reflecting on smoking gun.

Finishing Smoking Gun left me in a tranquil yet galvanized state – it’s good to finally culminate the project but it excites me to think about my future ventures. 

Smoking Gun withstanded many different adjustments. It was mobilized by firstly coming together through the medium of a twenty-paged script written with narrative lenses. In commencement, we wanted to create an overlapping storyline of people in abusive relationships, with all the stories connecting – such as having a story’s end scene as the beginning of another story. However, changes were made after agreeing upon experimenting differently with still films and bringing in the idea of a multi-screen installation. We decided to make one introductory storyline as the only anchoring element for all the stories. The introductory scene is of four friends who meet up to have a drink in a bar and talk about their lives, we can see upon first glance that they all look like the average male in society. Be that as it may, two are actually victims to domestic abuse within their relationship and the other two are perpetrators. Rhett is harassed about his financial status by his girlfriend and Hussein is psychologically controlled by his wife, whilst Raphael is a sexual predator to his wife (and secretary) and Mike is an alcoholic who retorts to beating up his wife once he’s gone dry. Their stories appear in their corresponding screens once their lives are mentioned in the initial bar scene. 

Collaborating with Matthew and closely observing a friend who suffered an abusive relationship, allowed me to be able to write the narrative with a closer stance on reality. She was a close friend who was not able to wear what she wanted, do what she wanted or see who she wanted. I noticed that she even had physical scars after she began standing up to him. She’s now in the complicated process of filing a lawsuit. Additional research on domestic abuse motivated me to share with others the deeper side of domestic abuse that truly needs recognition, that I also only just opened my eyes to. 

After the script was written, Matthew was given the role to pre-plan the shooting in terms of angles and techniques. In conjunction, I made a poster that was hung around campus – it indicated that we were recruiting actors. The traffic for actors coming in was tedious but fortunately, we received a rush when a group of theatre majors found interest in the project. Then we organised locations and times, with both of us investing in the shoot by bringing our two cameras to film. Having two cameras was hugely satisfying as we were able to get more angles and a faster shooting time. Working with a high number of strangers was a learning affair as we teamed up with different kinds of people who performed differently (both experienced actors and regular people) – some actors were quicker at remembering lines and some actors were having difficulting projecting certain emotions. Our biggest subtraction from the shoots was our slack selves not considering audio more pre-production, as most of the film’s weaknesses was the audio. We considered reshooting Hussein’s scene due to this, however everyone had busy schedules and we felt that it may be possible that they would not necessarily give us better results in terms of performance. 

I then set into motion the procedures toward creating the film, by collecting raw footage and engineering a coherent narrative through assembling clips together. This was an onerous adventure so I was very pleased with the satisfactory results. The film was then left for Matthew to fix the audio and time it by using black screens, before I finally added subtitles.

The installation was then placed in a corridor because it was “transitional” and displayed with cardboard boxes to facilitate disorder and turmoil. In complementation to the clutter of screens, I added physical objects deducted from inside the screens for viewers to feel closer related to the storylines. Whilst I am ultimately satisfied with the films as it exceeded initial hopes, I continue to be in a conflicted state about whether or not I take delight in the presentation as I find that unless screens are turned on, the whole installation does tend to look a little bit unorderly and possibly sloppy. I also slightly detest the location of the installation as it subtracted from my antecedent of wanting it in a darker and more isolated space where we could play the sound in full volume without disturbing other artists and passerbys. Considering that the story is about domestic abuse, – where the sound is very aggressive from both the physical hits and the verbal attacks, – we felt like we needed to restrict the projection of sound as the level we wanted meant that the sounds were reaching the other side of the building. 

reflection on photography works.

Before heading onto my last semester of photography, I’ve finally assembled a curated online portfolio of all my beloved photography works. (Thank you MEDA for giving me this opportunity!) I’ve dated them all to when they were created and presented, but I’ve yet to reflect on them.

Photography has been a long time passion of mine and I’ve matured through many different phases of creativity to have produced all of the works that I proudly call my own. The late nights of researching, long trips to print the photo-quality paper, exhaustion from organising subjects and booking rooms for shoots; all of this on top of the photographing itself, have paved way to my successful growth as an aspiring photographer.

I’m honestly terrified of my last semester as it will start to become hard to actually find any more ‘new’ in the creative space in my head that I may have already exhausted out. Even more than that, I’m not sure I have much more to offer after all of the efforts I have put into photography since year 10; I’ve had straight HDs since, but how can I maintain them when I have no idea what project to do next?

