Navigating Webtoons 2 Part Podcast Series

Podcast One

Henry Jenkins Convergence of Culture

Webtoons on Naver

The ease of the app:

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Other blogs

Podcast Two

Translation On Webtoons

LINE Webtoon – Women in Digital Comics at SXSW ’16

Contextual Essay

This digital artifact (DA) is a two-part podcast series on Webtoons. I broke my arm and had time away from classes, thus was given a two-part assignment rather than one group and one individual assignment. This assessment structure challenged me to extend my research and brainstorm ideas that were larger than ‘what is Webtoons’. Chris challenged me to think differently and helped me push my limits beyond what I thought I was capable of. This inspired me to consider potential and future research options.

Part One of the podcast series that I created involved the navigation of Webtoons. I broke it down, so it was really simple for listeners. The idea of this podcast is to provide an instructional platform that listeners could follow along to. I want listeners to be able to follow along while I explain how to navigate and use the Webtoons website. I used a very explanatory approach for this podcast because I wanted listeners to be interested – not overwhelmed with the content. By stepping them through what they needed to know, I feel that I can instill confidence into listeners when they use Webtoons for the first time. When creating the podcast, I was thinking about the audience because I originally had feelings of being overwhelmed when looking at Webtoons for the first time as there are so many genres and series to consider. The purpose is to inform listeners and encourage them to engage in the world of Webtoons.
I approached Podcast One by taking an analytical approach to the autoethnography experience. Leon Anderson (2006, p. 378) recognises that an analytical autoethnography evokes emotion and is a reflexive process. I have been able to reflect on my own experiences of using Webtoons and created a podcast that supports these experiences by helping others.

Part Two of the podcast series was a more indepth investigation of the culture of Webtoons rather than how to use it. By looking at translation, women in Webtoons and censorship, I was able to delve into an unknown world that challenged me to think differently and be considerate and accepting of other cultures. The idea of the podcast was to encourage listeners to become more involved via creation or translation of content noting the simplicity, as well as taking an educational and political approach to understanding the culture of Webtoons and Korea. Personally, I found exploring these topics hard because there is not a lot of research completed on Webtoons as it is a new market and platform within the last 10 years. This is where talking to Chris Moore and Brian Yecies, University lecturers, helped because they were able to guide me in a direction and provide me with some insightful information. The simplicity of brainstorming in multiple consultations with Chris gave me the understanding and passion to research further into these topics.
Creating Podcast Two allowed me to take an alternative approach to an analytical autoethnography. A political approach was taken to create Podcast Two. Denzin (2003, p. 258) recognises that a political autoethnography involves the motion of reflexivity, as well as having a moral and political understanding.

Creation of the podcast was quite easy for me as I have worked for a radio station before, so I am used to pre-recording, although I have never created a podcast before. I had to really practice my articulation and record and re-record sections of the podcast because I would start to slur and stumble after a while. Editing was quite easy on the Movavi program that I downloaded. After listening to other podcasts, I was able to put creative twists into the podcasts to break up the seriousness of the content. With podcast two, I realised that the end result is less conversational than podcast one. I read more from the script that I had pre-written because it was much more content heavy and dense compared to podcast one. In podcast two, I was also able to pose more questions to the audience and learnt that I can question the content without having an answer.

Key epiphanies that I had throughout creating this DA were:

  • Genres are the same as western cultures but are more twisted
  • The Webtoons app was much easier to use
  • Within the translation community, I assumed top translation languages would have been English, but that was not the case.
  • Translation into English was not always exact

These key epiphanies allowed me to have an appreciation for the Webtoons world. I have been able to research and have a more thorough understanding of the Korean culture. Genres in the Asian culture seemed to be more twisted and darker compared to what I was used to. It was shocking, but it was a refreshing change to what I was used to. For example, I normally like Rom-Coms, but in Asian Romance, there is a more twisted, controlling, stalker-ish vibe in a few of the Webtoon series.
Comparing the app to the website, the app was considerably easier to use which was a relief after spending hours playing online and getting lost. With the recommended personalised readings as well as the step by step instructions when you first download it, it contributed to the experience being completely different.
The biggest shock for me when I was researching the world of Webtoons, was that English was not the dominant translated language. I was naïve and thought that English was a language spoken by most people around the world. I discovered that languages such as Portuguese, Indonesian, and Mandarin were the most popular. This made me feel quite silly and the bubble that I was living in popped as I remembered that there are many languages other than English that dominate the world.
I spent some time reading Webtoons series to embed myself into the experience and I noticed that translation had significantly different meanings. For example, calling someone your brother in Asian culture means your boyfriend, whereas here in Australia, brother means sibling or a good friend. This was quite confusing until I got to know the characters more and understood the storyline and translation.

