Try Hard: DIY Filmmaking and Remix Culture
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Transcript of Try Hard: DIY Filmmaking and Remix Culture
Try Hard: Diy Filmmaking and Remix Culture
Thomas Javier CastilloThomas Javier CastilloBowling Green State UniversityBowling Green State University
How do (Low-Budget) Filmmakers engage with remix culture?
● Recent Scholarship has located a number of moving image-based remix practices.
● Stedman: “Vidders”: Fan-made video tributes to television shows and films.
● Knobel and Lankshear: Anime Music Videos, Machinima.
● Here, the DIY fan remake as a remix practice.
● Recent Scholarship has located a number of moving image-based remix practices.
● Stedman: “Vidders”: Fan-made video tributes to television shows and films.
● Knobel and Lankshear: Anime Music Videos, Machinima.
● Here, the DIY fan remake as a remix practice.
The Remix● Stedman: Remix in “a broad sense...that
includes any act of composition that involves the deliberate manipulation of previous passages, clips, or samples throughout a majority of the work.”
● Knobel and Lankshear: “By the art of remix, we mean the aesthetics, appreciation, form and composition dimensions of remix practices.”
● Stedman: Remix in “a broad sense...that includes any act of composition that involves the deliberate manipulation of previous passages, clips, or samples throughout a majority of the work.”
● Knobel and Lankshear: “By the art of remix, we mean the aesthetics, appreciation, form and composition dimensions of remix practices.”
The Remix Cont'd● Costanzo: A generous approach toward
composition: “Whenever people write or read, or watch or make a movie, they are combining words, images, ideas and other experiences into meaningful relationships. They are composing in the fullest sense of the term.”
● Historical context: Trash Cinema, Found Footage. Moving image remix did not start circa 2000 CE.
● Costanzo: A generous approach toward composition: “Whenever people write or read, or watch or make a movie, they are combining words, images, ideas and other experiences into meaningful relationships. They are composing in the fullest sense of the term.”
● Historical context: Trash Cinema, Found Footage. Moving image remix did not start circa 2000 CE.
Star wars uncut● A DIY, (mostly) shot-for-shot fan remake of
Star Wars.● Crowdsourced: Multitude of
authors/remixers.● Web-based: semi-interactive website
interface and streaming distribution.● Mashup: 15-second fan clips edited together
to create the entire film.
● A DIY, (mostly) shot-for-shot fan remake of Star Wars.
● Crowdsourced: Multitude of authors/remixers.
● Web-based: semi-interactive website interface and streaming distribution.
● Mashup: 15-second fan clips edited together to create the entire film.
SW uncut as Remix● Stedman: Practice-centered approaches to
study of remix.● Borschke: A tendency for remix scholars to
discount the material, compositional aspects of remixing: the term now far removed from its music roots.
● Is everything really a remix?● If so, what are the elements of that remix?
● Stedman: Practice-centered approaches to study of remix.
● Borschke: A tendency for remix scholars to discount the material, compositional aspects of remixing: the term now far removed from its music roots.
● Is everything really a remix?● If so, what are the elements of that remix?
SW uncut as Remix● An extremely well-known and culturally
influential text with a fervent fan base.● A specific rhetorical terrain that necessitates
an intimate knowledge of the text to re-produce as well as view and understand the remake.
● A variety of compositional strategies.● Why watch? Why make?
● An extremely well-known and culturally influential text with a fervent fan base.
● A specific rhetorical terrain that necessitates an intimate knowledge of the text to re-produce as well as view and understand the remake.
● A variety of compositional strategies.● Why watch? Why make?
Style● A variety of stylistic and technical approaches:
shockingly good animation● A variety of stylistic and technical approaches:
shockingly good animation
Style Cont'd● Low-budget video: the earnest DIY approach● Low-budget video: the earnest DIY approach
Style Cont'd● Star Wars in 8-bit glory: Layers upon layers of
references.● Star Wars in 8-bit glory: Layers upon layers of
references.
Style Cont'd● Lego Star Wars. An genre unto itself: the Lego
remake.● Lego Star Wars. An genre unto itself: the Lego
remake.
