BCM 215 Feedback loop

So here we are again, it’s time to give some betas some feedback. I feel like providing feedback is an important part of the learning process as it allows the individual to see others works from a objective lens and then apply that same lens to their work. It also allows you to find concepts and ideas from others’ works and incorporate elements of that in their own work. Example last time I did this, I was able to find elements that were able to improve my own DA.

In this exercise I found it very helpful to do this task. I gave feedback to three of my peers Maddy, Lily and Jacob. I think all three of their DA are going fantastic and all incorporate great ideas and concepts in them. I have from listening to their betas it’s been a great experience for me to see how others are going to work with their DA compared to me. I was very impressed by Jacob’s beta, showing a solid amount of content and having a really interesting and unique idea. This has really motivated me to hurry up and release my DA to the public audience.

Overall i think that i have gained a better and more solid understanding about the digital artifact through this exercise of giving feedback. I am excited to see the feedback I receive in this Beta as I believe it could help me even further.

The three elements of my DA

This week in our blog we have been tasked with discussing our Analytical Framework, my analytical framework is used to answer the question of how has grand theft auto san andreas remained such an iconic title in the gaming sphere and how has the game affected the gaming industry. The three concepts that have informed my research are Nostalgia, Public reception and Contextual analysis.

Nostalgia is very powerful when trying to understand how a game can remain so popular, when researching this question you have to look at how Nostalgia plays a role in the games continued popularity. Grand Theft Auto San Andreas popularity can definitely be attributed to Nostalgia. When researching this I have been trying to see how much Nostalgia has affected the popularity of GTA, I have read articles discussing how the soundtrack of the game evokes a sense of Nostalgia. 

In Terms of GTA SA impact on the gaming industry we have to look at public reception. In my research i have been focusing on the idea of moral panic, the Grand Theft Auto series has always been called out for it’s use of violence, sex and drugs but Grand Theft Auto San Andreas might be the most notorious. The Hot coffee mod is a perfect example of this moral panic in regards to the franchise. 

Contextual analysis is important in my research because I have to consider that the game was made in 2004. I have to look at the game through the lens of a reviewer of that time to really understand the impact the game had. This will also allow me to remove bias when looking at the game itself.


Digra.org. 2021. hc9: Chris Chesher, Games studies and the Hot Coffee moral panic | DiGRA. [online] Available at: <http://www.digra.org/hc9-chris-chesher-games-studies-and-the-hot-coffee-moral-panic/&gt; [Accessed 14 October 2021].

Google Books. 2021. Popular Music in the Nostalgia Video Game. [online] Available at: <https://books.google.com.au/books?id=wmmDDwAAQBAJ&pg=PA55&lpg=PA55&dq=how+nostalgia+works+in+gta+sa&source=bl&ots=YubLq-JdRW&sig=ACfU3U16jToO_WaHk0DGXOx_alqst6aSOw&hl=en&sa=X&ved=2ahUKEwiIx9Gu1cfzAhUNbn0KHYxIArQQ6AF6BAg4EAM#v=onepage&q=how%20nostalgia%20works%20in%20gta%20sa&f=false&gt; [Accessed 14 October 2021].

Games will not experience themselves

Games are not games until they are played, this was a quote from this week’s lecture that really made me think. Games themselves are just vehicles for us to experience a world crafted by the creators. This freedom allows players to have a truly interactive experience unlike any they have had in any other medium. 

Professor Joost Raessens put forward their analytical framework of how participation in video games occurs. Multimediality, virtuality, interactivity, and connectivity all create the experience we have whilst playing games. 

When analysing Grand Theft Auto San Andreas through this analytical framework we can see how these different elements come together to create the game. GTA SA uses these elements to create the world the game exists in. The Grand Theft Auto series have always been praised for their impressive menu of licensed music and GTA SA is no exception. It’s a perfect use of Multimediality. It would feel like a less authentic universe if characters like CJ, Ryda, Sweet and Big Smoke were listening to some knock off stuff whilst driving in the car but hearing a 2pac song whilst driving in a fictional version of Los Angeles on your way to do a drive by, well it feels more authentic and real.

I would also like to highlight interactivity, to be more specific cultural interactivity. GTA SA was released in late 2004, due to its massive popularity it created its own culture of fans. During this time these fans began to make films out of the games engine, these are what are known as Machinima. This is in my opinion one of the best displays of participation, it shows how players can interact with the game and use it to create something completely separate.


