Political remix video not criticize the way that mass media work, but it used them to send messages totally different from that which the media want to launch.
Contents contributed and discussions participated by Jill Walker Rettberg
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Digital Culture Adventure - 2 views
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the usage of material that is already familiar to the public and has a certain amount of built in cultural meaning helps to create a more close relation with the public
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Dennis G. Jez, a teacher from Pennsylvania
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If you call him "an American academic" or "a scholar who" or something like that it makes him sound more authoritative - and it's true, he's a researcher/academic at a university or college. Teacher sounds a bit like he's a high school teacher rather than a researcher. Also, his last name is Jerz, not Jez :)
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Edwards/Tryon: Political video mashups as allegories of citizen empowerment - 0 views
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Subsequently, inspired after watching another user’s mashup, still more users may choose to participate directly in remix culture, and produce their own video mashups. In terms of empowerment, these further acts of participation are crucial because they signify how users can become more active and more media literate with the online and off–line information they are consuming on a daily basis [4].
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Just as in the case of a video camera in the hands of a video activist at a street rally, engaged online users can produce mashups as a means for political advocacy (tool), political protest (weapon), and political observation (witness).
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Scholarly article analysing three political video mashups: "When the viral video "Vote Different" broke into the mainstream media in March 2007, the political video mashup became a notable media phenomenon. User-generated mashups threatened to cut through the U.S. news clutter that typically shapes election discourse. In this paper, political video mashups are examined as allegories of citizen empowerment during the 2008 U.S. presidential election. Political video mashups can act as tools of political advocacy, forms of political protest, and modes of political commentary. Finally, though they are already being co-opted by mainstream political campaigns, the paper addresses the potential of mashups to re-interpret political messages in ways that may encourage the active re-framing of political issues among twenty-first century citizens."
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Ethan Zuckerman: How Cute Cats Help Combat Online Censorship - 0 views
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tamaleaver / Sources of Legally Reusable Media - 1 views
tamaleaver.pbworks.com/rces+of+Legally+Reusable+Media
remix resources Creative Commons creativecommons copyright media videos
shared by Jill Walker Rettberg on 24 Sep 09
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Teaching Copyright - 0 views
www.teachingcopyright.org
copyright eff education fairuse teaching curriculum technology lesson plans
shared by Jill Walker Rettberg on 24 Sep 09
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Roland Barthes: The Death of the Author. Aspen no. 5+6, 1967. - 0 views
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Who is speaking in this way? Is it the story's hero, concerned to ignore the castrato concealed beneath the woman? Is it the man Balzac, endowed by his personal experience with a philosophy of Woman? Is it the author Balzac, professing certain "literary" ideas of femininity? Is it universal wisdom? or romantic psychology?
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all writing is itself this special voice, consisting of several indiscernible voices, and that literature is precisely the invention of this voice, to which we cannot assign a specific origin: literature is that neuter, that composite, that oblique into which every subject escapes, the trap where all identity is lost, beginning with the very identity of the body that writes.
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in primitive societies, narrative is never undertaken by a person, but by a mediator, shaman or speaker, whose "performance" may be admired (that is, his mastery of the narrative code), but not his "genius"
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linguistically, the author is never anything more than the man who writes, just as I is no more than the man who says I: language knows a "subject," not a "person,"
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once the Author is discovered, the text is "explained:
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To give an Author to a text is to impose upon that text a stop clause, to furnish it with a final signification, to close the writing
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the reader is a man without history, without biography, without psychology; he is only that someone who holds gathered into a single field all the paths of which the text is constituted.
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What is an Author? - Mark Tribe - Brown University Wiki - 0 views
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in a civilization like our own there are a certain number of discourses that are endowed with the 'author function:' while others are deprived of it. A private letter may well have a signer- it does not have an author; a contract may well have a guarantor - it does not have an author. An anonymous text posted on a wall probably has a writer - but not an author. The author function is therefore characteristic of the mode of existence, circulation, and functioning of certain discourses within a society.
