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E-grāmata: Reclaiming Critical Remix Video: The Role of Sampling in Transformative Works

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(National College of Art and Design, Dublin)
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Reclaiming Critical Remix Video: The Role of Sampling in Transformative WorksPalielināt
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Remix is now considered by many to be a form of derivative work, but such generalizations have resulted in numerous non-commercial remixes being wrongfully accused of copyright infringement. Gallagher argues, however, that remix is a fundamentally transformative practice. The assumption that cultural works should be considered a form of private property is called into question in the digital age; thus, he proposes an alternative system to balance the economic interests of cultural producers with the ability of the public to engage with a growing intellectual commons of cultural works. Multimodal analyses of both remixed and non-remixed intertextual work, with a particular focus on examples of critical remix video, fuel the discussion, synthesizing a number of investigative methods including semiotic, rhetorical and ideological analysis.

List of Figures and Tables
ix
Preface xiii
Acknowledgments xvii
Introduction 1(1)
Critical Remix Video 1(9)
1 The Specificity of Intertextual Media: Distinctive Characteristics of Remix Video
10(37)
1.1 Painting vs. Poetry: An Age-Old Debate
11(3)
1.2 Photography-Film-Video
14(3)
1.3 The Evolution of Media
17(4)
1.4 Remixing Genre: An Evolving Taxonomy of Remix Video
21(4)
1.5 Sampling vs. Original Recording: An Ongoing Struggle
25(6)
1.6 Remixes, Remakes, and Adaptations: Not Everything Is a Remix
31(7)
1.7 New Media Specificity: Alternative Distinctions
38(9)
2 Visual Semiosis in Critical Remix Video: Decoding Echoes of the Past
47(44)
2.1 Visual Semiosis in Non-Remixed Media Content
49(3)
2.2 Methods of Remix Analysis: A Semiotic Approach
52(3)
2.3 Remix Semiosis: The Recontextualization of Meaning
55(15)
2.4 Syntactics, Semantics, and Pragmatics in Remix Video
70(10)
2.5 The Memory Still Remains: Perception and Cognition in Remix Video
80(11)
3 Seeing Is Believing: The Multimodal Rhetorical Potential of Remix Video
91(40)
3.1 Visual Rhetoric, Language, and Argumentation
93(4)
3.2 Methods of Remix Analysis: A Rhetorical Approach
97(2)
3.3 Persuasion and Propaganda
99(3)
3.4 The Perception of Truth in the Photographic Image
102(5)
3.5 Motivation, Intent, and Techniques of Persuasion
107(4)
3.6 Rhetoric in Critical Remix Video
111(5)
3.7 The Impact of Media Manipulation on CRV Argumentation
116(15)
4 Critical Remix as Ideology Critique: A Social Libertarian Alternative World View
131(74)
4.1 The Dominant Ideology Thesis
133(1)
4.2 The Ruling Class in Contemporary Western Societies
134(6)
4.3 Negative Effects of Neoliberal Capitalism
140(11)
4.4 Resisting Ideology
151(9)
4.5 Methods of Remix Analysis: An Ideological Approach
160(5)
4.6 The Spectrum of Ideology in Critical Remix Video
165(40)
5 Rethinking Intellectual Property: In Defense of the Right to Remix
205(66)
5.1 The Myth of Intellectual Property
206(11)
5.2 Transformativeness and Pair Use
217(5)
5.3 Ethics of Appropriation in Remix Culture
222(9)
5.4 Politics and Rhetoric of Cultural Ownership
231(7)
5.5 Societal Costs of Copyright and the Benefits of Remix Culture
238(6)
5.6 Remixing Copyright and the Culture Industry
244(27)
Conclusion 271(6)
Glossary of Terms 277(2)
Acronyms 279(2)
Index 281
Owen Gallagher currently lectures at the department of Web Media, Bahrain Polytechnic where he teaches remix through audio, video, animation and game design. He has lectured on design and media theory, as well as studio practice at a number of universities and colleges in Ireland and the UK, including the University of Ulster, LYIT and IT Tralee. He is co-editor of The Routledge Companion to Remix Studies (2015) and Keywords in Remix Studies (2017). He is the author of a number of book chapters and articles on remix culture, intellectual property, and visual semiotics, and has presented his research internationally. Owen is the founder of TotalRecut.com, an online community archive of remix videos, as well as co-founder of the Remix Theory and Praxis seminar group.
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