BCM 215 Lecture Wk 7

Mediakix. 2021. What Is A Machinima Gaming Video? Definition & Examples. [online] Available at: <https://mediakix.com/blog/what-is-machinima-gaming-video-definition-examples/&gt; [Accessed 13 October 2021].

Bcm 241 Beta Feedback

So this week we had to give feedback to our peers regarding their Digital Artifact Betas, just like last time in our pitch feedback. I gave feedback to Taylor, Jess and Phoebe. I have provided screenshots below of the feedback I gave them. Overall I think they all did extremely well in their production of their digital artifact so far.

Through the process of giving feedback I gained a better understanding of the Digital Artifact and ways I can improve mine by giving feedback to my peers. When taking a step back at my own DA and looking at the others I think it allowed me to see ideas and concepts that previously I wouldn’t have thought of or comprehended that now I believe going into the final stages of DA, I think are invaluable.

I noticed many people in their beta’s, discussing online persona which i believe is an area of my DA i have struggled in. Due to seeing how others have carved out their online persona it has given me some late advice on how I can fix this. Also seeing how much other content has been affected directly by covid or been affected by things such as loss of motivation it has been good see as i have myself struggled in the production of this DA.

I truly believe that giving feedback is one of the best ways to improve your own work, it allows you to view others work and see it in a objective lens which helps yourself see your own work in that same objective lens.

My DA going forward

So in last week’s blog post I discussed the three topics I have observed in researching my media niche so far in my digital artifact as well as some new epiphanies.

One of the things I was looking at and discussed last week was how influencers impact the views of the community. A si.com article discussed how sports journalism has moved away from objectivity and more towards personality based reporting. This is obvious when you look at sensationalist reporting that takes place in sports media, personalities like Skip Bayless have made careers on being divisive yet entertaining. This same principle can be applied to youtubers and other influencers in the NBA space. I believe this an example of how influencers can affect the community, i have also been looking into this in regards to the Russell Westbrook situation.

I have also been looking at the decentralised nature of the different platforms in regards to my niche. Decentralisation is important when understanding how the community works, for the online space where my media niche exists, it is completely decentralised. This allows creators to create the specific content they desire and means their views do not have to conform. I believe this is important to see how creators (youtubers, twitter personalities, etc) are viewed compared to traditional media personalities in the same space. From my observation I have viewed a more positive and personal connection towards influencers than their traditional counterparts. This leads me to my next epthinamy which is…

Authenticity. Authenticity plays a massive role in how an influencer is viewed. Due to the decentralisation of the internet and freedom of opinions, it has allowed creators in the niche to freely spread their opinions towards their fans. This is an important part of their persona, it allows fans to feel closer to the creators and be more willing to accept these ideas from the influencer. I believe this is how online influencers can have a large impact on the community.

I believe all of these features have given me significant ideas regarding my DA moving forwards, whether in terms of how I will be using this to observe and understand my niche or how I will use it on my own online persona.


Sports Illustrated. 2021. Sports journalism is moving away from objectivity. [online] Available at: <https://www.si.com/media/2017/12/20/sports-media-reporting-objective-journalism-fans&gt; [Accessed 14 October 2021].

Google Books. 2021. Discourses of Authenticity on YouTube. [online] Available at: <https://books.google.com.au/books?id=wgj5DwAAQBAJ&pg=PT59&lpg=PT59&dq=how+content+styles+spread+on+the+internet+youtube&source=bl&ots=A59VHqMYyS&sig=ACfU3U2OIVBEioe45SvSTDquP32Og2PBhg&hl=en&sa=X&ved=2ahUKEwjlocDD68nzAhV6wjgGHUnVBJ4Q6AF6BAgQEAM#v=onepage&q=how%20content%20styles%20spread%20on%20the%20internet%20youtube&f=false&gt; [Accessed 14 October 2021].

Agarwal, M, 2021, Freedom, decentralisation and the regulation of content on social media.

Epiphanies Are Everywhere

So for this week’s blog we have been asked to discuss our authethnogrphical side of our research for our digital artifact. The question I’m attempting to answer in this study is how influencers affect the overall community as well as smaller creators. As a smaller creator myself I can definitely see how opinions as well as video ideas have spread around the community. I have three key observations I have made during my time observing and researching my media Niche.