As stated in blog post one, I was drawn to the idea of Webtoons when Brian Yecies, University lecturer, lectured on the Webtoons world and the Korean phenomenon. It took some time for me to get excited about this topic and get started, but after plenty of research and a shuffle around of assignments, I soon found an interest in the topic. Brainstorming and consultations with Chris helped immensely to guide me and keep me motivated.

Overall, the two podcasts allowed me to use a structured approach when talking to the audience, helped me identify key epiphanies and has allowed me to think more broadly about the possibility of further research. Before completing this Digital Asia subject, I had no intentions to visit Asian countries but now that I have a more thorough understanding and respect for the culture, I would be more inclined to travel to Asia.

References

Acuna, K 2016, Millions in Korea are obsessed with these revolutionary comics – now they’re going global, Business Insider, last viewed 01 October 2018, <https://www.businessinsider.com.au/what-is-webtoons-2016-2?r=US&IR=T

https://www.quora.com/How-are-South-Korean-webtoons-any-different-from-the-usual-webcomics>.

Anderson, L 2006, Analytical Autoethnography, Journal of Contemporary Ethnography, Vol. 35, pp. 373 – 395.

Crowd Sourcing Week, 2018, What is Crowd Sourcing, Crowd Sourcing Week, last viewed 11 October 2018, <https://crowdsourcingweek.com/what-is-crowdsourcing/>.

Denzin, K 2003, Performing [Auto]Ethnography Politically, The Review of Education, Pedagogy and Culture Studies, vol. 25, pp. 257 – 278.

Gagging on Sexism, 2014, Captured by Cheese in the Trap, Gagging on Sexism, last viewed 11 October 2018, <https://gaggingonsexism.wordpress.com/2014/01/18/captured-by-cheese-in-the-trap/>.

Jenkins, H 2006, Welcome to Convergence Culture, Henry Jenkins, last viewed 01 October 2018, <http://henryjenkins.org/blog/2006/06/welcome_to_convergence_culture.html>.

Johnson, R 2016, 42% Of LINE Webtoon’s Comic Creators Are Female – And Half Are Read By Women, Bleeding Cool, last view 12 October 2018, <https://www.bleedingcool.com/2016/02/29/42-of-line-webtoons-comic-creators-are-female-and-half-are-read-by-women/>.

Krush, A 2018, Google vs. Naver: Why can’t Google Dominate Search in Korea?, Link-Assistant.com, last viewed 01 October 2018, <https://www.link-assistant.com/blog/google-vs-naver-why-cant-google-dominate-search-in-korea/>.

Naver, 2018, Naver Search Engine, Naver, last viewed 01 October 2018, <https://www.naver.com/>.

LINE Webtoons, 2014, LINE Webtoon Launches Challenge League, a New Discovery Feature for Webcomic Creators and Aspiring Artists, Cision, last viewed 01 October 2018, <https://www.prnewswire.com/news-releases/line-webtoon-launches-challenge-league-a-new-discovery-feature-for-webcomic-creators-and-aspiring-artists-283316621.html>.

LINE Webtoons, 2016, LINE Webtoon – Women in Digital Comics at SXSW ’16, last viewed 18 October 2018, <https://www.youtube.com/watch?v=7agHWASUzNw>.

Webtoons, 2017, Webtoon’s New Patreon pledge program, Webtoons, last viewed 11 October 2018, <https://www.webtoons.com/en/notice/detail?noticeNo=576>.

Webtoons, 2018, Webtoons: Become a Contributor, Webtoons, last viewed 11 October 2018, <https://translate.webtoons.com/guide>.