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The author function does not affect all discourses in a universal and constant way, however. This is its second characteristic
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There was a time when the texts that we today call 'literary' (narratives, stories, epics, tragedies, comedies) were accepted, put into circulation, and valorized without any question about the identity of their author; their anonymity caused no difficulties since their ancientness, whether real or imagined, was regarded as a sufficient guarantee of their status
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Scientific discourses began to be received for themselves, in the anonymity of an established or always re-demonstrable truth; their membership in a systematic ensemble, and not the reference to the individual who produced them, stood as their guarantee
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The third characteristic of this author function is that it does not develop spontaneously as the attribution of a discourse to an individual.
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It is, rather, the result of a complex operation which constructs a certain rational being that we call 'author'.
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directly derived from the manner in which Christian tradition authenticated (or rejected) the texts at its disposal
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signs referring to the author. These signs, well known to grammarians, are personal pronouns, adverbs of time and place, and verb conjugation. Such elements do not play the same role in discourses provided with the author function as in those lacking it
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Everyone knows that, in a novel narrated in the first person, neither the first-person pronoun nor the present indicative refers exactly either to the writer or to the moment in which he writes, but rather to an alter ego whose distance from the author varies, often changing in the course of the work. It would be just as wrong to equate the author with the real writer as to equate him with the fictitious speaker; the author function is carried out and operates in the scission itself, in this division and this distance.
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(1) the author function is linked to the juridical and institutional system that compasses, determines, and articulates the universe of discourses; (2) it does not affect all discourses in the same way at all times and in all types of civilization; (3) it is not defined by the spontaneous attribution of a discourse to its producer, but rather by a series of specific and complex operations; (4) it does not refer purely and simply to a real individual, since it can give rise simultaneously to several selves, to several subjects - positions that can be occupied by different classes of individuals.
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in the sphere of discourse one can be the author of much more than a book - one can be the author of a theory, tradition, or discipline in which other books and authors will in their turn find a place
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They have produced something else: the possibilities and the rules for the formation of other texts.
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The relationship (or non-relationship) with an author and the different forms this relationship takes, constitute - in a quite visible manner - one of these discursive properties.
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First, there are theoretical reasons. On the one hand, an analysis in the direction that I have outlined might provide for an approach to a typology of discourse.
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How can one reduce the great peril, the great danger with which fiction threatens our world? The answer is: one can reduce it with the author. The author allows a limitation of the cancerous and dangerous proliferation of significations within a world where one is thrifty not only with one's resources and riches, but also with one's discourses and their significations. The author is the principle of thrift in the proliferation of meaning.
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the author is not an indefinite source of significations which fill a work; the author does not precede the works; he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and re-composition of fiction
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It would be pure romanticism, however, to imagine a culture in which the fictive would operate in an absolutely free state, in which fiction would be put at the disposal of everyone and would develop without passing through something like a necessary or constraining figure
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I think that, as our society changes, at the very moment when it is in the process of changing, the author function will disappear, and in such a manner that fiction and its polysemous texts will once again function according to another mode, but still with a system of constraint -one which will no longer be the author, but which will have to be determined or, perhaps, experienced.
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We would no longer hear the questions that have been rehashed for so long: Who really spoke? Is it really he and not someone else? With what authenticity or originality? And what part of his deepest self did he express in his discourse?
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What are the modes of existence this discourse? Where has it been used, how can it circulate, and who can appropriate it for himself? What are the places in it where there is room for possible subjects? Who can assume these various subject functions? And behind all these questions, we would hear hardly anything but the stirring of an indifference: What difference does it make who is speaking?
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Gisle Hannemyr: Lommejuss omkring digitale medier - 0 views
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Natur og Ungdoms satiriske bearbeidelse av Jens-portrettet fra filmplakaten til filmen «Oljeberget»
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en kunsthistorisk tradisjon som i det minste tolerererer denne typen gjenbruk av vernede verk i satirisk og politisk øyemed
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det burde være rom i opphavsrettslovgivningen (de lege ferenda) for at denne typen satiriske og kritiske ytringer skal være tillatt.
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Sitatrett - Wikipedia - 0 views
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verkets karakter ikke må «forandres eller forringes». Siteringen må således som utgangspunkt være en uforandret gjengivelse
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In Norway, the right to quote sections of another copyrighted work has quite a lot of limitations: for instance you mustn't take it out of context, or "change or harm" the quality of it. Remixing and parodies might seem difficult, then? THis is quite different from US "fair use", which explicitly allows parodies.
