment and the overall studio were crucial for my development as a media student. Having this experience beyond just the editing stage is incredibly useful, and I intend to use all that I have learned over the past 6 weeks through the remainder of my studies.

Reflection by Kelly Elizabeth Lukman (S4102033)

Studio: Contemporary Documentary

The first work I watched was Chinese Hip in Melbourne by Tony, Helen, Ivonna, and Lan. One of the things that caught my attention the most is how well the audio design was conducted, the music they used, and the timing of fade in and fade out complemented their visual shots so much, including the B-Rolls. In the beginning, there were also some interviews in pop vox style, which is very fun and gets the audience’s attention. The story that they chose to tell is also very interesting, a lot of people must be interested in this story, especially the ones in Melbourne because they did a lot of busking on the streets of Melbourne. It’s something people often overlook, so through this documentary, more audience and people who love music can learn more about cultural things too.

The second work I watched is Shutters Closed by Jonty Yeo, Tristan Buesst, Clare Walker, and Isabella Cook. The first thing I can say is how well the shots are taken; the cinematography was so well conducted. The B-rolls they took added nice textures and poetic sense, and the still shots where a lot of people and cars were passing by conveyed the message of “how, in a fast-developing city, it is truly special to find spaces where the past is preserved without interference” really well. The interview shots were also great; it was on a great angle and aesthetic, the interview made this film more intimate and alive as they have a lot of stories of the past and from what they remembered personally.

 

Studio: Golden Age

The first work I watched was Heather by Abby Denman, Amelia Christie, Mir Israni, and Aurell Sabina. This film was about a grieving woman struggling to cope with a profound loss. I noticed the color grading helps in understanding the whole vibe of this film, as said before, it is about a woman grieving, and the coloring sends out that eerie, mysterious, and dark, just like someone who is lost in their head. It highlighted how important color grading is in making a piece that follows the storyline that was intended. Not only that but their camera work and the shots they took with a specific skill helped in delivering the message. For example, when the woman was running after entering a door, they didn’t use a still shot, but instead, the camera was moving and shaking too, therefore conveying the emotions. The last thing I noticed was that there were some repeated scenes before the woman entered a new door. The scene was similar to when she entered the first door, and I think that created a feeling of anxiety, fear, and adrenaline as if she was in her own head trying to find a way out from door to door, just like a person who is grieving and in their own internal world.

The second work I watched was Inprint by Xi Wang, Abby Zeng, and Wenyu CAI. Similar to Heather, the color grading helps in telling the story. They went back and forth from black and white to color, which helped the audience while watching to understand which was the flashback and which was the present one. The coloring also made it feel cold and intense, which is perfect as they were in an investigation room and a murder had occurred. Another great shot that was a great build-up for the plot was when they showed that the woman was using the same lipstick that was used by the murderer.

In conclusion, from my perspective and understanding of what the studio is, color grading is an important aspect of cinema because color grading not only makes the film aesthetically like how it is intended to be but also helps in conveying the emotions and story. All the elements, such as sound design, cinematography, and color grading, are connected to each other and are equally important as they complement each other.

The Week 7 website exhibition was a valuable opportunity to showcase our studio’s final projects and engage with works from other studios. Through this experience, I reflected deeply on the key ideas explored within my studio and found inspiration in how other studios approached their creative challenges.

Insights from My Studio

 

CN TYPE BEAT by Tony, Helen, Ivonna, and Lan.

 CN TYPE BEAT is a fascinating documentary about Chinese rap, exploring how it evolved from being relatively unknown in Australia to gradually gaining recognition. As a documentary, the title is particularly eye-catching, sparking curiosity and compelling viewers to watch.

The video’s rhythm mirrors the dynamic nature of hip-hop, with constant transitions that maintain an engaging flow. I find this pacing to be highly effective. In terms of production, the interview footage serves as the backbone of the narrative, clearly conveying the core story. Tony, both as the producer and a participant, plays a pivotal role in driving the story forward, adding coherence and harmony to the documentary.

The use of interjected narrative techniques is also cleverly executed, weaving in the experiences of various Chinese rappers. These personal stories enrich the video’s content, providing depth and context while showcasing the journey of Chinese rap culture. The production demonstrates thoughtful planning and creativity, making it both impactful and memorable.

 

Distant Ties: Portraits of Belonging Outside the Home by Janeca Cabanayan, Joline Kinsachi, Kelly Elizabeth Lukman, and Olivia Thomas.

Distant Ties: Portraits of Belonging Outside the Home is a documentary that tells the story of three individuals finding their cultural identity while living abroad. This theme is profoundly meaningful, especially for viewers who, like the subjects of the film, are navigating life in a foreign land. Watching this documentary evokes a warm sense of connection and resonance.