Webtoons, 2018, Webtoon’s Pledge to Discover x Patreon Creators for January, Webtoons, last viewed 11 October 2018, <https://www.webtoons.com/en/notice/detail?noticeNo=671&page=2>.

Wikipedia, 2018, Gender and Webcomics, Wikipedia, last view 12 October 2018, <https://en.wikipedia.org/wiki/Gender_and_webcomics>.

Word Finder, 2018, ‘Webtoon’, Word Finder.com, last viewed 01 October 2018, <https://findwords.info/term/webtoon>.

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It’s time to start talking… #MeToo

 

This is my final project for BCM322 (Global Media Interventions). It highlights the impact of sexual assault and domestic violence at a global, national and personal level and recognises those who are intervening. Below is the contextual essay to support the video.

Contextual Essay:

This Digital Artefact (DA) that I have created has been a huge talking point in the media in the last year and I hope that those who watch it feel the emotion and horror of the situation.  The #MeToo Campaign started in 2006 by Tarana Burke and it was resurfaced in 2017 by Alyssa Milano who wanted to share the enormity of the situation. The “If England gets beaten, so will she” campaign, created by the UK National Centre for Domestic Violence (NCDV) highlighted the issue. One year on since the shockwave and ripple effect of people coming forward, research has highlighted the significance of the situation. “Calls for help rise during large sporting matches such as the World Cup or the State of Origin” (News.com 2018 and Triple J Hack 2018).

Throughout my DA I have attempted to show the depth of the issue, along with different interventions that have been addressed. I am aware that I have put a lot into one minute, but that articulates the magnitude.

I chose to talk about sexual assault and domestic violence (SA&DV) because it is something I am passionate about as I am a victim myself. My key aim is to raise awareness of the severity of the situation and that it can happen to anyone. The video is created to help people talk about the situation and show the severity so that victims know that they are not alone.

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The opening scene (first 20 seconds) is a snippet of Alyssa Milano’s poetic prayer for victims. I used Milano at the beginning because she started the conversation again and brought the situation into the light again. Then, images from the “If England gets beaten, so will she” campaign and how it became a worldwide phenonium during the 2018 Soccer World Cup. The ripple transitions show the multiplying effect on nations in the World Cup such as Switzerland, Japan, Belgium and France (News.com, 2018). This was important to show because global media outlets began talking about SA&DV. The campaign and alarming statistics were worth talking about – domestic abuse rose by 38% when England lost (Sullivan R, 2018).

Not long after, the Triple J Hack team covered the story and Australian statistics were revealed, highlighting the impact of alcohol at sporting matches. The reverse impact of the pouring of a beer clip emphasises people sought help and the number of calls to helplines increased.

Throughout my research, gender equality was a reoccurring theme. Metz and Calmet (2018), state that ‘gender equality is real… past history plays into the persistence of violence toward women’. I chose not to focus on gender equality because communicating this effectively would not have been possible as it is a huge topic. While I recognise it’s an important topic, I did not want to gender stereotype either as violence happens to all people, not just women.

The creative effects such as the transitions and colouring of the images, endeavour to create a concise project that did not need many words to express the magnitude of SA&DV in the hope to create an emotional impact.

I purposely worked the DA to show multiple interventionalists at different levels – global, national and personal. The personal level hoped to create the element of surprise – sexual assault and domestic violence can happen to anyone and it is time for us to start creating awareness.

violence people

If you or someone you know needs help, you can contact:

Lifeline: 13 11 14

Beyond Blue: 13 11 14

Police: 000 or 112

References

Alyssa Milano Twitter, last viewed 20 October 2018, <https://twitter.com/alyssa_milano/status/919659438700670976?lang=en>.

Alyssa Milano Twitter, last viewed 20 October 2018, <https://twitter.com/alyssa_milano/status/1045122409974706176?lang=en>.

Burke, L 2018, The #MeToo Shockwave: how the movement has reverberated around the world, The Telegraph UK, last viewed 22 October 2018, <https://www.telegraph.co.uk/news/world/metoo-shockwave/>.

