Opposite Worlds – Nollywood & the Korean Wave

Globalization, with its sense of “interconnectedness” (O’Shaughnessy, 2012) influences every-day contemporary life through the merging of global politics, economics and media. The frequency of such worldwide interaction and exchange as well as travel has seen local cultures or ‘Glocals’ (W. Ryoo, 2009) now thoroughly infused with the rest of the world. They can build their identity and share a unique perspective through artistic expression. This is evident in the growing popularity and expansion of global film and music.

‘Sopyonje’ (1993) – Award winning Korean film about the musical traditional ‘Pansori’. It brought in more than a million admissions, a first of its kind. (D.Shim, 2006)

News media and trade magazines have recognized the rise of Korean popular culture in Asia – from food and music to eyebrow-shaping and shoe styles. In fact, Western musicians have used K-pop presumably to gain Asian audiences whilst simultaneously exposing westerners to the ‘Korean wave’ phenomenon (D. Shim, 2006).

Avril Lavigne – ‘Hello Kitty’

K-pop “…skilfully blends Western and Asian values, creating its own culture and identity” (D.Shim, 2006). The whole experience is an expensive rush of bright lights, vibrant colours and unique fashion and accessories. On the opposite end of the spectrum is the low-budget, amateurish and narrative driven Nigerian film industry, Nollywood (O. Okome, 2007).

‘The Visit’ – Nollywood Trailer

When the oil boom went bust, so did the rest of Nigeria’s economy (J.C McCall, 2004). Filmmakers couldn’t afford to buy film stock from abroad and bankrupt theaters shut down for good. However, a revolution in consumer electronics enabled affordable access to video-cameras. Unsurprisingly, the production value does not meet ‘Hollywood’ standards. Nor does it impact national unity because its films aren’t shown in movie theaters or television (O. Okome, 2007). Rather, this industry focuses on Nigerian employment, entertainment and social/political issues which holds sentimental value perhaps brighter than the glamour of Hollywood or the Korean wave.

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References:

D. Shim, ‘Hybridity and the rise of Korean popular culture in Asia’, ‘National University of Singapore’, Vol. 28, 2006, pg.25-44

J.C. McCall, ‘Nollywood Confidential: The unlikely rise of Nigerian video film’, issue 95, Vol. 13, No., 2004, pg. 98-109

O. Okome, ‘Nollywood: Spectatorship, Audience and the Sites of Consumption’, ‘University of Alberta’, Vol 3, No. 2, 2007, pg. 1-19

O’Shaughnessy, Michael 2012, ‘Globalisation’, in Media and Society, 5th ed. ‘Oxford University Press, South Melbourne’, pp. 458-471

W. Ryoo, ‘Globalization, or the logic of cultural hybridization: the case of the Korean wave’, ‘Asian Journal of Communication’, 19:2, 2009, pg. 127-151

Sugarman: The Enigmatic Myth

Following years of racial tension prevalent in South Africa between the ‘white’ and ‘black’ communities, 1948 saw the legalization of an apartheid to maintain separation and advance white supremacy. Severe socio-economic inequalities followed as black Africans produced cheap labor to advance white, capitalist interests and political power. As part of the apartheid agreement, black people only provided labor in white cities and were forcibly migrated into “…black areas for monitoring” (E.V. Ilieva, R. Rotich & J. Walunywa, 2015.).

The 1913 Natives Land Act – helped to lay the groundwork for the apartheid policy of racial segregation in South Africa in 1948

As the South African government managed all media at the time, political expression and/or alternative ideologies were seldom expressed in fear of incarceration.

“There wasn’t much a white person could do…if you spoke out against the apartheid you could be thrown into prison”. (M. Bendjelloul, 2012)

Therefore the popularity for submissive and creative outlets grew rapidly during this time. In fact, music soon functioned as a “force to confront the state and as a means to actively construct an alternative political and social reality.” (A. Schumann, 2008) 

“Every revolution needs an anthem.” – (M. Bendjelloul, 2012).