I think reflecting on my projects will be the best way to start.

sweet words | pretty things was one of my first projects, and perhaps the most surreal. I was very proud of myself for coming up with sustainable ideas: I brought in the knitting skills I had learnt from my mother, re-used a lighter after my candles burnt out and made use of a lipstick colour I hated. I also used photos from adventuring with my friends, toned them black and white and let the physical elements bring the colour in to the photographs. Additionally, I rejoiced in being able to add my poetic side into my photography. I was able to bring my two passions (photography and poetry) together in this series. The use of flowers and knives as a combination, was also my placing a huge part of my crazy identity into my photographs. I was immensely satisfied with sweet words | pretty things, however, perhaps the smaller photographs with the actual physical elements were far more special than the bigger prints of the final scannings.

disassociated was a very finicky project that requited a lot of dedication. the idea of messing around with multiple personalities stemmed from the bipolar side of my personality, and I experimented this with my ex-partner at the time, which allowed me to play different roles with him. It gave me a closeted pleasure. The editing process of this was difficult as all the vibes meant that the colour tones were distinct and it did not help that my camera broke down half-way; I had trouble adjusting a rental camera to be fitting to my usual style. If I could do this project differently, I would make the photographs clearer and attempt a bigger spectrum of personalities.

in[DUST] was far out of my comfort zone, as I do not associate myself within any category of landscape photographer. I’ve always believed that nature’s beauty is just impossible to capture, and felt that my landscape photographs never did the real world any justice. So with this project, I was determined to find something hideous and turn it beautiful; subtract something hidden and forgotten, and let people see it. I drove along the coast of Port Kembla, attempting to photograph beaches when I fortunately came across the abandoned building. Unlike the ‘sweet words | pretty things’ series, where the photographs were created into surrealism, in[DUST] was tried to be kept as raw as possible as it was already naturally surreal. The biggest problems included the difficulty of maintaining a stable white balance, and if I could continue the project, I would expand to photograph more than one abandoned building.

Finally, phonoi, was a photography series I created when I reached a time in my life where I was undecided about whether I wanted to pursue photography or policing. I had a career dilemma as I got a mentorship with the Australian Federal Police. I vented out my frustrations into this project where I turned criminality into an art form. It allowed me to research crime and photography at the same time, and after becoming obsessed with learning more about crime (hence the visit to the Sydney’s Crime Museum and research into Arthur Felig), I found that this project was suitable. However, the crime photography I was researching was ancient and so I had to take on a sepia tone in order to rewind the clock on the photographs. phonoi allowed me to experiment with composition and master my skills in photoshop. My regrets for the project includes the fact that two subjects appear twice on some photos and their face could be more gruesome and less alive.

☆ smoking gun.

Artist statement:

The definition of SMOKING GUN constructs the very foundation of this cinema as we observe the incriminating evidence of perpetrators carrying out acts of domestic abuse. The project aims to reveal layers of verbal and physical misconduct inside a relationship, challenging the audience’s understanding of domestic abuse, as it rummages to more profound areas: financial abuse, physical abuse, psychological abuse and sexual abuse. 

We brought our devotion to multi-screen installations into SMOKING GUN. But we’ve also mixed old and new cinematic elements to produce further disarray from what is already deduced from the arguments, with the intention to truly inculcate hostility and discomfort within the viewer (as is evident in an abusive relationship). Despite the manipulation of chaotic screen timing, we hand the audience a tool to focus on one story through walking closer to a specific screen and focusing on the subtitles to render themselves deaf to the noise of the other screens. The addition of palpable objects from the stories on the screen, expedited further intimacy to the film. 

The strengths that I brought into SMOKING GUN included the marriage of my practices in scriptwriting, filming and editing alongside an eye for aestheticism in presentation and performance. The project pushed my boundaries of what I originally do with my video projects and strengthens my bond with my camera.

building a relationship with ‘batik’

INSTAGRAM

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Living life as an Indonesian-born witnessing only the Australian world, I always viewed my own birth country as something very curious. All I knew was that Indonesia’s major religion was Islam, the country was humid and tropical, and that the food was delicious.

One day, when I was looking for something, I came across my parents’ mass of batik clothing. All the loud and traditional patterns piled up, one on top of the other. Shades of brown and yellow, with splashes of grey, red and blue. I took some out and presented them to myself in the air, and it made me feel weird. This was a big part of me, yet why does it feel so foreign to me?

