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, <http://www.mediaindustriesjournal.org/index.php/mij/article/view/21&gt;.

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, <http://jmcolberg.com/weblog/extended/archives/the_ethics_of_street_photography/&gt;.

Kim, E 2011, Are there any Ethics in street Photography? , Erickimphotography, weblog post, 26th February, viewed 1st September 2016, <http://erickimphotography.com/blog/2011/01/26/are-there-any-ethics-in-street-photography/&gt;.

Arts Law Centre of Australia  2016, Street Photographer’s rights information sheet, Australian National Community legal centre of the arts, viewed 1st  September  2016, <https://www.artslaw.com.au/info-sheets/info-sheet/street-photographers-rights/&gt;.


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

Ethno -what ?, in other words people writing

Ethno -what ?, in other words people writing


From writing last week blog post it became apparent how television has impacted the lives of families in many similar ways. From reading a collection of blogs post found on the twitter fed for BCM240 common themes and patterns took shape. Particularly, evolving around the notion of nostalgia, childhood memories, socialness and the creation of family rituals. For me the creation of rituals is a topic that stood out, studying “why” and “what”, in regards to what families do while watching TV, if they do anything at all. This was especially interesting to research, particularly the stories of how just a common day object in which this generation takes for granted, made such an impact into a less technological world then today. In a way I guess we all just conducted our own collaborative ethnographic research. Which in the words of Luke Eric Lassister (2005) Ethnography is by definition, a collaborative research method for collecting qualitative data, describing it as a way of “working together for an intellectual effort” (Lassiter, 2005). A research methodology built upon social science known as Anthropology, to study, describe and interpret a culture (Hammersley, 2004), such as the photograph below.


(source: Kaleidoscope)

Ethnographers are guided by all ethical commitments by studying the meanings of behaviors, languages and the interactions of a culture group (Hammersley, 2004). Though the challenge has been set for modern day ethnographers to conduct studies that are on the bases of making relevant and more responsive choices based on their community concerns (Lassister, 2005). Secondly, Ethnographers have to actively collaborate and involve participants and co-researchers in all aspect of the research. This is where Lassiter (2005) suggest that as researchers engaging in ethnography we must emphasize greater collaboration with the participants who take part. Thus with last week blog post and during tutorials we all engaged collaboratively, whether that was done by listening and learning from what each other interviewees had to say. An important point in which Hammersley (2004) states the aim for ethnographic research is to learn from a member of a cultural group, rather than conducting a traditional form of study.

From my perspective this gave my father, my interviewee great joy and excitement for being part of my research. By participating and engaging with him during the interview, giving him a sense of purpose and enjoyment. A feeling that I particularly noticed was demonstrated throughout numerous blog posts last week. Highlighting Lassiter point to create a more thoughtful relationship with the participant, then the traditional research and writing process (Lassiter, 2005). Underlining the importance of creating research that is highly accessible to their audience, not just for Scholars but more importantly those who participate in the research (Cavanaugh, 2013).

Even with the potential benefits in which collaborative ethnography can present there is also concerns for its limitations. For instance by allowing the participants into the research process, as an ethnographer we are accepting the risk of losing control over our research project. Lassister (2005) illustrates the concern for misrepresentation of presented results, particularly the concern of showing multiple perceptions. Calling for all ethnographers to have a ethical relationship between researcher and participates, ensuring to protect those involved in the study (Lichtman, 2013,p.75)

Time can be a huge factor when conducting this method of research (Cavanaugh, 2013,p.4). Emphasizing the concern of conducting a research over a short period of time. Explaining that ethnographers aren’t receiving the right data to properly analyze the findings of a culture over that time period, as only the surface of the results are being reached. Meaning that reliably can also present to be an issue upon the finding and facts of the research report, an ever-growing ethical concern known as the Hawthorne effect. However, getting informed consent for an ethnographer can be a difficult process. Researchers need to pay particular attention to getting informed consent from those who might in some way not be fully able to appreciate what they agree to (Lichtman, 2013,p.75). Overall I believe the research methodology of collaborative ethnography, is an important factor to have in our society. It allows audiences and communities to understand the stories of different cultures in regards to how they live. Even if that step involves understanding how certain generation’s watches television. I would love to hear your thoughts on ethnography? Do you think the pros out way the cons? Leave a comment or tag me in your post would love to read your thoughts.


All the best,Chelsea x