Malik Bendjelloul’s 2012 documentary-film ‘Searching for Sugar Man’ portrays Sixto Rodriguez as an enigma whose songs “…carried meaning beyond the musical level and into the political sphere” (A. Schumann, 2008). ‘Hate Street Dialogue’ and ‘I wonder’ resonate with anti-establishment messages assuring “it is okay to be angry with your society.” (M. Bendjelloul, 2012)  

Although it was awarded an Oscar and grossed over R54 million, not all agree with the film and its almost mythological depiction of Rodriguez. According to Michael Titlested, his “…albums induced a frisson of transgression because they mentioned drugs and sex…” (M. Titlestad, 2013) Therefore, to assume he directly encouraged the ending of the apartheid, as the movie alludes, is inaccurate. His ability to speak honestly about real-life issues however, connected emotionally with those in need and continues to do so today.

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References:

A. Schumann, ‘The Beat that Beat Apartheid: The Role of Music in the Resistance against Apartheid in South Africa’, 2008, pg. 17-20.

E.V. Ilieva, R. Rotich & J. Walunywa, ‘The Social Formation of Post-Apartheid South Africa’, ‘The Journal of Pan African Studies’, Vol. 8, no.9, December 2015. Pg. 133-139.

‘Searching for sugar man’ (2012) Directed by Malik Bendjelloul [Documentary Film].

M. Titlestad, ‘Searching for the Sugar-coated Man’, ‘Safundi: The Journal of South African and American Studies’, 2013, 14:4, pg. 466-470.

Diaspora: Belonging in Modern Society

Due to the rapid emergence of globalization and migration, modern society and particularly Western civilization are being introduced to Diaspora. Although this term originally defined the Jewish population who dispersed beyond Israel, it now represents thousands of hybrid communities living away from their birth country. These communities are gaining popularity not only in the west but globally throughout (S. Cunningham, 2001). 

Diaspora Matters

Although Australia is the world’s second-largest immigrant nation, none of its non-Anglo Celt ethnic groups have reached ‘critical mass’ to operate as a self-contained community. However, this does not mean that diaspora is non-existent in Australia. Since the coups of the late 1980s which pushed thousands of Fiji-Indians out of Fiji and into cities including Sydney, the community has fashioned a vibrant popular culture based on consumption and celebration of Hindi filmdom, politics, music and fashion. (S. Cunningham, 2001).

Fiji Times – The most popular magazine among Fiji-Indians in Sydney.

Following the success of hybrid directors like German-Turkish Fatih Akin (D. Berghahn, 2006), we have seen an increased production of crossover films. Nevertheless, diasporic communities continue to struggle for survival, identity and assertion as they contend with western forms for recognition (KH. Karim, 1998). Arguably the most successful crossover film in recent times is Danny Boyle’s 2008 ‘Slumdog Millionaire’ which grossed over 377 million worldwide and won 8 Oscars. This film has been considered an ethnographic cross-cultural masterpiece which is misleading. The film may highlight the slum-dog lifestyle but focuses more on traditional Hollywood themes and emotions rather than a holistic representation.

Slumdog Millionaire

Inter-cultural film and media is undoubtedly expanding its reach through increasing accessibility to technology and online media forums (KH. Karim, 1998). Yet when such diasporic culture is shared and globally praised, it’s often for adapting to western media and culture. This does not reflect all inter-cultural expression but in regards to the stability of diasporic communities, it may take some time before they no longer have to contend with Western forms for recognition.

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References:
Cunningham, ‘Popular media as public ‘sphericules’ for diasporic communities’, International Journal of Cultural Studies, June 2001 4: pg. 131-147

D. Berghahn, ‘No Place Like Home? Or impossible homecomings in the films of Fatih Akin’, ‘Journal of Contemporary Film’, Vol. 4, Number 3, 2006 pg. 141

K H. Karim, Ph.D, ‘From Ethnic Media to Global Media: Transnational Communication Networks Among Diasporic Communities’, ‘International Comparative Research Group, Strategic Research and Analysis, Canadian Heritage’, June 1998 pg. 1-12

An Ageing Frame Witholding a Work of Art.

“The aim of art is to represent not the outward appearance of things, but their inward significance.” – Aristotle.

Phillip Cooper (b. Nov 2nd, 1925) is an artistic marvel. Having been diagnosed with Rheumatoid Arthritis at the age of 42, pain is just part of his daily ritual, “I’ve got crook hands, crook toes…” Yet regardless of that fact, the now 89 year old refuses to relinquish his love of art, particularly painting. Such dedication was again tested following his stroke in his Blue Haven home just 5 years ago. Cooper admits he was incredibly lucky to have acted upon his symptoms quickly and to have had a phone nearby as all of his home’s access points were locked. Through extensive therapy, Cooper began re-learning basic skills such as walking and writing. More astonishing than that is how Cooper re-gained his skills as a painter.

