Live-tweeting autoethnography | Part 1 : Love For Male?


Intro | 1: Love For Male? | 2: Hell hath no Furie | 3: Caked in ca$h | 4: High Score Childhood

The following paragraphs may contains spoilers for the film Love For Sale (2018).

Love For Male?

Love For Sale (2018) is an Indonesian romance film about a man trying so desperately not to lose a bet that he hires a girlfriend through a “dating service” (is it dating if you are paying?) to accompany him to a wedding only to realise her services last 45 days. In recognition of the ways individual experience impacts research (Ellis et al. 2011), my live-tweets reflect a personal struggle with the films gender power dynamics due to a confliction with my feminist framework.

Being unable to understand the language of the film was the first significant recognition that the film is from a community differing from mine. Not only does this tweet recognise language as culture, but it also reinforces that I assume and potentially rely on, dialogue to play a vital role in understanding the film. Considering my preference for foreign-language texts is being subtitled rather than dubbed in English, a dubbed version would not suffice in my desires for determining the film’s meaning, and therefore, I value reading the captions – which I have suggested is hard to do when multi-screening. 

Evidence of my socioeconomic circumstances and sociocultural viewpoints start appearing around 30 minutes into live-tweeting during the film. As a means of survival in poverty, this concept of having to use my body romantically and potentially sexually, for men, that I otherwise would not presents as a self-reflection of the privileges afforded to me. However, this serves as an assumption because while I cannot fathom choosing this option, maybe this choice is made sincerely by this character. It is my feminist framework at play here; the plot is challenging my ideals of social equality and fair job opportunity.

The tweet previously discussed serves as a context for understanding the sarcasm in the below tweet, which illustrates that I find it absurd to think only men are capable of running a business because, in Western society, many women own and control companies. Furthermore, my use of humour expresses how ridiculous I find it.

Retweeting @VerityMorely’s tweet highlights that I felt validated in my beliefs through my peers, further expressed through my tweet that followed.

The feminist movement itself has grown through social camaraderie and by expressing my love for validation of feminist perspective, this proves I look to others for confirmation of worldviews when analysing texts, especially one that annoys when not adhering to those viewpoints.

This Jakarta based film enthusiast thought differently to me, and this Jakartan reviewer went as far as to state the film was progressive for Indonesian culture which suggests that my feminist and Western perspective may have clouded the meaning and messages portrayed by the film. Furthermore, considering that the majority of my tweets reflected an adverse reaction to those that conflicted with that perspective, evidentially, once I lit the fire, it was hard for me to back down from my “burn-the-patriarchy” analysis. 

Stream Love For Sale (2018) on Netflix


Ellis, C, Adams, T & Bochner, A 2010, ‘Autoethnography: An Overview’, Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, vol. 12, no. 1, Art. 10.

6 thoughts on “Live-tweeting autoethnography | Part 1 : Love For Male?

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