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Richard Dawkins: "Memes, The New Replicators'' (chapter 11 of The Selfish Gene) - 0 views
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qualities that make for high survival value among memes. But in general they must be the same as those discussed for the replicators of Chapter 2: longevity, fecundity, and copying-fidelity
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An `idea-meme' might be defined as an entity that is capable of being transmitted from one brain to another.
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The human brain, and the body that it controls, cannot do more than one or a few things at once. If a meme is to dominate the attention of a human brain, it must do so at the expense of `rival' memes.
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I have been dissatisfied with explanations that my fellow-enthousiasts have offered for human behaviour. They have tried to look for `biological advantages' in various attributes of human civilization
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...i WaNt To HoLd YoUr HaNd...: My opinions on the text of Benjamin Walter - 0 views
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They are not trying to reproduce reality but they try to remember the experience and the feelings that arise in certain situations. And this is not a contemporary decay of the aura, but rather an attempt to bring it to life in time.
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Could happen that the actor, after many years of study, come to have two auras, one of himself and the other one of the character he plays. The first one does not interfere with the second one but rather complement each other creating a complex character.
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YouTube - Peter Gabriel - Sledgehammer - 0 views
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The Work of Art in the Age of Mechanical Reproduction - By Walter Benjamin, 1935. - The... - 0 views
www.arthistoryarchive.com/...f-Mechanical-Reproduction.html
mechanical reproduction art remix imitation replicas craft cult value exhibition value
shared by Elisabeth Nesheim on 14 Sep 09
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the work of art reproduced becomes the work of art designed for reproducibility
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easier to exhibit a portrait bust that can be sent here and there than to exhibit the statue of a divinity that has its fixed place in the interior of a temple
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cult value does not give way without resistance. It retires into an ultimate retrenchment: the human countenance
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The cult of remembrance of loved ones, absent or dead, offers a last refuse for the cult value of the picture
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It is instructive to note how their desire to class the film among the 'arts' forces these theoreticians to read ritual elements into it -- with a striking lack of discretion
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Consider also how media theoreticians argue that television and the media create "a ritual space" - that by all following the Norwegian elections last night, for instance, or by all seeing some of the same images on the news, we create ritual spaces which we all share, and that this is necessary for us as humans.
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the film actor lacks the opportunity of the stage actor to adjust to the audience during his performance, since he does not present his performance to the audience in person
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aura is tied to his presence; there can be no replica of it. The aura which, on the stage, emanates from Macbeth, cannot be separated for the spectators from that of the actor. However, the singularity of the shot in the studio is that the camera is substituted for the public. Consequently, the aura that envelops the actor vanishes, and with it the aura of the figure he portrays.
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the consumers who constitute the market. This market, where he offers not only his labor but also his whole self, his heart and soul, is beyond his reach. During the shooting he has as little contact with it as any article made in a factory.
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The film responds to the shriveling of the aura with an artificial build-up of the 'personality' outside the studio
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The cult of the movie star, fostered by the money of the film industry, preserves not the unique aura of the person but the 'spell of the personality,' the phony spell of a commodity
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For centuries a small number of writers were confronted by many thousands of readers. This changed toward the end of the last century. With the increasing extension of the press, which kept placing new political, religious, scientific, professional, and local organs before the readers, an increasing number of readers became writers -- at first, occasional ones. It began with the daily press opening to its readers space for 'letters to the editor.' And today there is hardly a gainfully employed European who could not, in principle, find an opportunity to publish somewhere or other comments on his work, grievances, documentary reports, or that sort of thing. Thus, the distinction between author and public is about to lose its basic character. The difference becomes merely functional; it may vary from case to case. At any moment the reader is ready to turn into a writer.
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The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public
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I think this means: The less social significance an art form has, the greater the difference between how important critics think it is and how much the public enjoys it. (e.g. fine art/painting isn't of much importance to most people; critics see Picasso as immensely important but the public dislikes Picasso. Whereas a movie is social important, and the public are experts on movies and agree with "critics" assessment":
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The simultaneous contemplation of paintings by a large public, such as developed in the nineteenth century, is an early symptom of the crisis of painting, a crisis which was by no means occasioned exclusively by photography but rather in a relatively independent manner by the appeal of art works to the masses.