Style Cont'd● Low-fi Trash Cinema. Star Wars by way of the
Kuchar brothers.● Low-fi Trash Cinema. Star Wars by way of the
Kuchar brothers.
cats v. legos● The devil is in the details: How is something
different when done with cats than with cardboard cutouts? When done with GIF animation than with 3D computer animation?
● How does style become rhetoric? What are the aesthetic values at play? What are the goals of the composition?
● The devil is in the details: How is something different when done with cats than with cardboard cutouts? When done with GIF animation than with 3D computer animation?
● How does style become rhetoric? What are the aesthetic values at play? What are the goals of the composition?
The Art and craft of diy remakes
● How technically assured/”real” is the remake?● How closely does it match the text in terms of
timing, shot selection, and performance?● How much does it change the text and where?● How does it comment upon or re-interpret the
text?● How does it degrade the text?● How are they going to pull that off? The
pleasures of low-budget spectacle.
● How technically assured/”real” is the remake?● How closely does it match the text in terms of
timing, shot selection, and performance?● How much does it change the text and where?● How does it comment upon or re-interpret the
text?● How does it degrade the text?● How are they going to pull that off? The
pleasures of low-budget spectacle.
Audience and Authorship
● Fan remake as tribute but also challenge: Han shoots first in Star Wars Uncut.
● Close readings required for maximum effect on the part of both audience and author.
● In the crowdsourced context, the audience is the author.
● Fan remake as tribute but also challenge: Han shoots first in Star Wars Uncut.
● Close readings required for maximum effect on the part of both audience and author.
● In the crowdsourced context, the audience is the author.
Audience is Author
● Cinephilia and videophilia become something more active, critical and participatory: Collaborative Remix Zones: Hudson and Zimmerman.
● Frolunde: “Remix is herein related to dialogic notions of the ‘inter-animation’ of multiple voices: in other words, remix is part of how language evolves as a continual dialogue within texts, between people and with previous works and authors.”
● Cinephilia and videophilia become something more active, critical and participatory: Collaborative Remix Zones: Hudson and Zimmerman.
● Frolunde: “Remix is herein related to dialogic notions of the ‘inter-animation’ of multiple voices: in other words, remix is part of how language evolves as a continual dialogue within texts, between people and with previous works and authors.”
Star Sources● Borschke, Margie. "Rethinking the Rhetoric of Remix." Media International
Australia, Incorporating Culture & Policy.141 (2011): 17-25.
● Costanzo, William V. Double Exposure: Composing Through Writing and Film. Upper Montclair, N.J: Boynton/Cook Publishers, 1984. Print.
● Frølunde, Lisbeth. "Machinima Filmmaking as Culture in Practice: Dialogical Processes of Remix." Dordrecht: Springer Netherlands, 2012. 491-507.
● Knobel, Michele, and Colin Lankshear. "Remix: The Art and Craft of Endless Hybridization." Journal of Adolescent & Adult Literacy 52.1 (2008): 22-33.
● Hudson, Dale, and Patricia R. Zimmermann. "Cinephilia, Technophilia and Collaborative Remix Zones." Screen 50.1 (2009): 135-46.
● Stedman, Kyle D. "Remix Literacy and Fan Compositions." Computers and Composition 29.2 (2012): 107.
● Star Wars Uncut. http://starwarsuncut.com. Online.
● Borschke, Margie. "Rethinking the Rhetoric of Remix." Media International Australia, Incorporating Culture & Policy.141 (2011): 17-25.
● Costanzo, William V. Double Exposure: Composing Through Writing and Film. Upper Montclair, N.J: Boynton/Cook Publishers, 1984. Print.
● Frølunde, Lisbeth. "Machinima Filmmaking as Culture in Practice: Dialogical Processes of Remix." Dordrecht: Springer Netherlands, 2012. 491-507.
● Knobel, Michele, and Colin Lankshear. "Remix: The Art and Craft of Endless Hybridization." Journal of Adolescent & Adult Literacy 52.1 (2008): 22-33.
● Hudson, Dale, and Patricia R. Zimmermann. "Cinephilia, Technophilia and Collaborative Remix Zones." Screen 50.1 (2009): 135-46.
● Stedman, Kyle D. "Remix Literacy and Fan Compositions." Computers and Composition 29.2 (2012): 107.
● Star Wars Uncut. http://starwarsuncut.com. Online.