My final major project, “the state of information” consists of an editorial book that looks into the modern issues of disinformation. The book was inspired and anchored on the current developments of the Russian-Ukraine war that broke out in 2022. The interest on this topic initially began with tracking the war however it later developed into an investigation on modern propaganda and disinformation as my personal journey of data collection was hindered by these issues. The revelations are extraordinary as the rabbit hole of information warfare in the modern age expands through multiple different agents of information delivery. The overall goal of this project was to understand and showcase the impacts of modern warfare which as explored is conducted with boots on the ground and eyes on screens. The aesthetics are inspired by a mix of classic and modern propaganda while the images are directly off the current war to show case the true scale of the damage.

Fy mhrosiect olaf, “the state of information” yw llyfr sy’n archwilio problemau modern o gamwybodaeth. ysbrydolwyd y llyfr gan y datblygiadau presennol o’r frwydr Rwsia/Wcráin a ddechreuodd yn 2022. Daeth y diddordeb o’r pwnc yma wrth ddilyn y rhyfel ond yna datblygodd i ymchwiliad ar bropaganda modern a chafodd fy ymchwil data ei heffeithio gan hyn ar y ffordd. Mae’r datguddiadau yn anghredadwy gan fod rhyfela camwybodaeth wedi’i ledaenu gan nifer o asiantau gwahanol. Yr amcan o’r prosiect hyn oedd deall a phortreadu'r effaith mae rhyfel modern yn ei gael, ac archwilio trwy ‘boots on the ground’ ac wrth y sgrin. Mae’r deunydd gweledol wedi’i ysbrydoli gan gymysgedd o bropaganda clasurol a fodern tra bod y lluniau yn rhai diweddar wedi’i ddeillio o’r rhyfel er mwyn dangos ei wir effaith a’i ddinistr.

We needed to develop a new Netflix campaign that encourages more of the UK audience to consider, explore, try watching and talk about non-English language films and series on Netflix. We needed to find a way to break down the language barrier. The barrier that lead to UK audiences not feeling that they can enjoy the content, due to the issues with subtitles and dubbed content.

From the research we conducted into foreign films compared to Western films, we pulled out what we saw as the most untactful aspect of foreign horror. Foreign horror tends to put atmosphere above all things. We also discovered that foreign horror films like to mess with our minds on a personal level, to create fear within our work we needed to follow these traits of foreign content.

Language is a barrier that prevents Western audiences from interacting with foreign content. We came to the conclusion that there is only one universal language on Netflix: Emotion. Emotion has the power to become a language in of itself. Which is what we wanted to show.

Western audiences may not be able to connect with foreign places, faces or stories. However, there is no doubt that we can connect with their emotions. Joining Western audiences with foreign content through the shared stories of emotion.

Language divides us, Netflix Unites us.

Roedd angen datblygu ymgyrch newydd i Netflix sy’n annog y gynulleidfa o’r DU i ystyried, archwilio, a cheisio gwylio a thrafod ffilmiau neu gyfresau nad sy’n trwy gyfrwng y Saesneg. Roedd rhaid i ni dorri’r trwy’r rhwystr yma. Y rhwystr yw nad yw pobl o’r DU yn teimlo fel eu bod yn medru mwynhau’r cynnwys o ganlyniad i’r trafferthion sy’n codi gydag isdeitlau neu dybio.

Edrychon ni i mewn i ffilmiau tramor i gymharu gyda ffilmiau Gorllewinol. Gwelwn fod ffilmiau arswyd tramor yn fwy anhringar. Maent yn rhoi awyrgylch o flaen pob dim ac yn ceisio ein twyllo ar lefel personol. Er mwyn codi ofn trwy ein gwaith, roedd angen dilyn y nodweddion yma o ffilmiau tramor.

Iaith yw’r rhwystr sy’n atal rhyngweithiad rhwng y gynulleidfa Orllewinol a chynnwyd teledu tramor. Daethom i’r casgliad bod yna un iaith fyd-eang ar Netflix: Emosiwn. Mae gan emosiwn y pŵer i fod yn iaith ei hun, sydd beth roedd eisiau i ni dangos.

Efallai na all pobl o’r DU uniaethu gyda llefydd, wynebau, na straeon tramor, ond nid oes amheuaeth ein bod medru uniaethu gyda'u hemosiynau. Rydym geisio ymuno’r gynulleidfa Orllewinol gyda chynnwys tramor trwy’r straeon cyffredin o emosiwn.

Mae iaith yn ein gwahanu, mae Netflix yn ein yno.