Firstly Russel Westbrook, i am using the Russel Westbrook example as something i can use to compare my more recent observations to. Last season’s Russel Westbrook began the season poorly, a few creators began to make videos regarding the subject then the topic blew up and the consensus was that he was ‘washed up’. This is an example of influencers impacting the community. An article by Medium.com discussing influencer marketing was something I read that I believe can relate to this subject. While in this research i am not looking at marketing, you could apply some of the same concepts in which you sell and product as the same as an influencer’s opinions. I believe this article gave me valuable insight to the influencer-fan dynamic.

I have also been looking into the rise of popularity of one take videos, this content is normally one creator speaking on a particular issue or moment and is their unedit thoughts on the situation. I have noticed since last year this particular form of content has exploded in popularity. Originally Kenny made these styles of videos popular after he got millions of views and now more creators are following.

Also I have been observing trends on my own channel due to my lack of recent uploads. Before this point in the production stage I have not been able to analyze much recent data. Due to the fact i have previously used this DA for other BCM subjects i do have content on the channel and i have been analysing how the community different content styles and trends have influenced my own work.

Bcm 241 lecture wk7

Medium. 2021. Under the Influence: The Power of Social Media Influencers. [online] Available at: <https://medium.com/crobox/under-the-influence-the-power-of-social-media-influencers-5192571083c3&gt; [Accessed 13 October 2021].

BCM 215 Beta

Hopefully you enjoyed my video for my bcm 215 Beta blog post. So in the video I had already stated that the video has not been posted publicly, I would like to clarify this; the video will be published some time next week and uploaded onto YouTube. The Video will be as stated in the video, speaking about the Grand Theft Auto San Andreas video game. One of the biggest reasons I decided to choose one game from the 3d trilogy of Grand Theft Auto Titles is because I decided to go with a quality over quantity approach. I feel like each of the games inside the trilogy have so much outside information about the game that I would not be able to each one of them justice by putting them in one video. 

As stated in the video, I have changed my analytical model to mainly consist of nostalgia and media reception towards the game with elements of media archaeology as well. In my original when I pitched my analytical framework I didn’t mention nostalgia. I received that feedback from a comment left on my pitch by one of my peers (comment screenshot below).


BCM 215 lectures Wk2, Wk 3, Wk 10.

30 clip productions Beta

Since my pitch blog post I have made a few more changes. I realised from the peer feedback I received on my pitch I had not included enough information in regards to ethical considerations on my autoethnographic research and how I intended to collect this research data. Well firstly I intended on gathering my research by observing trends in the community and how those trends impact the community. I have decided to use a case study (community’s reception to Russell Westbrook last season) and compared it to more recent trends in the community to help evaluate the impact influencers have on the community. I will be doing this by looking at the data of a select number of creators of varying sizes across platforms (YouTube and Twitter) and see how topics and trends have influenced them and their particular fan-bases.

For my research I have to make some ethical considerations. I, as a part of my study will not be looking too deeply into any individual personally, rather I will be looking at their public persona and their methods of content creation as well as their impact on their fan-base. When analysing each fan-base I will have to be fair in my judgements I make about and not let any bias towards any creator or fan-base impact the validity of my research.


BCM 241 lectures Wk 3, Wk 4, Wk7, Wk8

Markham, A., 2005. [online] Citeseerx.ist.psu.edu. Available at: <http://citeseerx.ist.psu.edu/viewdoc/download?doi=; [Accessed 7 October 2021].

Korea dis Korea dat

In this week’s Bcm 289 blog post we have been asked to look at whether we think governments play a role in supporting creative industries in 2021. In my own opinion I believe that governments still play a massive role when it comes to supporting creative industries. In this post I will be using two case studies to show how government support can affect a country’s creative industry. I’ll be comparing the South Korean entertainment industry and the Australian industry as examples.

So firstly let’s examine a country whose government massively supports their creative industries, South Korea. Unless you have been living under a rock for the past couple of years, we have witnessed a massive rise in the popularity of Korean media. From K-pop to K-dramas the creative industry inside Korea has exploded. The global popularity in Korean media is in no small part connected to how well Korean media does in Korea. In 2019 51% of the Korean box office was local films. This is massive, but why does Korea have such a large support base locally for it’s media products?