Commonwealth of Australia, 2018, When we excuse disrespect it can grow into violence, Australian Government, last viewed 22 October 2018, <https://www.respect.gov.au/>.

El Jordinho, 2015, Brisbane Broncos vs North Queensland Cowboys 2015 Grandfinal, last viewed 22 October 2018, <https://www.youtube.com/watch?v=Dcutdzl0tRk>.

Ending Domestic Abuse, 2018, About Domestic Abuse, Safe Lives, last viewed 22 October 2018, <http://safelives.org.uk/policy-evidence/about-domestic-abuse?gclid=CjwKCAjwx7DeBRBJEiwA9MeX_KFc9eA1Rgb3aeB3Y1u9d8vASJqveznAvIHNn_gLv07soi6iLUMBiRoCypMQAvD_BwE>.

Google Images, 2018, Domestic Violence, Google, last viewed 22 October 2018, <https://www.google.com.au/search?q=domestic+violence&tbm=isch&tbs=rimg:CfMjNQgzwyeMIjiZEhuhM42xd5H3EFsTNsR8mxNPS1StX_1WFGUniYvjZ2hEDJkKpFg8RlLrbW93K0yjdz7pB-A9UkCoSCZkSG6EzjbF3EaXBg2JsKj1NKhIJkfcQWxM2xHwRVSDB2vt-yvMqEgmbE09LVK1f9RGo38ff-C2JVSoSCYUZSeJi-NnaERRJgoGkNYi2KhIJEQMmQqkWDxERQZW1cj-jz48qEgmUuttb3crTKBEvJ0zvtzUmsSoSCd3PukH4D1SQEQpQHhtrcOwO&tbo=u&sa=X&ved=2ahUKEwjlj-2A65jeAhXEPY8KHeuIAqUQ9C96BAgBEBs&biw=1440&bih=748&dpr=1.5#imgrc=j-nUSp-y-Xo8aM:>.

Kirby, S Francis, B 2018, ‘If England gets beaten, so will she’ – the link between World Cup and Violence explained, The Conversation, last viewed 22 October 2018, <https://theconversation.com/if-england-gets-beaten-so-will-she-the-link-between-world-cup-and-violence-explained-99769>.

McCormack, A 2018, Like Clockwork, calls to 1800 Respect spiked over the footy finals weekend, Triple J Hack, last viewed 22 October 2018, <https://www.abc.net.au/triplej/programs/hack/domestic-violence-footy-finals/10356612>.

Metz, C Calmet, J Thevenot, A 2018, Women Subjected to Domestic Violence: The Impossibility of Separation, Psychoanalytic Psychology, pp. 1 – 7.

National Centre for Domestic Violence, 2018, Home Page, National Centre for Domestic Violence, last viewed 22 October 2018, <https://www.ncdv.org.uk/>.

Sullivan, R 2018, ‘If England gets beaten, so will she: Shocking campaign shows domestic violence incidents spike during the world cup, News.Com.Au, last viewed 23 October 2018, < https://www.news.com.au/lifestyle/real-life/news-life/if-england-gets-beaten-so-will-she-shocking-campaign-shows-domestic-violence-incidents-spike-during-world-cup/news-story/56737284a00bf789d0906b8db55b6391>.

Tilley, T 2018, Underpaid hospitality staff, domestic violence during sport, NAIDOC week and WA police apology, Triple J Hack, Podcast, 12 July 2018, last viewed 23 October 2018, <https://www.abc.net.au/triplej/programs/hack/hack/9951832?fbclid=IwAR3uhkYFKTVm41jkW-pmPncpl3DY1Sl2BgTjBSzN–LXpcjLE30XyPurPwY>.

Pop that Festival Cherry

For an amateur festival goer in their early-mid twenties, Yours and Owls was a great way to pop that festival cherry. I was sensibly intoxicated enough to deal with the number of people that were entering all at once… Getting through security was easy peasy with a small bag and a broken arm in a sling. I was cautious all the time of the people around me which at times was frustrating, but when I saw something ridiculous I was able to point it out and have a laugh with my friends.

As soon as the sun had set, I concluded that I made the (obvious) right decision to have worn what I did, warm clothes that didn’t let me freeze my titties off like some of the other girls there. Some girls were wearing nothing by undies and a bra, and even then, it didn’t cover much! Medical thermal foil blankets became the fashion of the night.

