Digital Story Telling Project -BCM240 task three assessment

Digital Story Telling Project -BCM240 task three assessment

Watch my digital story telling project here :



Reflective statement here :


BCM240- Reflective Analysis

BCM240- Reflective Analysis

Creating a digital story project was changeling but also an awarding experience within this subject of BCM240, media, audience and place. The process of choosing a topic was long and tedious; though I knew I wanted to make sure that in order to meet all the essential criteria, I was choosing the right topic, and platforms available. Growing up in a generation so reliant on technology, particularly smart phones have always caught my interest. This modern technology has given us endless access to multiple platforms and various new skills. Everywhere you go, whether that be waiting on the bus or queuing in a line at a café and even in a classroom, people are addicted to the idea of using their smart phone. This has always caught my attention, particularly with the concern on what these smart phones may be doing to our society and within us. This led me choosing the subject FOMO, also known as, the fear of missing out. Framing my research question around the subject, Is FOMO Fueling your social media addiction?                                                                                                                                          


I chose to conduct my research by interviewing one person, in order to gain knowledge and insight in how a person can be affected by FOMO in their daily lives. The main objective of this project was to create a common connection between the interviewee and the viewer, particularly when watching the video through the chosen platform of iMovie. I found this method to be suitable for this topic, considering it is based on the idea of modern technology. The main objective of using this method was to make sure the viewer could understand the content of the video by including relevant sources.

Learning development /Challenges:

Through this assessment it become clear to me of Torsten Hagerstrand theory of restriction. Particularly when I found myself thinking, can I finish this project in time? , Can my interviewee make it on this day? , Will I have enough time to learn a new media platform with approaching deadlines? These were all concerns and challenges that surfaced within this project. Having an influence in the way in which I chose to conduct my digital story , making decisions in order to meet the project deadline.

During this assignment I have learnt a great deal about the platform iMovie in order to create a video, to be featured on my WordPress site. I knew I would have to challenge myself, in order to use the right platform for this project, one that would benefit my digital story. It is for that reason why I chose to challenge myself to gain new skills through IMovie. Allowing my project to be easily sharable and easy to access for followers found on my blog and for my interviewee to gain access to the final project, creating a sense of connectivity. This was illustrated through positive feedback and encouragement from my teachers and fellow class members. Using this platform has led me to discover that I have a key interest in filming, making this a platform in which I will choose to pursue in the future, as I find this process enjoyable.

However, I learnt when creating a digital project it’s a good idea to create a time schedule; this allowed me not to rush my project , having more time to learn the essential skills of IMovie and video making, this was proven to be difficult and long process. This showed my weakness of video editing, however this weakness enabled myself to establish problem-solving skills. If I was allowed more time and we weren’t restricted by a word count or time frame, I would like to peruse this project in the future with the notion of using more then one person for the interview. This would be interesting to see the different opinions on the matter of FOMO and social media, gaining different perspective on the topic, making it useful for future practices.

Usefulness to media industries:

Ethnography research is relevant to media studies and media industries. As stated by Ganti (2014) ethnography isn’t just about interviewing people, it’s about paying attention to the everyday life, to make an observation (Ganti, 2014). Its important to conduct an ethnographic approach to media production, it enables you to understand your audience and their culture making this an important and useful factor in media industries, a technique I ensured to use in my project. Focusing on the youth culture and how they viewed and watch content on social media. As Ganti (2014) illustrates, “Ethnography grounds the study of media in a specific time and space and offers insights into the process, possibilities, and constraints of media production”

 What I took away from completing this project:

The two most significant things that I took away from this project is understanding the importance of conducting relevant research and time management for a project this size. Researching and establishing questions before the interview, made the process of creating a story line easy to develop, which in return made the interviewee feel more relaxed. This enabled the film process to go smoother and quicker, which in return respects their time and wellbeing. Overall this project and subject, has taught me about the importance of media, audience and place, while also giving me the confidence to go and learn new skills that may be required within this degree or for future jobs in this field.


*Briefly I would like to thank my interviewee Ashleigh, who took some time out of her busy days in order for me to film and interview her for this project-Thank you *



Ganti, T 2014, ‘The value of Ethnography’, Media industries journal, vol.1 no. 1, viewed 26th October 2016, <;.

Regulation – Are you affected by media regulation?

Regulation – Are you affected by media regulation?

