Friday, 20 September 2013

Hollywoodizing your dinner

Verb

To Hollywoodize.
        (Transitive) To adapt to the norms and ideals of Hollywood; to make glitzy, superficial, thrilling, etc.

Derived terms

Hollywoodization

(http://en.wiktionary.org/wiki/Hollywoodize)

The image of celebrity and entertainment influences western culture.
Hollywood has long been a representative façade of Western culture and entertainment. It is the home of a multi-billion dollar film industry, with the sign that represents a cultural edifice for film buffs and actors alike.

Hollywood’s spread is global, with its effects transferring to many cultural trends. In essence, it further represents the development of a global culture, consuming the individual nature of singular cultures, and subsequently ‘westernizing’ them in a process of ‘integration and denationalization’ (Klein, C 2004, p.361) to appeal to a broader audience.

‘Hollywoodisation’ spreads further than film. It can be attributed to many forms of entertainment, and many forms of interests. The Hollywoodisation of food is in fact more familiar than you expect.

Klein quotes Cowen (2002) in stating ‘cross-cultural exchange, expanded consumer preferences and greater aesthetic diversity’ are all affects of globalisation. The representation of culture we are sometimes presented through food is often ‘Hollywoodized’ in a way, so our western palates can adapt to flavours they are not use to.

Fusion cuisine constitutes the blend of two or more cultures of food (the integration Klein speaks of), and when successfully done can create something original and complimentary. When fusion is done wrong, it can represent little more than an atrocity to the ingredients used.

Chin Chin's Kingfish Sashimi with coconut, lime and chilli.


Fusion cuisine began as a means of creativity, but also to bring new foods from China, Japan and India (to name a few) to a new demographic, still inherently carrying the western touch we are use to.

The Asian-based fusion restaurants of Melbourne such as Chin Chin, Red Spice Road, Coda and Gingerboy continue to show a sense of ‘cultural heterogenisation’ (Klein, C 2004,p.362) by adapting and making them representative of Melbourne and its diversified population.

                                   Tetsuya Wakuda - One of Australia's finest chef's based in Sydney, 'fusion' cooking
            

Chin Chin, located down flinders lane in the heart of the Melbourne CBD, presents a contemporary spin on classic Asia flavours. Dishes such as ‘Kingfish Sashimi with coconut, lime and chilli’ present Thai flavours, Japanese technique, coupled with a modern, ‘glitzy’ western presentation.

Red Spice Road, on Mckillop st., again in the Melbourne CBD, produces desserts such as ‘Lemongrass panna-cotta with watermelon jelly and lychee donuts’ –The ingredients, and flavours inspired by the South East of Asia, the techniques – inherently western and familiar.

The adaptation present in the process of ‘Hollywoodisation’ seeks to provide us with a more extravagant and overzealous interpretation that is familiarised to the attributes of localized cultures. This is evident in the intertwining of film industries in Hollywood, and reflective also through the food we eat in our restaurants, and at home.

Hollywood truly is a global phenomenon, in more ways than expected.

Thanks for reading, till next time…

Reference List


Klein, Christina 2004, ‘Martial arts and globalisation of US and Asian film industries’, Comparative America Studies, vol. 2, no. 3, pp. 360-384.

Thursday, 19 September 2013

New media, new coverage, new celebrities...

I first read about chef Yoshihiro Narisawa on a blog in 2012. Their was one post compiling a small review with pictures of the Tokyo-based chefs restaurant. Yoshihiro’s blend of regional Japanese ingredients coupled with the flair of French technique displayed in the images on his website encouraged me to pursue my research on one of Japan's 'celebrity' chefs.

The last 20 years has seen the notion of cuisine escalated to a cultural monolith. The rise of the celebrity chef has brought forth media coverage to the mainstream, it has inspired sub-cultural trends such as the 'foodies' and their constant circulation of Instagram snapshots, and brought us mobile apps to help us learn how to cook like Curtis Stone. Before new media and mobile technology, a chef of Narisawa's ilk would be unknown to someone like me in Australia. The coverage of the worldwide food obsession through new media has only facilitated the spread of renown for a new breed of chefs, restaurants and recipes.




The notion of ‘the specular economy’ revolves around the way in which we, and our subsequent audiences produce, perceive and distribute various images and text through new media (Marshall, P. D. 2010, p. 499).  Through technological advancements, we now have an audience with a ‘sophisticated appeal to individualisation within coordinated cultural trends’ (2010, p. 499). In our case, this is the foodies.


Narisawa recently received the 2013 number one restaurant in Asia ranking. In his home country of Japan, Narisawa is renowned for his environmentalist ways, so much so that his use of regional ingredients is inherent in not only the food, but also the handmade plates and serving platters used in presentation.





The two-way mirror projection of the self, inherent in ‘the specular economy’ facilitates the spread of restaurant Narisawa and Yoshihiro Narisawa's ethos on food. The ‘exchange and interchange of a networked culture’ (Marshall, P. D. 2010, p. 502) is something that new media has built, progressively, with blogs, forums and social media becoming the playing grounds for interests and inspiration - after all that is how I first learnt of Narisawa.


The technique and food of Narisawa is held in high regard in the east. Now thanks to our globalised societies, Yoshihiro is receiving renowned as one of Asia’s finest celebrity chefs in the west as well.

Thank you for reading, till next time...