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Painting simply is in no position to present an object for simultaneous collective experience, as it was possible for architecture at all times, for the epic poem in the past, and for the movie today.
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painting, under special conditions and, as it were, against its nature, is confronted directly by the masses.
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Thus the same public which responds in a progressive manner toward a grotesque film is bound to respond in a reactionary manner to surrealism.
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One of the foremost tasks of art has always been the creation of a demand which could be fully satisfied only later.
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The history of every art form shows critical epochs in which a certain art form aspires to effects which could be fully obtained only with a changed technical standard, that is to say, in a new art form.
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Dadaism attempted to create by pictorial -- and literary -- means the effects which the public today seeks in the film.
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What they intended and achieved was a relentless destruction of the aura of their creations, which they branded as reproductions with the very means of production
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painting of Arp
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ancient lament that the masses seek distraction whereas art demands concentration from the spectator. That is a commonplace
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Distraction and concentration form polar opposites which may be stated as follows: A man who concentrates before a work of art is absorbed by it
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Architecture has always represented the prototype of a work of art the reception of which is consummated by a collectivity in a state of distraction.
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Buildings are appropriated in a twofold manner: by use and by perception -- or rather, by touch and sight
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For the tasks which face the human apparatus of perception at the turning points of history cannot be solved by optical means, that is, by contemplation, alone. They are mastered gradually by habit, under the guidance of tactile appropriation.
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art will tackle the most difficult and most important ones where it is able to mobilize the masses. Today it does so in the film
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Reception in a state of distraction, which is increasing noticeably in all fields of art and is symptomatic of profound changes in apperception, finds in the film its true .means of exercise.
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The film makes the cult value recede into the background not only by putting the public in the position of the critic, but also by the fact that at the movies this position requires no attention. The public is an examiner, but an absent-minded one.
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Remix Theory » Archivio » WHAT COMES AFTER REMIX? by Lev Manovich - 0 views
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officially accepted
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I think that “remixing” is a better term anyway because it suggests a systematic re-working of a source, the meaning which “appropriation” does not have
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The other older term commonly used across media is “quoting” but I see it as describing a very different logic than remixing. If remixing implies systematically rearranging the whole text, quoting refers inserting some fragments from old text(s) into the new one.
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we can say that if modernist collage always involved a “clash” of element, electronic and software collage also allows for “blend.
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In his book DJ Culture Ulf Poschardt singles out different stages in the evolution of remixing practice
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Around the turn of the century (20tth to 21st) people started to apply the term “remix” to other media besides music: visual projects, software, literary texts
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The Medium - The Hitler Meme - NYTimes.com - 0 views
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It turns out you could play make-out music, show slow-mo clips of any two male actors interacting, throw up suggestive title cards (“a truth they couldn’t deny”) and — presto — any American blockbuster could be shown to chronicle love between two men
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Interesting - and this is also relevant to Kurdin's trailer where she shows an example of Harry Potter as a Brokeback Mountain spoof. I also like the way in which the author of this article draws a conclusion that CROSSES all the remixes - the many similar remixes make an argument as a group, in a way?
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satirists who for years have been snatching video and audio from “Downfall,” the 2004 German movie of Hitler’s demise, and doctoring it to tell a range of stories about personal travails and world politics.
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subtitles
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the lesson of the parodies seems to be that “Downfall” was a closeted Hitler comedy. Having seen the spoofs before seeing the movie, I find it virtually impossible now to watch the film with a straight face
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many of the “Downfall” parodies choose not to have Ganz-as-Hitler directly ventriloquize another politician or figure of derision. Instead, as with the Malaysian parody, the spoofs often make the new speaker a disappointed supporter of a public figure.
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Interesting NYTimes article about the many creative subtitlings of the scene from Downfall (a 2004 movie about Hitler's demise) - this article is a wonderful example of how you can analyse a whole group of remixes. If this were an academic article you'd also want to include more context about this (what is remixing? what kinds of other video/subtitle remixes exist? what sort of things are scholars writing about remixes like this?) but the ANALYSIS of what the remixes means would be perfect. I especially like how the author makes interpretations across the whole group - see some of my annotations/comments.
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