This Storify piece by user jt767 explores the symbiotic relationship between ‘native’ advertising and the under-funded form of games journalism.
J provides an informed and thorough report; balancing both sides of the relationship, including the good and the bad.
He describes in detail the issues associated with this form of ‘parasitic’ advertising and and perhaps unfair journalism. J also provides a few examples to support this analysis; but not many, which sometimes leaves the piece with long paragraphs with jargon that I don’t entirely understand. This led my attention to wander even will I was trying to read the piece.
However, he clearly is informed about the subject of native advertising; which is powered by journalists that are sent gaming content to comment on and evaluate and publish in gaming magazines or online platforms. This information stemming from J’s admitted position in the gaming journalist industry.
Thus his report provides an insight into this rarely-mentioned world, and the relationship between advertising that honestly I was unaware of, and that I think most people would.
Overall a fairly interesting piece that just needed a bit more engagement to be great.
@WomensAgenda. Journalist and author on gender equality, careers and leadership. Shiraz drinker. Trail runner. Media believer. P-plate Mama.”
Mostly Angela Priestly uses her twitter @angelapriestly to promote her work or the work that she finds most interesting or important; which mostly centre around women’s rights issues and equality.
The extent of her use of social media in a professional practice is quite deep. Her twitter is engulfed with her promotion of her work and questions pertaining to the public’s opinion on key issues.
Generally her Twitter is professional, with a few hints of informality and fun thrown in. However Priestly does not seem to use Twitter as a source or information gatherer.
S. Mitra Kalita
S. Mitra Kalita uses her Twitter @mitrakalita very similarly to Angela Priestly, where she focuses her tweets to promoting her own work and the work of other’s that interest or inspire her. With many of tweets centring around human rights, but also including quite a diverse plethora of themes, such as mental health, art and education.
Once again Kalita also heavily uses Twitter to expand her readership of her professional work and the work of her newspaper the LA Times. But does not seem to use it as a source point for stories.
“Political editor at The Guardian Australia, views my own”
It seems to be the norm that journalists uses Twitter simply to encourage the views of their work and the work of their colleagues. Since this also seems to be the case with Lenore Taylor, whose focus, for obvious reasons is on Australia Politics.
So so-far I have been unable to discover a journalist that uses Twitter to collect sources or information, or exactly how deeply they use Twitter in their professional practice. Since it always seems to used as a promotional media platform.
Leone Cordingley (73) and Maureen Giddy (80) are far from the quintessential, stereotype of retirees.
Armed with a computer and a mobile phone, these grandmothers are busy unearthing the seedy underbelly of the retirement industry.From fraudulent managers attempting to swindle the elderly residents of retirement villages, to the deaf ear of the government when any mention of ‘Over Fifty’ raises its head. Leone and Maureen have done all they can, and all they can still do, to improve the lives of our country’s most ignored populace.
And it is this desire to improve, and to be heard, that has lead to the creation of Seniors United NSW (SUN). A federal political party (which originated as a state party, hence the name) which aims to better the living conditions, financial states and general fairness of people living in retirement.
And Leone Cordingley has had a major part in the instigation, governing and continuation of this minority political party. By attending every meeting; listening to every idea; and recruiting every person she can find. With her end goal being SUN having its voice heard in the House of Review and the House of Representatives, where the most change can be achieved.
Clearly the woman for the job from the get go, Leone had already revolutionised her retirement village before she took on her role in the management council for the party. From air conditioning and solar panels, to the unneeded excesses of money the residents had been forced to pay for years, Leone is a force to be reckoned with when it comes to the defence of the undefended.
And as she says, the residents of these retirement villages are too ‘old’ or too ‘tired’ to do much about the corruption of their governing bodies. So it is left to the action-takers like Leone, and her right-hand woman, Maureen Giddy to stand up and fight against the increasing tide of abuse, corruption and injustice.
This story reveals Leone’s beginning in politics, her drive to help her fellow elders, no matter the cost, as well as Maureen’s involvement in her neighbour’s hectic responsibilities, and own her role in providing the information and grievances that Leone needs to hear, when the busy grandmother of six cannot always listen. As well as the admiration that each woman feels for the other, that makes them such a fantastic catalyst for change.
“Everybody can make a difference if they try, and that’s my mantra, because from little acorns come mighty oaks.” -Leone Cordingley
Now I’ll begin with the interactive internet project that I liked the least out of the list provided
Now the interactivity of the project was fairly accessible and well-done, with an interesting introduction to get you hooked on the upcoming interviews.
This definitely added to the story of the Goa Hippy Tribe; it made me engage and focus on what I was reading and doing a lot more than a passive video.
It even almost forces you to connect with the internet on this journey; but asking you to sign in to Facebook to ‘track’ your progress along the project… which was not something that I was comfortable with and subsequently declined.
The media used included video interviews, but which I found extensively boring and without enough context or mystery to keep me watching to the end. As well as text that you could scroll over at your leisure while watching the videos, although mostly it was a quote from the interview that you’re watching and thus redundant.
And I have no idea how the project creates an audience other than the SBS website, which I don’t think would attract enough attention, or either the ‘share to Facebook’ option which leaves the creation of the audience up to the level of effort or care that the viewer has at that point in time.
Overall, although a well-put together online interactivity; this was my least favourite project, mostly because the content was boring.
Now for my favourite project
Now, despite it’s age, and fairly rudimentary interactivity, this project was my favourite simply because it was interesting.