I used to be ashamed if my parents made me wear batik. As with many modern Indonesians, batik was no longer a pride of our country. I knew that my birth certificate was proof that I had royal blood, as there is Raden Roro before my name. But was it really true that batik was used only by sultans and noble people?

I grabbed the batik and shoved them into a duffel bag, bringing them to Wollongong. Though thoroughly mesmerized, my friend agreed to partner me in dressing up and photographing the clothes. I then decided to also photograph the material of the batik – noting all the beautiful patterns, flowers and motifs. Creating batikchild allowed me to be a newbie to the culture and share the garment, alongside with facts to utilise full ‘knowledge-sharing’. 

So far, this is my personal narrative as I view myself as the phenomenon and document my life in a cultural context in order to understand myself better. However, as Ellis et al. (2003) argued that this type of research was controversial due to lack of ‘traditional analysis and/or connections to a scholarly literature’, [Ellis et al, 2011] I’d taken on to see it more analytically. I embarked on a quest to look at traditional scholarly articles and contemporary videos on batik. I intended to improve on my ethnographic practise, to commit to the use of ‘theoretical and methodological tools and research literature.’ [Allen, cited in Ellis et al. 2011]

The research truly awoken a part of me, it gave me the fire I needed to embrace the new (yet old, just hidden) part of my cultural identity. It gave me another epiphany: I, – as a woman of pure 100% Javanese blood, – would have to admit that I still feel like a child with my knowledge of our culture’s textile history. Atleast, I’m learning and embracing it now. With this, I am able to claim that I’ve reflexited on myself and am speaking about my views on (not the concept of) batik with authenticity. [Dubrovsky and Wood, 2014] 

Additionally, I was truly able to invest in this research with both roles of being a clueless outsider yet an insider; allowing me to be an auto-ethnographer that exists as a guiding presence in my text. [Denzin, 2003] It would be entirely wrong for me to claim I know everything about batik, but my growing knowledge on it will do my family proud. 

I started off with my Instagram page to show the aesthetics of the foreign textile and share knowledge, then approached making a website for an extra platform that contained some of the photos and more information on batik. Further, I gathered more knowledge and created a short informative podcast for those viewers who may want to know a bit more. My target audience was local friends who are interested in foreign cultures and younger Indonesians who may be quite severely subtracted from their ancestor’s traditions.

REFERENCES:

Benang.com.au. (2019). Nuri Ningsih Hidayati | Benang // Thread in Indonesian. [online] Available at: http://benang.com.au/nuri-ningsih-hidayati [Accessed 29 Oct. 2019].

Denzin, N. (2003). Performing [Auto] Ethnography Politically. Review of Education, Pedagogy, and Cultural Studies, 25(3), pp.257-278.

Denzin, N. (2003). Performing [Auto] Ethnography Politically. Review of Education, Pedagogy, and Cultural Studies, 25(3), pp.257-278.

Dubrofsky, R. and Wood, M. (2014). Posting Racism and Sexism: Authenticity, Agency and Self-Reflexivity in Social Media. Communication and Critical/Cultural Studies, 11(3), pp.282-287.

GALLI CREATIVE (2017). BATIK OF JAVA: A VISUAL JOURNEY. Available at: https://www.youtube.com/watch?v=aiddPFl2X2M [Accessed 25 Oct. 2019].

McCabe Elliot, I. (2013). Batik. New York: Tuttle Publishing.

Murray, K. (2013). Batik Dreaming in Central Java | Craft Unbound. [online] Craftunbound.net. Available at: http://www.craftunbound.net/report/batik-dreaming-in-central-java [Accessed 29 Oct. 2019].

PPI Australia Official (2018). Brief History of Batik || Hari Batik Nasional 2018. Available at: https://www.youtube.com/watch?v=IXpqcr_HKJs [Accessed 26 Oct. 2019].

Theislandgallery.net. (2019). The Island Gallery : ISNIA : Agus Ismoyo & Nia Fliam. [online] Available at: http://www.theislandgallery.net/isnia.php [Accessed 31 Oct. 2019].

SG; multi-screen installation artists

Isaac Julian’s Ten Thousand Waves is my sore influence for Smoking Gun as I fancy the idea of boasting multiple screens to break down the normal ways we watch moving images and grant the viewer access to the different perspectives and stories. Shirin Neshat is a secondary influence as I choose to accommodate her technique of beginning an alliance between the viewer and their position in the installation.

