Artefact One Commentary

This reaction video to Disney’s Aladdin (2019) provides a personal examination of the film's portrayal of female characters and cultural representation. By following a single viewer's experience—from their excitement over new visuals to critical reflections on cultural accuracy—the video explores how an individual fan's perspective can spark broader conversations within fan communities. As Buckingham (2008, p. 1) suggests, identity is something we uniquely possess—it distinguishes us from others, while also connecting us to a broader social or cultural group. Similarly, Hall (2000, p. 5) argues that media practices can act as points of identification precisely because of their capacity to include some while excluding others. Therefore, this reaction video constructs the spectator’s identity in real-time, illustrating how media engagement becomes a space for negotiating belonging, values, and representation.

 

The Aladdin remake notably attempts to address previous criticisms related to Orientalism and cultural stereotypes. Critics argued the original film exoticised Middle Eastern culture; the remake counters this through more authentic casting choices and detailed settings that reflect a wider Middle Eastern and South Asian perspective. The reaction video invites audiences to evaluate how successfully these issues have been raised and addressed.  As viewers from around the world encounter the video, they not only engage with its observations but also interpret and relate those reflections to their own cultural identities and traditions. Henry Jenkins (2006) emphasizes that fan culture extends “beyond passive viewing” into realms of “active engagement, creativity, and building community.” In this case, while the reaction video is rooted in a personal and culturally specific (Asian) viewpoint, it exemplifies how digital platforms like YouTube allow fans to assert interpretive agency over mainstream narratives, as participatory fan practices may challenge US media dominance (Jenkins et al., 2013). The mechanism here is twofold: first, the individual reaction becomes a site of meaning-making; second, public engagement with that reaction—through comments, shares, or remixes—enables a ripple effect where others contribute their own insights. These exchanges transform online spaces into "third places," fostering debates about cultural representation, authenticity, and identity—even when originating from a single voice.  Consequently, one viewer’s reaction enriches a broader, collective cultural dialogue.

 

However, as fan communities become increasingly transnational and transcultural (Jenkins et al., 2013), digital media platforms like YouTube allow for the articulation of sometimes conflicting values and cultural perspectives (de Paula, 2021). Through this lens, the reaction video demonstrates how fan-made content can both reflect and challenge dominant narratives, offering a more participatory and globally informed media discourse.

 

By drawing on Jenkins’ (2006) concept of participatory culture, our website is designed to move viewers beyond passive watching and into active engagement. The video acts as a prompt or emotional anchor. Viewers watch someone else process the film in real-time—expressing excitement, discomfort, or critique—which helps validate or challenge their own thoughts. From there, the website provides tools (such as a forum or upload feature) that allow others to contribute their perspectives, compare experiences, and build dialogue. This interactive format enables fans to become co-creators of meaning, rather than simply consumers of media. As Hall (2013) argues, representation is not fixed but open to contestation and reinterpretation, and this space makes that contestation visible and collaborative.

 

In conclusion, the reaction video becomes more than a personal commentary—it becomes a shared entry point into deeper, transnational discussions about gender roles, cultural authenticity, and identity. It demonstrates how digital platforms can turn individual media experiences into collective reflection and conversation across cultural contexts.

 

Bibliography

Buckingham, D. (2008) "Introducing identity", in D. Buckingham (ed.) Youth, identity, and digital media. Cambridge, Mass.: MIT Press

Hall, S.(2000) Who needs identity?', in P. Du Gay, J.Evans, and P.Redman (eds) Identity: reader. London: SAGE Publications and The Open University, Pp.15-30.

Hall, S. (2013). Representation: Cultural representations and signifying practices (2nd ed.). Sage.

Jenkins, H. (2006). Convergence culture: Where old and new media collide. NYU Press.

Jenkins, H., Ford, S., & Green, J. (2013). "Thinking transnationality", in Spreadable media: Creating value and meaning in a networked culture. NYU Press.

de Paula, M. (2021). "Korea Soap Operas, telenovelas, and Sci-fi Conspiracies: A game making experience with Latin American Youth in London', Digital Culture & Education, 13(2), pp. 111-128.