Mass communication especially through the rise of new technologies such as, mobile phones, radio, television and film can cause their own issue within the public sphere. These issues cause and make for media regulation, a term regarded as “a law, rule, prescribed by authority, especially to regulate conduct”(, 2016). University of Leicester (2013) highlights the term regulation is aimed to set limits to freedom, though this goes against our democratic society. Suggesting that in order for our government to regulate, they need to have a clear and convincing reason in order to follow through with the regulation. There are numerous reasons why we regulate media usage. These reason generally lie around the protection of the public order, protection of the individual, development of the communication system and the promotion of access while maintaining conditions in media services (Leicester university, 2013).

For instance Brett Lamb (2013) stated that in Australia, Free TV and the advertising Standards Bureau have guidelines for advertising food and beverages to children in which they promote unhealthy eating and a bad lifestyle (Lamb, 2013). Even commercial radios in Australia have regulations and guidelines particularly prohibiting the portrayal of women, indigenous people and cultural diversity within their airtime (Lamb, 2013). 55% of Australian television content has to be aired between the times of 6am and midnight (Lamb, 2013). This media regulation is aimed at controlling the vast amount of media usage of overseas content; this enables our nations production to be supported rather then supporting overseas profits. It’s always important to have media regulation concerning media ownership. This is to ensure that as a nation our media outlets hold diversity within media communication. Highlighting the importance “ that no one should monopoly the media industry” (Lamb, 2013).   This is because as a functioning democratic country we require a diverse ownership, ensuring that our public lives are being reported “in a fair and open manner”(Gardiner-Garden, 2001).

A common media regulation that happens in our everyday lives is shown through our movies theatre practice and TV shows ratings. These ratings inadvertently regulate how we watch and gain access to view these shows .For example, MA15+ restrict any child under the age of 15 from watching these rated programs. The Australian Classification (2015) regard MA15 + rating as a “classified material that contains strong content”(Australian Classification, 2015). This media regulation restricts how a child under the age of 15 will gain access to the movie theater. The Australian classification (2015) requires any child under the age of 15 to be companied with an adult guardian, where they must buy the ticket for the child. However when a child is over the age of 15, they may be asked to show proof of age before hiring or purchasing an MA15+ program (Australian Classification, 2015). This is a prime example of an active media regulation that is used in our everyday lives.


(Source : Brett lamb , 2013)

This particular case study links to the notion and ideas of media space and place. According to Tuan (cited by Mains, Cupples & Lulineal, 2015, p.195) space has been associated with media geographers, particularly with the idea of freedom, movements, distance and potential. While place, often implies confinement, stability, proximity or concrete. Tucan illustrated that to understand the geography of the world, you need both space and place perspectives “as they intersect with media and communication” (cited by Mains, Cupples & Lulineal, 2015, p.195). They defined place as a term that focuses on how place-to-place images are represented in the media (Mains, Cupples & Lulineal, 2015, p.195). Where as, spaces in media are often known as a “topological space” (Mains, Cupples & Lulineal, 2015, p.195) also known as a mediascape. Focusing its attention on the “virtual geographies of what is connected to what” (Mains, Cupples & Lulineal, 2015, p.195). Just like the movie theatre ratings, this type of regulation has implemented place media. Focusing on what has been represented within the movie, searching for hidden message that may not suit children of 15 years and under, regulating confinement. The Australian classifications rating also shows an example of a media space, regarding how it is connected to the viewer and how they may interpret what they are seeing. Media regulation is so common within our society; we hardly even notice it until it is brought to our attention. I would love to hear your stories of a situation where you felt that you where affect by media regulation or even if it was forced upon you , Leave a comment below


As always, all the best

Chelsea x


Australian classification 2015, Mature Accompanied (MA15+) , Department of Communication and the Arts, viewed 15 December 2010, <;.

Lamb, B 2013, Media Regulation, Lesson bucket, weblog post, 28th April, viewed 24th September 2016, <;.

Mains, SP & Cupples J & Lukinbeal , C (eds) 2015, Mediated Geographies and geographies of media , Media research, Springer, New York & Lonodn.

MTIMDE, L 2012, Concepts of media regulation, BizCommunity , weblog post, 11 September, viewed 24th September 2016,;.

Parliament of Australia 2016, Media ownership regulation in Australia, parliament of Australia, viewed 24th September 2016, <;.

‘Regulation’ 2016, in, Random Inc., viewed 24th September 2016, <;.