There is something unique about multi screen installations that make many viewers respond to videos more enthusiastically – whether the reason be in in its presentation or whether because of it’s innovative approach to films. Ultimately, the experience of the viewer is the most essential key element and the audience is needed for the pieces to exist. 

As a modern era of viewers, we as a society are actually used to overload of information through multiple screens, evident in all of our technology – our laptops, phones and televisions screens. Some of us even multitask on the internet, as seen in a high number of browser tabs. In installations, the viewer is however surrounded by one specific work, through all the perspectives, and enters a realm of that work. This leaves them wholefully captivated.

Glimpses of the USA (1959)

The above photograph is the Eames’ Glimpses of the USA (1959), and one of the first multi-screen installations seen by a high number of people. The exhibition portrayed the experience of typical work-life and weekend in the United states, via still and moving images from artists. The information was mostly suggestive but had a clear message; ‘We are the same as you (USSR), but on a material level, we have more.’

Additionally, Nam June Paik (1960s) was one of the first artists whom contributed to a long line of artists working with multiple screens. He had projects of robotic limbs with screens as heads, a wall made out of tv screens and has done work with combining nature/plants and television: TV Garden (1974).

TV Garden (1974)

Shirin Neshat was an Iranian artist that studied art in the United States in 1979, at a time when a revolution broke Iran’s regime and overthrew its political landscape. During this study endeavour, Neshat learnt that film and video allows an artist to tell a story rather than merely suggesting one (which is what happens in photography). She also found a distaste in the fact that it had no build up and was final while film undergoes different interpretations.

In her early works, Rapture (1999) and Passage (2001), she had used people as sculptural images devoid of character and then later decided that multiple screens gave her the opportunity to narrate her story better. ‘The medium of video and film had the potential to be highly poetic according to Neshat, and she felt she could incorporate elements of photography, painting and sculpture in them. She was also able to experiment with music, sound, choreography and performance.’ [Terra, 2015 p. 17] She further indicated a huge interest in the relationship between the viewer and the piece, the kind that is only truly applicable through multi screen installations. 

Isaac Julien also started working with multiple screens around a similar time. He began with exploring black identity, racism and sexuality in: Who Killed Colin Roach? (1983), Territories (1984) and The Passion of Remembrance (1986). His first two-screen projection, Trussed (1996), explored sex and death, and pain and pleasure. His website indicates that  ‘dualistic feelings of erotic pleasure and loss in Trussed are enhanced by its projection on 2 screens showing identical, but flipped, images that are set in a corner at right angles.’ Trussed is a story of affection between a black man and a white man (interracial) gay couple

Trussed (1996)

Julien began to work with more screen starting 1999 – Three, The Conservator’s Dream (1999) and Long Road to Mazatlán (1999). The Conservator’s dream is a three-screen piece with the two outer images the same but flipped, and shows a choreography that depicts desire – Julien stated that he wanted to explore gender and sexual difficulties in this hetereosexual and interractial relationship.

Long Road to Mazatlán (1999)

Fantôme Créole (2005) was when Julien introduced a fourth screen, and the work is a conjunction of two works:  True North and Fantôme Afrique. True North is a film of the polar circle’s icy landscape (Northern Sweden’s snowy and white landscape) and is a narrative on Robert E. Peary, who was the first ever to reach the North Pole. In contrast, Fantôme Afrique is of urban and rural Burkina Faso, Africa. The project introduces the distinctive architecture of the different places with similar stoic characters in many scenes who do not have a background context or storyline to allow the audience to conjure up their own narrative. 

After this, Julien continued to expand in his multiple screen use as he reached nine screens in Ten thousand waves (2010). This installation had viewers walk the whole room to witness everything and view themselves as a part of the installation. They’re given an option on what to see, and in what order. They filter out some screens and choose their path of experience, this allowed them to link the screens in their own minds. Julien teases the audience to be self reflective.

Ten thousand waves (2010)

In a single screen work, the linear progression makes a set narrative. Multi screen works questions this traditional notion of experiencing time in film and viewing film.

TERRA (2015)

The choice of nine screen stemmed from Julien and Stephanie Rosenthal’s wish to make the audience move. Julien commented that he was ‘trying to break down the normal ways that we watch moving images’. The installation consists of seven screens in a circle and two in the middle that are on the front and back – allowing it so that viewers could not see everything from any certain place in the room, meaning they had to roam. They get immersed inside his work. The storyline and all its immense layers retell of an incident in England where twenty-three illegal Chinese immigrants drowned. He used footages of: Chinese history, raw police material, shots on calligraphy, a recreation of a Chinese fable and a re-enactment of ‘The Goddess’, stormy water footage and chaotic sound.