His artworks are available for purchase or to simply be admired in numerous cafés and galleries throughout the south coast, particularly Kiama and Minnamurra. One popular destination in which you can often meet the artist and talk about his style; ranging from surrealistic to still-life, is at the ‘Minnamurra Café + General Store’.

Cooper’s paintings for sale at the ‘Minnamurra Café + General Store’

 

Phillip Cooper began interacting and conversing with his customers since his early twenties. His wife Barbra assisted in the creation of their own pop-up live sketching business, in which Cooper would be paid to draw his customers and whomever else they wished, with charcoal. Their success and popularity grew and soon a steady gallery blossomed and served them well for years to come, “those were the days” Cooper often referred to throughout the interview. Although he admits “I feel my age…I used to be with it before the stroke…” time spent with the man proves otherwise. Cooper is both vivacious and genuine, a person that is not afraid to make fun of the darker aspects of life and who is very much ‘with it’.

This short multimedia piece aims to rid the stigma attached to the elderly assuming they are ‘too old’ or ‘too frail’ to recuperate after tragedy strikes. Cooper proves time and time again that being categorised as an elderly person with disabilities is no reason to stop doing what you love and getting your name out there. Phillip Cooper’s physical disposition reflects nothing of the thriving and talented man within.

Phillip posing adjacent to his life-size portrait (painted prior to his stroke)

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Inspiring Photographers

Jonas Bendiksen -Norwegian Photographer, b. 1977

Jonas Bendiksen’s interpersonal style encourages all audiences to congregate through an appreciation of other cultures and their way of life.

“…I’ve always been fascinated by enclaves and people living in isolated communities.”  – Jonas Bendiksen, Biography 2014

Bendiksen has earned numerous prestigious awards within his field; ranging from a 1st place position in 2003’s ‘Picture of the Year’ – international award to his recent win of the 2014’s ‘Best of Photography’ award.

BANGLADESH. Asulia. 2010. ‘Brick kilns marooned in water.’                                                           “They normally use the kilns 4-5 months a year in the driest seasons (from November approx). This type of brick kiln is ubiquitous in Bangladesh, but is a heavy polluter (as its coal-fired and ineffective), both in terms of CO2 and air quality. As I was shooting a storm came in with heavy winds and rainfall. Workers digging up submerged bricks and throwing them up unto land for them to be collected and taken to the waiting boat.” – Jonis Bendiksen

Jonas Bendiksen’s 2010 photograph engages viewers through the mastery of colour composition. There is an overall maroon consistency which reflects the polluted water as well as the cool and unsafe environment. Bendiksen’s subject captures the reality of numerous Indians as they desperately risk their physical health in order to maintain an income.

VENEZUELA. Caracas. 2006. ‘The facade of an apartment building in Barrio 23 de Enero.’                     The areas apartment blocks have been home to communities of squatters since the late 1950s, and the area has played important role in social and political events in the country. – Jonas Bendiksen

Bendiksen encapsulates symmetrical shapes, odd colours and bright lights to communicate an authentic depiction of human life – particularly that of a squatter. An element of this photograph that I find impressive is its demand on viewers to not only analyse closely but also use our imagination. The more we peer inside the occupied rooms, the more that is revealed and the closer we feel to the squatters as our curiosities grow.

American Photographer -Matt Black.                       b. 1970                          (Magnum Photos)

“The work of a photographer is to reveal hidden things. I am fascinated by history and the way things change. Good photography looks backward and forward at once.” – Matt Black, Magnum Photos 2015.

Matt Black has been the recipient of ‘Instagram Photographer of the Year’ (Time Magazine) for his Geography of Poverty project; his work has also been honoured by ‘Pictures of the Year International’ and the ‘Pulitzer Centre on Crisis Reporting’ to name a few. Black is renown for his exploration of the connections between migration, poverty, farming, and the environment in rural California and Southern Mexico. Yet these expeditions only mark the beginning of this photographer’s dedication to continue producing impressive and honest work.