University of Leicester 2013, Module 2: unit 11: media regulation, University of Leicester media resources, viewed 24th September 2016, <;.






My preliminary proposal for my ethnographic or narrative research project

My preliminary proposal for my ethnographic or narrative research project

Digital storytelling is a movement that has been evolved from being socially aware of people stories around us. Though the main aim is not in how the story is produced but most importantly expressing and exchanging stories “made from the fragmentary, often painful, stuff of everyday life”(Couldry et al., 2015,p.2) Using the concept of a “story circle” (Couldry et al., 2015,p.2) Where the participants and the producer sit facing each other, focusing and listening to what each other has to say in order to produce fully committed stories. Which in words of Nick Couldry made this theory concrete within digital storytelling (Couldry et al., 2015,p.2). Digital storytelling allows us as stated by Lambert to “sort out new solutions, by reframing our diverse connections to the big story (cited in Couldry et al., 2015,p.3). Though there are rules to follow, firstly we must know how digital storytelling contexts and process of production become associated with certain practices and styles (Couldry et al., 2015,p.3). Secondly, how the outputs of digital storytelling practices are circulated and recirculated between various sites, and exchanged between various audiences and institutions (Couldry et al., 2015,p.3). Thirdly, we must acknowledge the long-term consequences of digital storytelling in particular when we included different types of people especially from particular locations (Couldry et al., 2015,p.3). Focusing on the consequences that the story may impact on the wider “social and cultural formations, even for democracy itself” (Couldry et al., 2015,p.3). This is where the term of digital “storycircle” captures all the above roles and levels (Couldry et al., 2015,p.3) by offering a sense of communities of practices as stated by Wenger in 1998 (cited by Couldry et al., 2015,p.3). Story digital storytelling can serve as a principle tool for enabling and deepening mutual recognition as explained by Honneth in 2007(cited by Couldry et al., 2015,p.5). By offering a useful ways to share different perspectives through the powerful tool of digital storytelling. Using the process of narrative exchange under digital conditions (Couldry et al., 2015,p.5).


The medium in which you choose to show your digital storytelling is not crucial, the storytelling elements can be images, film, blogs, tweets, webpages and weblinks as explained by Nick Couldry (2015,pp.5-6.). What matters the most is how it is interlinked and focuses on the practice of “working together to show each other how we live” (Couldry et al., 2015,p.6). Highlighting the important part of digital storytelling is that it has the ability to “bring multiple medias together” (Couldry et al., 2015,p.6). It’s important to use a methodology that is collaborative throughout the project adopting a collaborative action research methodology (Couldry et al., 2015,p.8) in Nick Couldry own research he took the approach of using interviews and meeting functions as a way to gather participants reflections about the research and receive feedback and suggestions to “collaboratively plan further action” (Couldry et al., 2015,p.9). They used the tools of twitter, and a website, online surveys on the perspectives of social and mobile media to develop their digital story (Couldry et al., 2015,p.9). Nick Couldry highlights technology found online such as Twitter as a means of digital storytelling creates a communication space, which allows a degree “of visibility and mutual awareness that is not achievable through face-to face- communication alone” (Couldry et al., 2015,p.9). Stating by working with a digital platform allows the researcher to work along side their partner to produce a digital story.


Choosing and identifying a story is significant, Couldry suggest choosing one based on attributes of space / time and then displaying them on a web-based graphic interface (Couldry et al., 2015,p.14). Displaying the narrative somewhere where the information and data collected can be easily presented accessed online for the participants and public (Couldry et al. , 2015,p.15) for example you-tube or a Facebook page. Couldry (2015,p.16) gives the example of using the function of Flicker to geocode photographic images of camps located in North Wales, Isle of Man and Yorkshire. By doing so they have created a timeline, a timeline that “pulled stories about camps separated in time and space into a common frame” (Couldry et al., 2015,p.16). Thus creating a digital storyline that is accessible and creating mutual “recognition across generations” (Couldry et al., 2015,p.16). Highlighting that collective stories do not “consist of a singular perspective but can be interpreted from multiple perspectives” (Couldry et al., 2015,p.17), exploring the relations between them.