“Oh Lordy me, I am seeing too much for what I paid for right now”

As the day turned into night, we all separated and found our place in the crowd to get the best spot for the final acts. You’d run into people you know, and you’d run from people that you don’t want to see, and could get easily lost in the crowd.

The toilet lines were always long and painful to wait in, so you would make friends with the people in the line with you. If you were lucky, you’d see them the next time you went to the bathroom.
As I had broken my arm and still struggled with buttons, I often made friends in the lines to help me undo and do up my button on my pants. That was the best way to make friends, tell them your sick story of how you broke your arm and how life is such a struggle at the moment – they were more than happy to help! Give everyone a bit of alcohol and some fantastic music and you’ll make a new best friend in no time.

Overall, it was a super fun weekend meeting lots of people, catching up with friends and hanging out, sitting on the grass listening to music with a few bevvies in hand… It didn’t even matter that half the time you weren’t with your friends, because you knew that you would eventually find them again or run into someone that you could hang out with. What was great about a festival in Wollongong was the fact that you knew a lot of people there already, it felt safe.  What more of a weekend could you have asked for?

Yours and Owls, what a weekend that was.

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The methodology of my Webtoons Discovery

Autoethnography: The approach to research and writing that seeks to describe and systematically analyse (graphy) personal experience (auto) in order to understand cultural (ethno) (Ellis, 2011). We have all become quite familiar with the term autoethnography, but now its time to break it down and understand the methodology to the experience. There are multiple authors that take different approaches to the process of creating an autoethnography. For example; Ellis (2011), discusses that his methodology is based on experiences, epiphanies and sharing the analysed lived experiences that one undergoes. Denzen (2003), on the other hand, takes a more political approach to autoethnographies recognising that there is ‘elements of freedom, critical imagination and reflexivity’. Anderson (2006), an analytical autoethnographer states that to write successful autoethnographies you must ‘engage in reflexive social analysis and self-analysis and that it requires the researcher to be visible, active and reflexively engaged in the experience’.

Each author’s methods are different and are in no way wrong. It depends on how you want to approach creating your autoethnography. If you want to critically analyse your situation then Anderson’s methodology would be for you, but if you want to take a more creative approach to your experience then Ellis’ methodology is useful. Politically analysing situations and understanding why things are shaped the way they are in a culture means that Denzen’s approach to autoethnographies would be appropriate.

Since I recently broke my arm and had to have a few weeks off from classes, I am now completing a two-part autoethnography instead of one group and one individual assignment. I will be exploring the world of Webtoons more in-depth than originally planned and breaking down the structure through Ellis’ methodology concept and looking into further research through Denzen and Anderson’s methodologies (still yet to be decided as to which research avenue I will be taking).

Screenshot (123).png

To understand Webtoons, I will be creating a two-part podcast series. The first podcast will delve deep into the unknown world of Webtoons. I will break down Webtoons bit by bit so those who are new to Webtoons can fully immerse themselves without becoming overwhelmed with the amount of content that is available. The first podcast will give you all the tips and tricks to navigate through the Webtoons rabbit hole that I was once lost in. The second podcast will explore a more in-depth concept of Webtoons and how the content in the industry has become what it is today – this will take a more political and analytical approach to understand Webtoons.

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Topics that are of interest already involve; South Korean culture and laws, censorship, the sexuality and representation of women in webtoons and growing trends of webtoons and crowdsourcing translation.

Research shows that women in South Korean are meant to be submissive and to maintain harmony (K4E Editor, 2015), but throughout reading different episodes of Webtoons, women are often represented as the ones with power and are seen as the heroes. Song (2016), says that media across the world is “frozen in a time-warp of obsolete and damaging representations” (p. 9). Women have also been heavily sexualised in some Webtoon series and while it is not accepted in South Korea on a national level, especially among K-Pop bands, sexualisation is accepted on an international level. This means that the Webtoons that I view here, in Australia, in my bedroom, on my laptop, may not be the same as those who live in South Korea.