The film’s overall pacing is light and comforting, with a thoughtfully chosen soundtrack that enhances the familial atmosphere. From scenes of cooking to moments showcasing family interactions, the visuals are infused with genuine emotion. These shots go beyond being mere records of life—they express heartfelt connections, making the film vibrant and relatable.

Additionally, the story framework and script are well-designed, providing a seamless and engaging narrative experience. Through its delicate storytelling and evocative visuals, the documentary beautifully captures the small yet significant moments of finding belonging in a foreign land. It leaves a lasting impression with its warmth and authenticity.

 

Lessons from Constraints as Creative Fuel Studio

The Five-Dollar Film” by Mia and Josh

This project demonstrated the creative possibilities of working within a strict budget constraint. The team produced a short narrative film using only items sourced from a dollar store. By leaning into the limitations, they crafted a humorous and engaging story centered around a quirky family dinner. The simplicity of the props and costumes added a layer of charm to the work, underscoring how constraints can lead to innovative solutions.

“Four Walls, Endless Stories” by Bella and Sam

This piece explored spatial constraints by creating a short film entirely within the confines of a single small room. The team utilized lighting, camera angles, and set design to reimagine the same space as multiple locations, such as a café, a library, and a therapist’s office. The work highlighted how physical limitations can inspire imaginative uses of space, reinforcing the idea that constraints often stimulate rather than stifle creativity.

Conclusion

 Reflecting on these projects, both from my studio and the Constraints as Creative Fuel studio, has broadened my understanding of media production and the creative process. My studio’s projects demonstrated the transformative potential of technology in storytelling and the importance of aesthetics in evoking emotional connections. In contrast, the other studio highlighted how limitations could sharpen focus and inspire unconventional approaches.

One of the key lessons I take away from this experience is the importance of adaptability. Whether working with abundant resources or navigating strict constraints, success in media production often hinges on how well creators can adapt their ideas to the tools and conditions at hand. Additionally, I have gained a deeper appreciation for the interplay between form and content, recognizing that thoughtful design choices can elevate a narrative and make it more impactful.

Moving forward, I hope to integrate these insights into my future projects. Specifically, I plan to experiment with imposing self-directed limitations to push the boundaries of my creativity. I hope to enhance my scriptwriting skills in future explorations, enriching my stories with creativity. I aim to improve my filming techniques to create more profound and meaningful shots. Ultimately, I aspire to find a balance between creativity and constraints.

Introduction:

“The Call for Peace: Palestinian’s Longing” is a documentary that explores internationalism and peace, following three volunteers—Tom from the UK, Anna from Greece, and Quin from Australia—who joined the Free Palestine march in Melbourne. United by their empathy for those suffering in the Palestinian conflict, they overcame cultural and linguistic differences to advocate for peace and justice. Through compelling interviews and on-site footage, the documentary highlights the efforts of ordinary individuals striving for global harmony.

Reflections and Insights:

As the cinematographer for this documentary, I gained invaluable experience both technically and intellectually. Capturing the march and interviewing participants allowed me to witness their unwavering desire and commitment to peace. Their stories broadened my perspective on conflict and humanity, teaching me to view such issues through a more global lens. The challenges of filming also deepened my skills in attention to detail and adaptability on set. This experience reaffirmed for me that visual storytelling is not just a medium for recording events but a powerful tool for conveying ideas and emotions.

I watched the film Shutters Closed by Jonty Yeo, Tristan Buesst, Clare Walker and Isabella Cook. It tells the story of Melbourne’s elusive shops, sealed in time, that tell the story of Melbourne and the feelings its residents have for them. Over the course of six weeks, the creators concretized their own experiences as Melbournians to create the work.

I especially like the shots and angles of this documentary. I can feel the charm of the camera language from this documentary, and what each shot is trying to express – the passage of time, closely tied to the theme. I think its shooting Angle is very mature, and like most documentaries played in theaters, it has the texture of the big screen, which is worth learning from. Although this is a relatively new niche subject, these shots make the overall viewing of the documentary particularly good, and the high quality of the picture presentation alone made me curious about this documentary.

In terms of sound, I can see the design of the documentary is clever – just right background music and clear interview voice. Several piano chords in the background music at the beginning of the film immediately immerse people in it. The rhythm of the background music is suitable for the film, inadvertently slowing down the audience’s heart and feeling the flow of time. In addition, the design of the camera and sound effects make the film more atmosphere. I hope to make documentaries with this texture in the future.