References

Terra, N. (2015) Multiscreen video art: The advantage of the multiscreen over single screen presentations Masterthesis Modern and Contemporary Art. Utrecht University.

autoethnography on ‘soju+shoujo’

PSA: ‘soju+shouju was a blog post on live action adaptions of anime. Here’s a short video of such a concept.

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‘Soju+soujo’ was possibly written through a narrative yet reflexive auto-ethnographic lens. My post was reflexive in that it became a diagnosis of more than just me, but also a phase of history and its influence on me. [Spender, cited in Denzin. 2003.]

Charmaz (1983) stated that layered accounts display “data collection and analysis proceed simultaneously”. They bring in the notion of approaching a topic as a “source of questions and comparisons”. [Charmaz, cited by Ellis et all. 2011] So, I argue that the ‘soju+shouju’ piece of ametuer literature may additionally be classified as a start to a layered account auto-ethnography as it presents a simultaneous report of data processing and research, whilst teaming up with the concept of analysing both the data and how I stray away from my original course of life due to the flourishing knowledge of and grasp on the new culture.

Subtracting from my ponderings, I retrace my perception of auto-ethnographydownload.png back to the discovery of the iridescent parallel in the concept that auto=me/I, and ethno=culture. Additionally, the ‘dividing line between auto-ethnography and ethnography (essentially) disappears’ and an auto-ethnographer should be a guiding presence in their texts. [Denzin, 2003] This middle ground is a followthrough of revelations/realisations and the changes made to my being after being affected by the new culture. These changes are evident in terms of my possessing a new, filtered, pair of eyes that see the world differently and furthermore, respond to my past differently. This reflects Ellis et al’s (2011) argument that ‘autobiographers write about “epiphanies”—remembered moments perceived to have significantly impacted the trajectory of a person’s life’. I’ve presented my own personalised narration of my epiphany with the mention of the new desires I had, once I was exposed to their existence in a culture outside of my own (such as having a soft and ‘flowery’ romantic relationship). To also recognise that I’m an asian female meant that I was ‘self-aware. A query that aligns intentionality with self-reflexivity and authenticity.’ [Dubrovsky and Wood, 2014]

With this in consideration, many might argue that the removal of any kind of epiphany as a result of exposure to a foreign culture, may actually(!) strip us bare of our identity. The epiphanies that I have unknowingly made, from cultures that I was introduced to growing up, have whole fully created the open-minded and diverse person that I believe myself to be now. 

However, I must confess a new untasteful apprehension toward my auto-ethnographic studies in the future that present itself in the need to redirect myself and begin a commitment to use ‘theoretical and methodological tools and (allow myself access to) research literature.’ [Allen, cited in Ellis et al. 2011] I will additionally need to adjust my auto-ethnographic spectacles so that they prioritise the broader consensus on a culture. I’ll clothe my texts in such a way that may ‘lead way to a radical social change.’ [Denzin, 2003] With that, I will begin a narrative that discusses the distinctions inside a culture – observing both the stereotypes from outsiders and the true phenomenon. 

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REFERENCES:
Denzin, N. (2003). Performing [Auto] Ethnography Politically. Review of Education, Pedagogy, and Cultural Studies, 25(3), pp.257-278.
Dubrofsky, R. and Wood, M. (2014). Posting Racism and Sexism: Authenticity, Agency and Self-Reflexivity in Social Media. Communication and Critical/Cultural Studies, 11(3), pp.282-287.
Ellis, C., Adams, T.E., and Bochner, A.P. (2011) ‘Autoethnography: An Overview‘, Forum: Qualitative Social Research, 12:1.

soju + shoujo

(soju = Korean alcohol, shoujo = Japanese anime)

To say that I’m a foreigner to Asian cultures would be the equivalent of saying that pineapple doesn’t belong on pizza (it does!), as I have Indonesian blood coursing through my veins. If asked where I’m from, it would be so simple to say that my sisters have skin the colour of our ancestors’ sand. But my premature exposure to the Australian culture has manufactured my cultural identity as a ‘whitewashed’ Asian female – yes, I am an Australian citizen but no, I don’t own an Australian birth certificate.

Watching my fellow co-auto-ethnographers burrow into profound analysations of a culture in relation to their own presented to me how cultures were scrutinised by outsiders. Those who admitted unfamiliarity toward Asian cultures may be the parallel adjacent of how the Australian culture was once incongruous to me. 