Nick Couldry mentions an important regarding the notion of story telling that involves digital storytelling, claiming “that digital storycircles can deal not just accumulations of individuals stories, but, more subtly, with potential conflicts an tensions within sets of stores from different space times” (Couldry et al., 2015,p.18). Illustrating the storyteller voice is important to the story (Couldry et al., 2015,p.18), capturing the essence of the narrator and the unique character and the connection to the lived experience as mentioned by Lambert (2008)(cited by Couldry et al., 2015,p.18).

Reading this week text “Constructing a digital storycircle: digital infrastructure and mutual recognition” by Nick Couldry et al (2015) enlightened me into what I might consider to do for my ethnographic / narrative research digital story project. I want to follow a story through the use of photographs and interviews, thus enabling myself to create a story timeline. This will be displayed through either the media platform WordPress or a YouTube clip of my interviewee. The topic I’m considering for this project is the impact of media technology throughout the generations. Particularly the impact of  new media technologies and their use in our education, gathering different opinions from each generation. However this is just a rough idea and the story context has not yet to be fully established or chosen. If you have any advice for me let me know ,  however I will keep you posted on my progress.


As always, all the best

Chelsea x




Couldry, N, MacDonald, R, Stephansen, H, Clark, W, Dickens, L, & Fotopoulou, A 2015, ‘Constructing a digital storycircle: Digital infrastructure and mutual recognition’, International Journal of Cultural Studies, vol. 18, no. 5, pp. 1-30.



Street photography and did i mention ethics?

Street photography and did i mention ethics?


As I sat in a car park waiting and jamming out to music, I quickly looked up and noticed this girl standing there patiently on her phone, escaping reality. As I started to piece together her life I suddenly knew this would be a perfect opportunity for me to write this week blog task. Focusing on the issue of pubic spaces as an ethical dilemma, particularly the issue of taking a photograph of someone using or watching media in a public space. As I continued to watch her I began to question myself was it ethically right to take this photo, should I be doing this? Was it legal? . It all just felt uneasy, like I was invading someone personal space, entering into their world for just that brief moment. Though according to the Arts Law Center of Australia (2016,p1) I wasn’t doing anything wrong. I wasn’t capturing a photo of a child under 16, I wasn’t on private property, I needed no permission for her to take this photograph, what a scary thought that is. I was allowed to capture this moment as along as it was in a public space. It was illustrated through the Arts Law center (2016,p.1) that there is no personality / publicity rights here in Australia and there is no right to privacy that protects a persons image (Arts Law Centre, 2016,p.1). Meaning you and I don’t have the right to own the picture of our face in a public area if a picture is taken and used for other purposes.


(Source:Telegraph UK & Photographer : Stuart Beesley)

Australia has no specific law aimed at preventing the unauthorized use of your image, however there are circumstances in how your image is used. For instance if this image damages or injures your reputation or others you can claim for defamation. From here the photograph will be tested on whether the publication of the photograph is defamatory (Arts Law Center, 2016,pp.1-2). Another option is the Australian Consumer Law where Sate fair-trading prohibits the act of misleading and deceiving a person through commercial conduct. In order to claim, a person will need to show that the use of the image would mislead or deceive the public (Arts Law Center, 2016,p.2). Thirdly, there is no general right of privacy in Australia meaning if I wanted to take a photo, I don’t need to receive any personal consent first before capturing your image, nor does the individual have the right to stop her image being recorded (Arts Law Center, 2016,p.3). For example when capturing the image of the girl above, I followed the law. I didn’t risk her reputation, nor did I go and deceive her through commercial conduct. Everything was perfectly legal.

Though the questions remains just because it legal for me to capture an individual in a public space, shouldn’t we consider ethical values? As researchers and blog writers, Shouldn’t we follow a set of ethical guidelines and do what is morally right? For example the case study of drones, which are used to record and locate people. However, with street photography what are the ethical guidelines? Frist off it is best to treat the person you are photographing as a human as silly as that may sound, but to treat the individual as an equal. Question yourself and think would I like this if our roles where reversed? . Kim (2011) suggests talking to the person you are capturing, engage with them. Enter their lives for just that brief moment; make them feel comfortable by asking for consent before taking an image, particularly if the image is going to be displayed on a public website. A feeling Joerg Colberg (2013) feels strongly about quoting, “Photographers need to be aware of the ethics of their endeavor”(2013).