I also saw Distant Ties: Portraits of Belonging Outside the Home by Janeca Cabanayan, Joline Kinsachi, Kelly Elizabeth Lukman, and Olivia Thomas. The film focuses on three people from overseas who connect with culture while away from home. I think it has something in common with A Bite of China that I mentioned in the class discussion, which focuses on people’s emotional expression by focusing on food. As a Guangzhou native, I was pleasantly surprised to see the film because it retained the Cantonese soundtrack of the interview.

In terms of the making of the film, I felt that the pace of it was comfortable – gradually getting to know the lives of these people as immigrants from non-Western backgrounds. At the same time, I think the shots are very delicate, the cooking shots, the display of paintings and the group photos of the family all create a subtle poetic atmosphere. It is not difficult to see that even when they are in a foreign country, their emotions are still very close to home.

In terms of sound, the background music of this work plays a good role in setting off the atmosphere, so that the audience is attracted by the sound and immersed in it at the beginning. A small understanding is that about one minute and fifty seconds can retain a little bit of the video’s original sound,  because the people in the picture are talking, but the audience can not hear any sound, which makes me a little confused. All in all, this is a very delicate documentary, and it is worth me to learn the emotional expression in it.

Another studio video I watched was Between Two Worlds created by Anna Duong from Heads Won’t Roll. The film tells the story of a Vietnamese woman who married and moved from rural Vietnam to the suburbs of Melbourne, demonstrating the resilience and sacrifice of being a mother despite leaving everything familiar and facing linguistic and cultural differences.

First of all, I think the film is very creative, the video is slowly developed by some video material, about the mother’s experience from rural Vietnam to the suburbs of Melbourne, you can’t help but wonder if she is used to or adjusted to life here. Another point is that Anna showed vivid hand-drawn animation in the video, which I think is very creative and requires high artistic talent.

The film’s narrative is also just right, introducing Mother’s past and present, highlighting the differences between the two different living environments, and the cultural and linguistic challenges she faces, which is realistic and thought-provoking.

About the camera, I think it is very rare that even when the video author tells about the past, there are still enough video materials, and these video materials are clear enough, which helps the audience understand the past. The scene that I appreciate most is the last scene of the film,  when only the picture of the mother is grey, but the camera pulls away, the family walks to the mother, the original grey picture becomes bright. It was like a true reflection of mother’s heart that life in a country with huge cultural differences was difficult, and it was her family that lit up her otherwise dark inner world. I appreciate Anna’s talent very much, and I hope I can create such profound and creative works in the future.

This is a documentary focusing on Melbourne’s burgeoning Chinese rap culture. Through the stories of rappers like Abel and Future, this documentary delves into how music can be a bridge between identities, blending the rhythms of Chinese rap with the diverse sounds of Melbourne. Candid interviews and engaging visuals show how, despite language issues, stereotypes and cultural differences, Melbourne’s Chinese rappers have always banded together in an attempt to create a community of their own. From their creative process to their reflections on identity and community, CN TYPE BEAT will give us an insight into the development of Chinese hip-hop within the multicultural context of Melbourne.

Yutong Li’s Reflection

In CN TYPE BEAT, I was responsible for shooting and sound design to bring Melbourne’s vibrant Chinese rap world to the masses. While shooting, I focused on experimenting with different frames and compositions, trying to figure out how to make the documentary look more professional and visually reflect the energy and identity of the rap culture we were exploring. In terms of sound design, I worked hard to blend the background music of Chinese rap with natural ambient sounds and dialogue, ensuring that the audio elevates the emotional impact of the entire story. For me, it was a valuable opportunity to gain practical experience in sound design and production, as well as to perfect my shooting technique, improve my skills in shooting and editing audio, and learn to hold my work to a higher standard. Capturing the artistry, energy, and growing community of Chinese rap in Melbourne has been a fascinating journey and I hope my passion and creativity in this project shine through in the final product.

“Shutters Closed” is an evocative documentary that delves into the essence of Melbourne’s frozen-in-time storefronts, such as Pellegrini’s Espresso Bar and The Paperback Bookshop. These spaces are not just businesses but cultural icons that hold the stories of the city’s history, its rapid urban development, and the nostalgia of its people. The project captures the delicate balance between preserving the charm of these establishments and adapting to modern pressures.

Through interviews with former customers and owners, the documentary reveals personal connections and collective pride tied to these locations. Playful yet poignant B-roll footage adds texture, showcasing the unique visual identity of these shops and their ability to evoke memories for viewers. By documenting these businesses, Shutters Closed creates a vivid portrait of how small, locally owned shops can serve as cultural anchors, resisting the tide of homogeneity brought by urban growth. This piece not only celebrates Melbourne’s rich past but also raises questions about preservation in a constantly evolving cityscape.