On the other hand, I’ve also been victim to a Korean culture that used to consume me. K-pop; K-drama. My first taste of alcohol was Soju, my first boy crush was Korean, my first knowledge of fashion was the Korean style, etc. That exchange to South Korea I went on last semester? That was a goal I made for myself at fourteen. 

I’ve even been to almost every country in Asia – Japan, Vietnam, Indonesia, Hongkong, Macao, Singapore, Malaysia, Thailand, South Korea and of course, Indonesia.

Where in the world do I begin to research Asian culture?

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The Japanese culture is globalising and yet, the world is only slowly getting introduced to the concept of live action. My being an asian woman has allowed me to be aware of it’s existence but not stand too close that I’ve revealed all of it’s secrets just yet. The most popular Japanese entertainment reigns to be anime, and somehow, this has bewitched the world to subtly recognise the idea of anime when someone utter’s the word ‘Japan’.

Live action is a prevalent but also rather modern concept that contemporises traditional Japanese anime. It is the transformation of anime into reality, in the impression that the story is now portrayed by humans and real places, rather than cartoon drawings. 

Anime has numerous categories, including (but not limited to): Kodomo, Shonen, Shoujo, Josei and Harem. Shoujo’ is a category specified for young females that examines romantic and personal relationships and often, young love, with characteristics that are utopian in nature. The reveries that young women have of a perfect love; ‘love at first sight’ or ‘love will always be by your side’. Shoujo is notorious for middle or high school romances, often caused by fact that most Soujos are more lighthearted than their friends in other anime categories.

Thus, live actions that are recreated from shoujo animes are very complex yet adorable stories that still present romantic relationships but through more realistic cinematic elements – hitting closer to home.

The notion of physically recreating the plots that exist in shoujo anime provides viewers the approach of seeing what life is truly like in Japan, through the lens of a real world. To see that Japanese culture is both as perfect and imperfect as Western culture. My experience with live action has introduced to me to the (perhaps biased, yet) distinctive relationships between lovers, family and friends, in Japan.

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Ao Haru Ride (Blue Spring Ride) is a lightweight story about a middle-school student, Futaba Yoshioka, and her infatuation on a gentle boy, Kou Tanaka. However, he transferred schools and they ceased communication. When Yoshioka reaches her first year of high-school, she meets Kou Mabuchi – who explicitly resembles Tanaka despite possessing an unfamiliar demeanour.

Anime:

Live action:

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‘Orange’ is another Shoujo that declares friendship more important than romance. It unfolds on the story of a high school student, Naho Takamiya, who receives letters from herself, 10 years in the future. The letters depict that she will fall in love with a transfer student, Kakeru Naruse, who’s mother’s suicide circulates his depression that induces him to kill himself. Takamiya reads the letters and acts accordingly to change the future.

Anime:

Live action:

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Ao Haro Ride was released in 2014, and I can commemorate my fifteen year old self craving a relationship as soft and almost ‘flowery’ as Yoshioka and Tanaka’s. It was quite deviating to recall that I had also viewed Big Hero 6 at the exact same time – the two movies are so disparate and though Big Hero 6’s main protagonist and his family were Japanese, the movie was so whole fully western. Furthermore, the concept that the creator’s of Big Hero 6 immediately thought of having the Asian family be Japanese, rather than any other (Asian) race is quite fascinating in the idea that perhaps people continue to link animation to Japan.

‘Orange’ is, to date, one of my dearest animes as it really decomposed my initial perspective of my friends. The appearance of Takamiya and her friends receiving letters from their future selves in favour of protecting their precious friend and reminding him that he was loved, fashioned me to be more aware of the wellbeing of my friends. It stimulated a very emotional response from me when I realised that they wouldn’t have been further acquainted with Naruse had they never welcomed the letters.

Ironically, shoujo would be nice to watch with some soju.

Start bawling about failed love lives.

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References
Angel, J. (2015). What is Shoujo [Definition, Meaning]. [online] Honey’s Anime. Available at: https://honeysanime.com/what-is-shoujo-definition-meaning/ [Accessed 30 Aug. 2019].
Asianwiki.com. (2019). Orange (Japanese Movie). [online] Available at: http://asianwiki.com/Orange_(Japanese_Movie) [Accessed 29 Aug. 2019].
IMDb. (2019). Blue Spring Ride. [online] Available at: https://www.imdb.com/title/tt3592708/ [Accessed 29 Aug. 2019].