In my instances I approached this girl in the above picture in the end. Her name is Molly and she was waiting for her sister to pick her up after work. I kindly showed her the picture I took of her while she was using her phone. I explained that this was purely for educational purposes, in which would later be posted on my WordPress site. As anyone could image her reaction was priceless but sweetly she agreed to it. I quickly gave her my URL to my blog for her to read and follow up on, so molly if you’re reading this, I hope I’m doing you justice and THANKYOU for helping me. As Colberg highlights “having photographs in public spaces taken without permission poses a challenge for photography” (2013). It’s up to us as researchers to decided what is ethically right; create boundaries and a code of ethics for us to follow.

Though public photography makes for easier and effective research regarding public space ethnography , have a read of this research paper to understand . It gives us, the researcher, the chance to study and record how people live in their culture or their traditions. It gives us the opportunity to understand and share their beliefs along as we follow our codes of ethics, in order to prevent harm to that culture. In a way I think this safeguards are work, where we are able to know what is ethically right and follow it, making sure our work is sound and trust worthy.

 I would love to hear your thoughts , please feel free to leave a comment below .

All the best , Chelsea


Colberg, J 2013, A photo of a man I took downtown that he asked me to delete. I did. , Conscientious extended, weblog post, 3rd April, viewed 1st September 2016, <;.

Kim, E 2011, Are there any Ethics in street Photography? , Erickimphotography, weblog post, 26th February, viewed 1st September 2016, <;.

Arts Law Centre of Australia  2016, Street Photographer’s rights information sheet, Australian National Community legal centre of the arts, viewed 1st  September  2016, <;.


Time geography – lets go to the movies as studied by Hagerstrand

Time geography – lets go to the movies as studied by Hagerstrand

I was lucky enough to be able to drag my boyfriend along with me to the movies; it may have taken all about two seconds for him to agree to come with me. Unlike me Alex loves the movies, he is a movie theater enthusiasts he is absolutely addicted to the atmosphere that the cinema can provide. As he constantly says to me, it gives him the feeling that he can escape reality for the brief 1.5 to 2 hours. Making this week blog task easy to achieve, we decided to watch one very over priced movie Bad Moms, little did Alex realize this was essentially a chick flick, so I felt like I won a secrete victory there. I set out with a goal to watch and record what other people did during the movies, including us.


(source:  Cinematreasures)

It soon became evident that there were silent rules that everyone follows, when visiting the movies and by watching people during our movie it become interesting to witness what people did during the movie that made them feel more comfortable within the cinema. In a weird way they all established their own certain rituals, including where the felt comfortable sitting and whether they followed there designated sitting or whether they brought their own food. In our particular cinema, it was quite a late session starting at 9:30pm at Greater Union at Westfield Miranda. It soon became obvious that everyone present was sitting in two particularly couples, however what become interesting is that everyone sitting in our cinema theatre felt comfortable sitting separated from the crowd of other couples. Leaving quite reasonable gaps between them, something that I know Alex and myself also did. When asked where to sit Alex replied to the usher that he wanted us to sit in the middle of theatre, when I asked him why he replied that he never really thought about it but after given thought he established that he felt that he wasn’t being watched in the middle of the theater he felt like he didn’t have everyone staring at the back of his head, that the middle gave him the best view of the screen.

What was interesting is before the movie even started hardly anyone was talking to each other, instead the majority of the girls in the theatre where on the phones. Scrolling through social media in particular Facebook, I must admit I was guilty of this too. Alex and I didn’t buy any food at the theaters this time, we both looked at the prices and both agreed 15 dollars for a coke and popcorn wasn’t ideal. So the cheap people we are opted for Coles lollies (what else are University students meant to do, so please hold the judgment ha-ha). Though there were a considerable amount of moviegoers that didn’t have the same view as us, they were busy chomping away on their popcorn and chop tops.

In the text written by Hagerstrand (2001) he studied the way people acted and how they behaved in society, particular “ the effects of space on human behavior”(Hagerstrand, 2001,p.1) studying human migration patterns. Highlighting the importance of time in Human activity “Time has a crucial importance when it comes to fitting people and things together for functioning in socio-economic systems” (Hagerstrand, 2001,p.2). Stating that even though a venue like a movie theatre might be close to you there are often obstacles that get in our way. For instances a person cannot allocate enough time to travel to it, allowing the person to not attended the movie (Hagerstrand, 2001,p.2). He uses three categories to describe the limitations or constraints a person can come across regarding time geography (Hagerstrand, 2001,p.2). The first is Capability, where a person considers how they might get somewhere (Hagerstrand, 2001,p.2). For example for Alex and myself attending the movies theater, wasn’t such a big issue for us we both have our full license. This allowed us the comfort of knowing that we could easily get there and back quickly and without hassle. A particularly benefit knowing that we chose a later movie session. If for some reason we didn’t have our cars and had to catch the train, I highly doubt we would make the effort to travel from our home to Miranda for a movie that late. Money wasn’t a factor for us too, of course it played a part in our minds we where both just able to afford it. Thus as Hagerstrand (2001,p.2) describes it, is his capability theory.

