News writing in liquid labour

What truly struck me with week 4 BCM206’s lecture, was how relevant the liquid labour market will be to me as a potential future journalist.

We have definitely moved from the hard, smoke-filled journalism of its origins.

GIF by Tayla Bosley

To a far more freelanced, individual journalism.

GIF by Tayla Bosley

Which makes working more convenient.

GIF by Tayla Bosley

But also potentially less stable.

“Journalists today have to fight with their employers to keep the little protections they still have, and do so in a cultural context of declining trust and credibility in the eyes of audiences.’

Dueze, 2009

This is what I fear with the rapid information network economy; a job where I become underpaid, undervalued, and underutilised… all for the sake of faster information.

Simply put, I don’t want to be left behind.



Deuze, M. (2009). The people formerly known as the employers. Journalism: Theory, Practice & Criticism, 10(3), pp.315-318.


CyberPunk: Today’s Utopia?


For week three’s BCM206 post, I found myself thinking again and again about how the beginning of the personal computer in the 1980s sounded like the beginning of a science fiction novel.

The tropes, themes, and cultures associated with this technology boom really resonated with me, leading me to create this sound piece that compares and contrasts reality with science ‘fiction’.


Image Credit




Experiencing Godzilla in 2017

Sitting in a university classroom in 2017, with my phone in my hand and my tablet on the table, I can definitely say that my interaction with the first Godzilla film, Gojira was infinitely different to that of the original audience in 1954.

Being a 20-year-old woman that has lived in Australia her whole life, how I interpreted Godzilla would have also been different to those original Japanese viewers in the 50s. For one I had to experience the dialogue of the film through subtitles, and as accurate as they can be, there are always certain emotions, ideas, and expressions that simply get lost in translation.

Not to mention that I was on my phone the entire time.

The livetweeting of Godzilla by dozens of young university students must be a novel idea of @CL_Moore. This added yet another layer that distanced us from the original experience of Godzilla. It meant that I was busy trying to keep up with my fellow students’ hilarious tweets, rather than be submersed within the cinematic experience of the film.

This meant that I missed parts of dialogue of the film, and so had to rely on my own understanding of the film and its possible conventions to figure out what was happening.

However, as an Australian in 2017, I’m obviously lacking some of the cultural understandings that the original Japanese audience would have had access to in 1954.

I have watched a few black and white films in my time, but none were ever in a language other than English. I’ve also watched a few Godzilla films, but mostly modern ones that focus on action, and generally lack the overarching moral lesson that this original Godzilla was focused on.

I also fairly regularly watch subtitled animes, but even this cultural experience did not lend me any insight into what I was missing in those moments of dialogue.

So, due to my fairly large consumption of modern Japanese animated shows and films, I can simultaneously sit on my phone and watch a subbed anime, because I can easily comprehend the conventions and predictable patterns present in this medium.

But due to my lack of exposure to 1950s Japanese films conventions, I could not draw upon my own cultural or personal framework to comprehend what I was missing in those moments when I was looking at my phone and not the film.

Overall, watching the original Godzilla gave me the opportunity to reflect on where my personal framework lacks, and how I can continue to build my cultural experiences.