Well to understand this we need to look into how the Korean government supports its local film industry. In 1993, the Korean government had a quota on how long Korean films had to be in cinemas which was 146 days per year which was reduced to 73 days in 2006. Still, the only films being shown in Korea for 73 days a year are Korean. Even when Korea first eased censorship and the film industry began Koreans were much more interested to hear about local stories rather than Western movies.

In the other case the Australian film industry doesn’t have any of the same quotas when it comes to film distribution. The Australian industry still produces a fair amount of films but nothing to the extent of Korea. Compared to Korea, in the last ten years the Australian films have only made up 4.3% of the local box office revenue. Australian films best year at the box office in recent times was 2015 where local Australian films made up 7.2% of the local box office. Just for comparison the highest grossing film all-time in Australia worldwide was Crocodile Dundee which earned over 47 million dollars comparatively The Admiral Roaring which is South Korea’s highest grossing movie all-time earned worldwide over 138 million dollars. 

The main difference between the two industries is the government support, the Korean industry due to the quota has had to rely on it’s locally creative industry to produce more which has led to the rapid growth of the Korean film industry. So using these two example’s i think it is safe to conclude that the government is still vital in a country’s film industry.


BCM 289 Wk4 lecture

Smh.com.au. 2021. Korea’s booming film industry and what it means for Australian cinema. [online] Available at: <https://www.smh.com.au/entertainment/movies/koreas-booming-film-industry-and-what-it-means-for-australian-cinema-20160802-gqj3u7.html&gt; [Accessed 28 August 2021].

Where’s the quality

In this week’s blog we will speak about Quality TV and how the demand for more content is leading to more shows in genre’s translating across borders. So what is quality television, well quality TV is sort of hard to define. Basically quality television is a genre or tv series that is deemed higher quality because of its subject matter, content, cinematography and complex narrative structures. Shows like the Sopranos have been called Quality TV because of these factors and networks such as HBO have built their identity on this idea of Quality TV.

Compared to last week where we watched reality tv shows, quality tv seemed to have a higher standard of polish and prestige. Reality Shows are not commonly considered quality tv because they do not have that type of prestige and don’t look at complex subject matter often.

Due to the rise of Streaming companies the need to create new and interesting tv series for people to watch has risen. Due to this many production companies have looked to import foreign TV shows to their country. Examples are plentiful, the Office has many different iterations including the original British Version, American Version, German Version and a Chilean Version. The show crossed many borders with varying levels of success. One of the most common transnational media partnerships is with the UK and the US. Shows like the Office, Inbetweeners and Shameless have all been remade to fit an American audience to varying levels of success. 

There are some common issues when it comes to translating a show across borders, for this I’ll be focusing on 2 TV shows previously mentioned above and how one worked and one didn’t and why. 

So the two shows are the Inbetweeners and Shameless. Both shows are different in some regards, shameless being more dramatical with comedic elements and Inbetweeners being a pure British comedy. The key word is British comedy, one of the main reasons the American Inbetweeners failed was because the Inbetweeners is a complete British comedy, many of the themes of the show are uniquely British and that reflects in the jokes. Also there is a main difference in British comedy compared to American which is UK comedy is subtle and believable while American style is more over the top. Most of British comedy is built upon cringe, the characters doing something embarrassing that is also somewhat realistic. Shameless was a faithful adaptation, carrying over the same themes. Both shows take place in areas of the respective country that are going through tough economical hardship. After season 1 the US version started to diverge from the UK one and become its own show. 

Both of these examples show the difficulties involved in translating quality tv across borders. As the need for more shows increases with media companies battling to get people’s eyes on their platforms it will become more and more common for quality tv to be spread across borders.


BCM 289 lecture Wk 3

Geraghty, C., 2003. Aesthetics and Quality in Popular Television Drama. International Journal of Cultural Studies, 6(1), pp.25-45.

Fuller, S., 2018. [online] Ses.library.usyd.edu.au. Available at: <https://ses.library.usyd.edu.au/bitstream/handle/2123/9556/fuller,s_thesis_2013.pdf;jsessionid=6BB921129E3E8102DC5DE9278A021181?sequence=1&gt; [Accessed 25 August 2021].