The second is coupling, where he questions if a person can get there at the right time (Hagerstrand, 2001,p.2). Again for Alex and myself we had to choose a movie session that allowed us not to rush to the movie theater. A time that we both knew we could make, which happened to limit our choices of what movie to pick. For a person this limits a person decision to go somewhere, this is what Hagerstrand (2001,p.2) calls coupling. Lastly he illustrates the last limitation, authority, where a person considers am I allowed to be there? Where they think about the ability to access the venue (Hagerstrand, 2001,p.2). For instances this movies was MA+ meaning that anyone under the age of 15 wasn’t allowed to watch the movie unless they where companied by an adult, limiting their access to the venue. For myself this wasn’t a problem as both Alex and myself where allowed full access to the venue. Considering that we are both over the age requirement. Overall our movie experience was quite enjoyable, I enjoyed my company and I really enjoyed our overpriced movie pick. Though I think I will wait another couple of months to go back or unless Alex drags me there, which is always highly likely.


Ps. Go watch bad mom if you’re a lady I highly recommend it. But maybe take your mum or your best friends instead, not a boyfriend whom gets bored half way through . below is a trailer if you want to know more about the movie .

As always all the best

Chelsea x



Corbett, J & Donald, J (eds) 2001, ‘Torsten Hagerstrand , Time Geography’ Center for spatially integrated social science , 25th August, pp1-4

Has the Media caught them all ? A new media space

Has the Media caught them all ? A new media space


With todays technology it’s hard not to be part of a media space, whether that is Facebook, Twitter, Instagram or Skype. Most of us has said the phrase ill just Google it, at least once. I know for myself I am part of that majority; I use social media as my escape. However recently our media space has been changed with the new release of the very popular app Pokémon Go. For those who may not know or have been living under a rock for the last couple of weeks, Pokémon go is a game that serves as a “virtual reality”(Duffy, 2016) using a very similar technique of Google maps to locate the virtual monsters. It’s a phenomenon that has not only taken over my life but the lives of many. Particularly, those who have treasured the game throughout their younger years (Duffy, 2016). The ABC (Duffy, 2016) released a statement suggesting that after a week of the app release it will mostly likely be the most popular app in the word. With most of its players being the top daily users of twitter (Duffy, 2016). The ABC interviewed Guy Blomberg who stated, “There more people that have this app installed than Tinder the dating app. Its insane” (cited by Duffy, 2016). Personally this app is addictive, so addictive that it’s managed to be apart of my daily life. I go to work and search for Pokémon, I go to university and search for Pokémon, I sit in the passenger seat and you guess it, I search for Pokémon. For me my experience of this media space hit me when i was sitting below  Wollongong lighthouse, surrounded by people playing the app . We were interacting with each other but through various ways . It was from here on that a new this craze was going to change the way people use technology and media spaces.


Pokémon Go is a perfect example of a media space, as Doreen Massey (2005) argues, a space that isn’t “fixed or material container for things”(cited by Evans, 2016). Meaning that a media space can be a system that uses different elements to allow individuals to be together spatially and temporally (Evans, 2016). For example I can be on my smartphone playing the app, while versing a fellow gamer who may be in a different space or location,  using a different internet connection. Mixing our reality with the virtual one were immersed in. The success of the app manages to depict a physical space differently (Evan, 2016), the experience for each player is different depending on where each gamer chooses to play the app from. Illustrating that each individual user of the app experiences a different media experience.

So fellow Pokemon hunters , what has your experience been like for you ? and more importantly choose team instinct( the underdogs)  ! ha-ha

As always all the best,





  1. Duffy, C 2016, ‘What is social media phenomenon Pokémon Go’, ABC, 14th July, viewed 27th July, <;


  1. Evans, N 2016, ‘Media Audience Place’, PowerPoint slides, BCM240, University Of Wollongong, 27th of July 2016, <;