Distant Ties is a deeply intimate exploration of culture, identity, and place through the eyes of migrants from non-Western backgrounds living in Melbourne. This documentary highlights how personal and cultural memories persist despite the physical distance from one’s homeland. Through compelling stories, it illustrates the ways traditions, language, and shared practices anchor individuals to their heritage.

One participant, Bryan, offers a touching narrative about maintaining cultural ties through food, sharing memories of cooking in Macau that serve as a bridge to his past. Similarly, Tagalog conversations with colleagues illustrate the power of language as a tool for connection and camaraderie in a foreign environment. The film’s structure intertwines these personal recollections with broader themes of nostalgia, displacement, and resilience, offering a reflective look at how migrants navigate their identities while forging a sense of belonging in Melbourne. Through its poignant storytelling, Distant Ties paints a picture of how cultural preservation can transform a foreign city into a comforting home.

The studio on the Golden Age of Television, particularly focusing on The Sopranos (1999) and Breaking Bad (2008), introduces the compelling idea that television can be an equally, if not more, powerful medium than cinema for exploring intricate characters, moral ambiguity, and societal issues. Both series exemplify how complex characters, and their evolving stories are vital in shaping public perception and offering rich, nuanced commentary on human nature and morality.

One of the central ideas communicated by these shows is the portrayal of antiheroes—characters who defy traditional moral norms. Tony Soprano, in The Sopranos, is a prime example of this. A mob boss struggling with mental health issues, family dynamics, and a craving for power, Tony embodies a moral complexity that blurs the lines between good and evil. His actions, driven by internal conflict and external pressure, challenge viewers to question their traditional understanding of right and wrong. This type of character was a groundbreaking shift in television storytelling, where flawed individuals are not just villains but multidimensional figures with whom the audience can empathize, or at least understand.

In Breaking Bad, Walter White undergoes a similar transformation. Initially presented as a sympathetic figure—a high school chemistry teacher turned meth manufacturer to support his family—Walter becomes increasingly ruthless and manipulative. His descent into villainy is portrayed as an inevitable consequence of his decisions, making viewers reflect on the human capacity for self-justification and the moral consequences of seemingly benign actions. Both characters convey a key message: the human condition is complex, and the decisions people make, no matter how flawed, often come from a mix of necessity, ego, and desperation.

Both The Sopranos and Breaking Bad also demonstrate how serialized storytelling offers opportunities for deeper character development and more intricate plot structures. By giving characters like Tony and Walter more screen time, these shows allow viewers to witness their transformation over several seasons, a format that offers greater room for exploring psychological depth. This narrative technique, which was relatively rare in earlier television, has since influenced the modern golden age of television, where shows like Mad Men and True Detective also dive deep into characters’ motivations, traumas, and philosophical dilemmas over extended periods.

The Sopranos introduced a new form of psychological realism, making television a space for long-form character studies. Meanwhile, Breaking Bad utilizes an overarching narrative that explores Walter White’s moral collapse through increasingly complicated plots, building suspense and drama with each episode. This ability to weave complex narratives over multiple seasons has become a hallmark of prestige TV, and its influence can be seen in many shows that followed, demonstrating the power of long-form storytelling in television to create cinematic experiences.

By focusing on antiheroes and serialized storytelling, both The Sopranos and Breaking Bad provide valuable lessons in narrative complexity and character development. They illustrate how modern television can explore deep psychological and social themes in ways that engage viewers, challenge their assumptions, and reflect the complexities of real life. Through these shows, we learn that character-driven stories, when given the time and space to evolve, can create some of the most compelling and thought-provoking media experiences.

This documentary explores the vibrant yet underrepresented world of Chinese hip-hop in Australia. Focusing on Chinese hip-hop artists living in Melbourne, it delves into their production journeys, cultural experiences, and challenges in navigating a genre deeply rooted in U.S. origins while adapting to Chinese and Australian cultural influences. The documentary examines the evolution of Chinese hip-hop, its limited international exposure, and the impact of censorship on creative expression. Through in-depth interviews and dynamic visuals, the project highlights the resilience and creativity of these artists as they carve out a space for their voices in a global music landscape.

The project was developed through extensive research into Chinese hip-hop culture and its international reach. The team conducted on-site filming in Melbourne, interviewing artists to capture authentic stories. Creative techniques, including candid visuals and dynamic sound mixing, were used to align with the raw and energetic spirit of hip-hop.

As a director, I need to give the audience a clear idea of the project and empathy with the theme. That’s something I still need to improve on. The feedback from the students showed their interest in the topic, but at the same time they did not clearly understand the emotion and content of the project.

This project deepened our understanding of the intersection between music, culture, and identity. It offered a unique perspective on how Chinese hip-hop artists adapt and thrive in the face of cultural and systemic challenges, amplifying their stories to new audiences.