There are also growing trends in the popularity of Webtoon series across the world, not just in South Korea. I briefly touched on this in my last post and will be discussing this topic further with Brian Yecies, a University of Wollongong lecturer. In my discussion, I hope will uncover more on the growing trends of Webtoons across the world and the concept of crowdsourcing translation.

References

Anderson, L 2006, Analytical Autoethnography, Journal of Contemporary Ethnography, vol. 35, pp. 373 – 392.

Denzen, N.K 2003, Performing [Auto] Ethnography Politically, The Review of Education, Pedagogy, and Cultural Studies, vol. 25, pp. 257–278.

Ellis, C Adams, T.E Bochner, A.P, 2011, Autoethnography: an Overview, Forum: Qualitative Social Reseach, vol. 12, no. 1, pp. 1-12.

K4E Editor, 2015, Traditional Role for Women, Korean 4 Expats, last viewed 4 October 2018, <https://www.korea4expats.com/article-traditional-role-of-women-korea.html>.

Song, B 2016, Seeing is Believing: Content Analysis of Sexual Content in Korean Music Videos, Southern Utah University, pp. 1-60.

Part One: Festival Virgin

There’s a stigma with festivals nowadays where you get drunk, take drugs and wear some pretty freaking weird clothes – I mean, that’s just the stigma from photos I’ve seen and stories I have heard from the media. For my first festival coming up, I think its fair to say I am nervous. I haven’t been shopping in years, I don’t own any clothes that will make me fit into the crowd and well, quite simply, I don’t like crowds of people where I get pushed around. I don’t like it when I have to be cautious of my drink to make sure I don’t get spiked and whether or not I am being pick-pocketed by some drunk asshole. It is all stuff that I have been lectured many times before when I have gone out or gone to a party, but this feels different.

Yours and Owls is a two-day festival that brings some of the biggest acts from Triple J to Wollongong for the year. It’s fairly new to town and each year gets bigger and bigger – they’re saying 18,000 people this year alone. That’s a lot of people…

Between having social anxiety, a broken arm and being a virgin to festivals (in my 20’s I might add – surprising I know), this week could not be any more stressful than what it has been. I have spoken to so many people saying that I will love it and its so chilled and I can wear whatever and no one will care… but hey, do they really think I believe that… come on guys, everyone is going to look at me when I turn up in normal everyday clothes because I don’t own anything else.  I don’t own ‘festival clothes’, glitter or even have the body/the confidence to deal with all the characters that I suspect I will meet along the way this weekend. I’ve even spoken to friends that aren’t going that will be around town in case I freak out and need someone.

Between ALL of that anxiety and worry that I am holding, I really don’t know anyone playing besides Peking Duck (whom of which I have seen before) and maybe one song from each other set (if I am lucky). They’re all names that I’ve heard in the past few months from dating my boyfriend and listening to Triple J, but none of which I know of fully, nor can I re-site songs of any of the artists. I am ready to just bob up and down and out of time when I need to.

I think I am going to play it smart, warm clothes because it will be cold at night, take it easy with the drinking, but have a good buzz going so I can handle the anxiety and don’t stand fully in the mosh so my arm is protected.

Only time will tell me how this weekend works out, it’s fair to say that it will be interesting.

About the Author

G’day! Welcome to my blog! I’m Samantha – call me Sam!

I am a 4th year Unimg_1786iversity Student at the University of Wollongong (Australia) – Studying a Bachelor of Communications & Media and Commerce, majoring in Public Relations and Global Communications.

I loveeeee to travel – I have lived in the Netherlands for 6 months and returned multiple times since – everytime exploring more of Europe as I go. I have also travelled solo around New Zealand (South) and London, worked abroad at a Summer camp in the United States of America and volunteered my time in India.

I enjoy volunteering, working hard, staying fit. My new found skill is hosting events (MC – Master of Ceremonies – the Master part I am still working on). I have hosted many local events such as the JDRF Diabetes Fundraising ball, local school Trivia Fundraising nights and spoken to many students and young athletes about topics I am passionate about such as leadership and finding your own path to follow.

Aspiring to travel more, and to be a producer. I am an amateur photographer. You can check out my attempt at my “Creative editing” section on my blog.