Reference List:

Marshall, P.D 2010, ‘The Specular Economy’, Society, vol. 47, no. 6, pp. 498-502

Monday, 9 September 2013

Urbanspoon: Participating in what you eat

Urbanspoon's interactive interface has turned it into a 'foodie' phenomenon

I can’t remember the last time I went to a restaurant without checking it out on Urbanspoon. When it comes to dining out, I always like to do my research. Whether it is just to get a grasp of what’s available on the menu(s), or to read about the general jive of a place its handy to have reviews, pictures and ratings, and the ability to make a reservation (see video on 'Rezbook' below) just a click away.


Urbanspoon’s successes lay in the websites collation of blog and critic reviews and user content. Its nature of interactivity puts individuals in partial control of online content; as Darley (2000, p. 156) states as “taking a leading role in what occurs, given the means to control – at least in part”. Although Darley discusses interactivity regarding games, it too can be experienced through social media websites.

Urbanspoon doesn’t require you to sign-up to view its content, anybody can read reviews and look a Instagram shot food pictures. To review, upload and well, ‘interact’, you must first create a profile. This grants users the ability to structure online representations of themselves, much like the creation of a character in a video game. From signing up, the ability to review, comment and slander restaurants you didn’t like, or bow down in praise to those you do, all begins.

Al Deen et. al. state that “Online social networking typically offers opportunities for expression that are less restrictive” (2011, p.3). The ability to construct a representation to 'hide behind' has produced the ability for users to be more honest without scrutiny – putting the prosumers in the drivers seat like never before - with an international audience online. 

Anybody could be a reviewer and have some say in deciding if a restaurant is popular enough to be considered in the ‘Talk of the town’ section. It is this Interactivity that allows users to 'intervene' a form of control; uploading and commenting on content to distinguish its 'like-ability' to other users.

The popularity of Urbanspoon has seen a shift of focus from listening to the critic to listening to the public. The Age’s Good Food guide was formerly my year long culinary bible throughout my apprenticeship, but being the opinionated person i am, the participatory media culture of Urbanspoon has now taken over!

Thanks for reading, Till next time...


Reference List:

Al-Deen, .N, Hana, .S & Hendricks J.A 2011, Social Media: Usage and Impact, Lexington Books, retrieved September 7th 2013, http://www.deakin.eblib.com.au.ezproxy-f.deakin.edu.au/patron/FullRecord.aspx?p=795614

Raessens, J. 2005, ‘Computer games as participatory media culture’, Handbook of

Computer ­Game Studies, MIT Press, Cambridge, Mass, pp. 373-388

Sunday, 8 September 2013

Online Communities

Who would of thought 20 years ago we could all converse, debate and liaise with a range of people from different demographics across many of the 196 countries in the world. The 'blogosphere' acts as a conduit for online discourse – a platform for global communication ‘in which individuals & groups congregate to discuss matters of mutual interest and, where possible, to reach a common judgment (Habermas, J, 1989).
Some spheres in a public place,
Image source http://www.flickr.com/photos/rachaelvoorhees/ (CreativeCommons)

The public sphere developed through blogs presents us with new ways to integrate ourselves into our own interests. It is a ‘place’ where I can discuss the most intricate details of regional Italian cuisine with 3 Indonesians, 4 Swedes and 5 South Africans on my couch, in my underwear. However this medium is not always as neutral as forums where users have the ability to create there own topics and comment on a more active debate. The blogs author controls the content released - having the ability to structure the discourse to follow the original post.

A blog acts as a ‘spark’ to ignite interests, ideas and the discourse involved in its given theme. The ‘spark’ can then promote, or suggest readers towards other influences of the platforms author. This notion of the “reverse two-step flow” (Bruns, A et al, 2010, p. 281) of communication is very effective in facilitating the building of online communities.

Look at my blog for example. Although by no means is my take on globalisation and food inherently popular on a global scale (yet!), I would like to think that it has encouraged interests or further spurred people towards some of my own inspirations – from regional cuisines, to food trends from around the globe and globalisation’s effect on how we eat. This process sees me being a facilitator to the flow of my readers with an aim to ‘generate a lively public debate by commenting on, and linking to, newspapers articles and other blogs’ (van den Boomen et al, 2009, p. 244)

So I encourage you to pursue the links I provide during my posts. They will often be motioned towards my interests (food, chefs, etc.) and, if you enjoy my posts, hopefully yours too. How could you lose? After all what is the Internet, and more specifically blogs, if not ‘an instrument for the emancipation of subordinated social groups’ (van den Boomen et al, 2009, p. 246).


Reference List:

Bruns, .A, Burgess, .J, Highfield, .T, Kirchhoff, .L & Nicolai, .T 2010, 'Mapping the Australian Networked Public Sphere', Social Science Computer Review, vol. 29, no. 3, pp. 277-287.

van den Boomen, .M, Lammes, .S, Lehmann .A.S, Raessens, J & Schäfer, .M.T, 2009, Digital Material: Tracing New Media in Everyday Life and Technology, Amsterdam University Press, retrieved September 1st, <http://www.deakin.eblib.com.au.ezproxy-f.deakin.edu.au/patron/FullRecord.aspx?p=474227>


Calhoun, C 1992, Habermas and the public sphere, Massachusetts Institute of Technology, September 1st, <http://ehis.ebscohost.com.ezproxy-f.deakin.edu.au/ehost/ebookviewer/ebook/nlebk_48445_AN?sid=5da9040f-0e2a-4743-9e80-0d50fb3ba3fd@sessionmgr10&vid=1&format=EB&lpid=lp_III&rid=0>