The powerful images are the heart of this interactive online project about the horrific consequences upon the innocents surrounding Chernobyl.
The interactivity lies in the users ability to scroll over the images for text that supplies context and facts about the people pictured, or you may simply take in the words that image speaks to you.
The text definitely enhances the story, giving the information needed to understand the story, but it is done so that it does not automatically intrude upon the raw power of the image. We are allowed to take it in, untainted, until we wish to know more.
Unfortunately, as far as I could tell, this project has no interconnectivity with the web. Which is unsurprising considering its age, and also I believe that it doesn’t need all the connections to every other site, since it is mostly the one piece of work. Although I would have liked to directly-share this to Facebook, instead of having to go in a fairly roundabout way.
And as in the Goa Hippy Tribe piece, I have no idea how this project found its audience.
I just really enjoyed (was horrified) by the story it had to tell.
For this assignment I interviewed my Nan and her friend/neighbour Mrs Giddy. I had no idea what my angle was or what I could even ask them about. So I just sat next to them on Mrs Giddy’s bench and started talking.
What resulted from our long, meandering conversation was the story of my Nan’s (Mrs Cordingley) contribution to the newly-formed SUN (Seniors United NSW) federal political party, as well as her other endeavours to better her home retirement village of Blue Hills Village, Prestons.
Nan provided the key details, and Mrs Giddy provided the effects of her efforts on the residents as well as a personality-assessor of Nan.
For sounds I envision a fast-paced collage of car doors, shuffling papers, computer typing and conversation to go with Nan’s hectic world. And for when Mrs Giddy speaks I want to contrast that with the sounds of the village; whipper snippers, classical music, rustling of newspapers and sprinklers.
The use of photography and video is not something that I have figured out yet. I guess I’ll just have to see what happens with that one.
I’m excited about this one.
What is the Impact of Global Film?
The impact of global film is felt all over the world. But no stronger is it felt than in the booming film industry nations of Nigeria and South Korea. Within these unique and diverse countries global film enabled them to spread their individualised cultures to all corners of the Earth.
Onookome Okome’s article on ‘Nollywood: Spectatorship, Audience and the Sites of Consumption’ indicates the rapid rate of film production in Nigeria and its powerful ‘Nollywood’. Once dominated by The Francophone cinema of French West Africa, Nollywood has taken control over the majority of the African film industry to create content that mirrors their customs, concerns and beliefs.
Today Nollywood is the third largest film industry in the world; where thirty new titles are delivered to shops and market stalls across Nigeria every week, and where an average film sells 50,000 copies.
Thus Nollywood has become a beacon of global film. For while Okome argues that the true power of Nollywood is in its ability to temporarily enrapture and empower its audience. I believe that it is rather Nollywood’s power to spread unique cultural ideas and themes across the globe to further the world’s understanding of its culture and people and create novel cultural hybrids.
As the CAI says ‘Other African countries have followed in the footsteps of Nollywood by producing movies on video. This allows them to tell their stories, which are predominantly done by the West and a few African filmmakers.’ Thus Nollywood has not only been able to spread its stories as seen in The Barbados Film Festival mentioned by Okome; but has also begun a trend for other African countries to create their own films to educate the world on their own unique culture.
The power of global film upon South Korea lies in its ability to transform the country from a passive underling of the more dominant countries in the region (such as China and Japan) to a powerhouse of culture that now acts as the bridge between the opposing cultures of the East and West.
This is seen in ‘Globalisation, or the logic of cultural hybridization: the case of the Korean Wave’ by Woongjae Ryoo: “Winter Sonata [a Korean love drama], became the rage in Japan, Taiwan, Vietnam and Uzbekistan after it drove Japanese audiences into something of a frenzy in 2004” The film indicates the sweeping nature of the Korean Wave and also defies Jeon & Yoon’s argument that the Korean Wave is a form of cultural imperialism (in which I agree with Ryoo) as even powerful, industrialised countries such as Japan were willingly gripped by it.
Thus the Korean Wave transcended its previously rigid cultural boundaries to spread new ideas, themes and “and faster and less predictable, even unique, storylines” (Ryoo).
Why is Global Film Important?
Not only is it the power of global film to reveal the previously-regionalised cultures of Nigeria and South Korea to the world at large, having global film creates a global memory of culture. As Amresh Sinha argues in ‘Millennial Cinema : Memory in Global Film’ we use these global films as signposts to relate us back to where we’ve been in history.
Through this we create a global history that we are all a part of.
- Okome, O (2007). ‘Nollywood: spectatorship, audience and the sites of consumption’ Postcolonial Text, 3.2, pp. 1-21. [Accessed 29 Aug 2015]
- U. (2015). ‘Nigeria: Nollywood as a positive tool for African transformation’. [online] Consultancyafrica.com. http://www.consultancyafrica.com/index.php?option=com_content&view=article&id=970:nigeria-nollywood-as-a-positive-tool-for-african-transformation&catid=90:optimistic-africa&Itemid=295 [Accessed 26 Aug. 2015]
- Ryoo, W. (2009). Globalization, or the logic of cultural hybridization: the case of the Korean wave. Asian Journal of Communication, 19(2), 137-151. [Accessed 29 Aug 2015]
- Sinha, A, & McSweeney, T 2011, ‘Millennial Cinema : Memory In Global Film’, London: Wallflower Press, eBook Collection (EBSCOhost), EBSCOhost, [Accessed 31 Aug 2015]