You can follow me on Twitter at @SammScholte

I’m always open for constructive feedback,

Enjoy!

#MeToo

The Me Too organisation was started in 2006 by Tarana Burke to help survivors of sexual violence with the vision to empower through empathy. The ‘Me Too’ movement came into light in October 2017 when Alyssa Milano tweeted “If all the women who have been sexually harassed or assaulted wrote ‘Me too.’ as a status, we might give people a sense of the magnitude of the problem” (@Alyssa_Milano, 2017). Within 24 hours, the ‘Me Too’ hashtag had become a trending campaign to raise awareness of sexual assault and harassment, not just for women, but for everyone that has been affected. The ‘Me Too’ hashtag was just the start of the movement to get it noticed. Many actresses came forward about being sexually assaulted in Hollywood from former colleagues. January 2018, stars attended the 75th Golden Globes wearing black inline with the ‘Times Up’ movement. 2 months later at the Oscars, the Me Too and Times Up movement was addressed by multiple award recipients that felt the need to speak up about the issue. Through both of the Hollywood award nights, I became more aware of the campaign as big names were starting to intervene with the campaign and more and more noise was being made. Through social media and celebrity spokespeople backing the campaign, people have united and become more aware of the serious situation. It has given not only women but men, disadvantaged, LGBT people and many more minority groups the confidence to speak out about the sexual harassment that they have experienced. Since the Me Too movement has come into the light, there has been a significant increase in people reporting and seeking help. From January – March this year alone, 28,000 people have contacted 1800 RESPECT helplines – that’s a 68% increase in helpline usage (Medhora, S 2018). The significance of this movement is that there has been a significant increase in people reaching out and seeking help. Its significance in the media is important as it has allowed more people to become aware of the situation and there has been an increase in conversation about sexual assault and harassment.  The Me Too movement is significant because it has enabled so many innocent people to speak out and feel like they are not alone in their journey of recovery. Although there are limitations to the Me Too movement, while social platforms have been an extraordinary place where victims have found their voices, victims still have to emotionally deal with the assault as it is something that never leaves them. Laws have been enforced in the USA, more statistics have been released about possible reasons and victims coming forward. In Australia alone, there are 6 helplines that people can contact if they need support and they are being utilised more than ever.  Since the movement has come to light, there is more awareness on such an important issue and how victims can get help. Furthering this research, I will be looking at the impact that sport and alcohol has on sexual and domestic violence.

This has been an assignment but also therapy for me to research, discuss and know I am not the only one.

I am a victim and I will not let this define who I am.
#MeToo


References:

Alyssa Milano Twitter, last viewed 14 August 2018, <https://twitter.com/alyssa_milano/status/919659438700670976?lang=en>.

Hamilton, M 2017, Seven Changes that would empower the #metoo movement, Newsweek, Last viewed 14 August 2018, <https://www.newsweek.com/seven-changes-would-empower-metoo-movement-722283>.

Johnson, C Hawbaker, KT 2018, #Metoo: A timeline of events, Chicago Tribune, Last viewed 14 August 2018, <http://www.chicagotribune.com/lifestyles/ct-me-too-timeline-20171208-htmlstory.html>.

Me Too Movement, n.d., Last viewed 14 August 2018, <https://metoomvmt.org/>.

Medhora, S 2018, #metoo movement sparks hige spike in people contacting 1800 RESPECT, Triple J Hack, Last viewed 14 August 2018, <http://www.abc.net.au/triplej/programs/hack/calls-to-1800-respect-go-up-by-68-per-cent/10083738>.

Stevens, H 2017, #Metoo campaign proves scope of sexual harassment, flaw in Mayim Bialik’s op-ed, Chicago Tribune, Last viewed 14 August 2018, <http://www.chicagotribune.com/lifestyles/stevens/ct-life-stevens-monday-me-too-mayim-bialik-1016-story.html>.

Sullivan, R 2018, Brutal Truth: ‘If England gets beaten, so will she’, The Bulletin, Last viewed 14 August 2018, <https://www.themorningbulletin.com.au/news/if-england-gets-beaten-so-will-she-shocking-campai/3463897/>.