USA. Firebaugh, California. 2014. ‘Dead bull’s head hung to dry.’                         “Firebaugh has a population of 7,549 and 34.9% live below the poverty level.” -Matt Black

The most striking element within this black and white photograph is the subject matter in which a bull’s head hangs isolated with heavy contrast and sharpness. Not only does this set the dark tone of the image but also screams at the viewer for their full attention (showing comparisons to Bendiksen’s work). Gritty, raw and almost unsettling, the bull’s facial expression adds to such an emotional response. The photographer’s addition of a black border straightens and cleans the image, however I feel this overshadows the seriousness of the photograph’s context. Nevertheless, Black has still produced a harrowing and confronting image.

MEXICO. San Miguel Cuevas, Oaxaca. 2006. ‘A woman cooks in the kitchen of her home.’ -Matt Black

Black’s 2006 photograph exhibits his mastery of both light and darkness when capturing Mexico’s ongoing poverty battle and also the resilience of its people to continue on with their daily lives. The slight tilt of the photograph gives an almost surrealist feel to the work and as the image is centred in what looks like the main space of the home, we feel very close to the woman, as if sitting right behind her watching her cook.

Michael Christopher Brown – American Photographer. B.1978 (Magnum Photos)

Michael Christopher Brown is a contributing photographer at publications including the National Geographic Magazine, Time and The New York Times Magazine. Granted, this is an impressive credential list, but what separates Brown from other prestigious photographers including Jonas Bendiksen and Matt Black is his unique approach to freelance photography. Using a camera phone as a primary recording device, Brown documented the Libyan Revolution, exploring ethical distance and the iconography of warfare.

Brown is therefore participating in not only a new style of photography but is a new type of freelance photographer/journalist. Brown’s work is relevant to my studies as an undergraduate communications and media student with ambitions to become a contemporary news journalist, one that fits in modern society under the constant pressures of technological growth affecting news sources.

LIBYA. March 5, 2011. “A rebel fires a gun at the site of a Libyan air force plane crash. The jet was shot down by rebels near the town of Ras Lanuf.” – Michael Christopher Brown

LIBYA. March 5, 2011. Michael Christopher Brown

Although captured with a mobile phone camera, both photographs involve key components of photography. These images use light and colour to centre the subject matter with the purpose of telling a story. Although the ‘rule of thirds’ is not obvious in these images, they are still well-balanced and encourage the viewer to search for clues and hidden meaning (such as the man crouching down as he hears gun shots in the top photograph). Brown is not reluctant to show the whole truth which is not only inspiring but brave, this is an advantage of freelance photography and likely to be the reason behind his strong ties with highly recognised and distinguished publications.

Tale of an old Sea Dog

Age may bring experience, wisdom and even a fresh perspective on life. When in our youth, this is both exciting and anticipated. However, what we seldom understand is it can also force us to part from the aspects of ourselves which we have long symbolized with. Eric Draper, now eighty years old sits back to discuss the connection he felt with the ocean as he sailed religiously around the world for almost thirty years. Draper now relies on a wooden cane to move around his home, vastly contrasting to the rails he would grip onto when the sea turned rough. The ex-sailor’s ability to still retrieve happiness from such memories brings home the importance of pursuing your dreams and ambitions while you can and although his travels are extensive, Draper insists Wollongong’s coastline is one of the finest.

Pop’s Music Room

Eric Draper, beloved husband, father and grandfather; a man of both great intelligence and worldly experience associates himself not only by his loved ones but by the places which bring him happiness and peace. This ex-hurdler, ex-sailor and ex-principal could never dissociate himself from his affair with music and therefore claims to be a musician for life. Draper’s music room is filled with vintage instruments collected from his travels overseas, yet his favourite piece is a rusting, gold saxophone. To access the case itself, the latches had to be violently forced open, emphasising its age.

In its hay-day, Draper played the saxophone when a member of a Jazz band in the 70’s to mid 80’s. The instrument along with its owner experienced endless nights of jamming and embraced the vibrant reactions of their audience. Today, it rests alongside a vintage piano/organ and a collection of smaller instruments including a tamborine and shakers crafted by Aboriginal elders befriended by Draper during his time as principle of their mission’s single school. Through this music room, the 80 year old can re-live such memories and relationships, taking time out to do what he does best: have a laugh and good ol’ Jam session.

Journalists, aka Professional Chameleons.

Click on the link for my report on multimedia and convergence in contemporary journalism via Storify.

Journalists, aka Professional Chameleons.

Journalists, aka Professional Chameleons. #JRNL102 #Storify https://t.co/Hx02wpqlvH via @madichatham96

— Madison Chatham (@madichatham96) August 3, 2015

Digging Deep – About Me.

Investigative journalism is my niche, it always has been. I want to chase people down demanding the truth, I want to explore areas of the world exposing corruption and helplessness to broaden the perceptions of my viewer’s.

Conducting an enquiry into the stance of UOW student’s regarding the Government’s Data Retention Policy.

I want to engage and educate these viewers through honest, meaningful and exciting reporting. Similar to VICE News, a YouTube based documentary channel, I hope to venture out with a set team to report on world issues on an interpersonal level. By befriending people affected by an issue over an extended period of time, journalist’s and their audience are able to witness an issue unfold in front of them to some extent. Ironically when I express such interests to my mother she questions my morality,

“how will you deal with being a sneaky journalist? You are such a caring person.”

Yes, I care. I care enough to aim for the truth and to engage as large an audience as possible to educate such an amount, even if that means pissing off a few people. As Marguerite Duras articulates,

“Journalism without a moral position is impossible. Every journalist is a moralist…someone who takes a close look at things…and reports what she sees, someone who represents the world, the event, for others. She cannot do her work without judging what she sees.”

Risky Business

Image: Lachlan Maddock, aspiring war correspondent.  

War correspondence was once the only means to an honest insight into the realities of war. It held a value within society for its coverage of foreign conflicts and its ability to measure a possible aftermath. Marie Colvin, a former war correspondent, emphasised the mission of her work as “…to report…[the] horrors of war with accuracy and without prejudice.” In 2012 Colvin was killed whilst covering the siege of Homs in Syria. The circumstances surrounding her death were deemed accidental. However, if we look at the astonishing number of journalists killed in Syria by ‘accident’ we must ask: what can be deemed an accident? As illustrated in Caesar’s ‘Shoot the Messenger’, news teams are willingly sacrificing their own reporters to withhold a competitive advantage and to produce the most profitable news story.

“We always have to ask ourselves whether the level of risk is worth the story.” – Marie Colvin
Image credit: Getty Images

Communications and Media student, Kurtis Hughes insists “the possibility of creating sensationalist news stories is excessively high in regards to war..due to its natural ability to cause disgust and contempt.” Hughes refers to the case of Peter Greste when emphasising the care journalists must have regarding “what they say and do in order to not perpetuate certain messages or offend, especially those in power.”

Acting police officer and Communications and Media student Monika Samu, gives light to another issue that may contribute to the high death toll, “They (journalists) are expected to place themselves in dangerous situations without any specialist skills” adding “the local people might not understand you’re there to tell their story [and furthermore] identify you as the enemy.”  

With its multi-pronged assault and brutality, the Islamic State of Iraq and the Levant (Isis) can now operate with impunity in western Iraq and eastern Syria, making it militarily the most successful jihadi movement of all time. There is an inherent danger and threat towards any culture outside the Muslim belief system and therefore the need for frontline, objective reporting has never been more compelling. Isis gained an infamous reputation within western society following the abduction and beheading of predominantly Christian and Catholic journalists. In fact, Journalism student Lachlan Maddock’s biggest concern regarding war correspondence is “having my head cut off…for the obvious reason that I won’t be as god-damn pretty without it.” On the other hand, Isis’ methods made another aspiring war correspondent, Robert Brady “want to go even more.” Confessing, “I have no idea why.” 

Regardless of the risks associated with this profession, many undergraduates remain dedicated to their dream of reporting on the front line. Bethany Ross, an International Studies and Journalism student aims to work in the Middle East, “It’s the heart of conflict.” She says, “it holds so much religious and political significance, and it’s people deserve to have their stories told.”  

War correspondence aims to give a voice to the voiceless, yet isn’t an entirely righteous line of journalism free from propaganda and fear-mongering. Therefore, we must educate ourselves on the possible ideologies and agendas of those conducting the coverage. In short, Marie Colvin asked the important question “what is bravery, and what is bravado?” – is this real or are we seeing a production of what they want us to see?