![]() ![]() I have focused in particular on re-cut trailers, identity correction, transformative storytelling, supercuts, and music videos. Here I have collected videos representing several distinct remix styles, covering a wide variety of social, cultural and political topics. I was asked to put together a new show for 2010 highlighting some of the best remixes of the last two years. I curated the political remix portion of the DIY 24/7 Video show at USC in the Spring of 2008. It is a way to communicate using that audio-visual language in poetic, humorous, poignant and entertaining ways. ![]() The remix video process provides creators a powerful way of talking back to this mass media machine. Today a small number of large corporations own, control and produce most of our popular culture. However despite the fact that they should be protected under fair use many critical remixes are especially vulnerable to DMCA takedowns and automatied content ID matching systems. All political remix videos are made without the permission of the copyright holder and rely on the fair use doctrine. Increasingly we are becoming a global culture that communicates in an audio-visual language. The media tools and technology of the 21st century have made the power of critical remix available to anyone with access to the web, a computer and some extra time. The 1980s and 1990s brought video tapes and home VCRs allowing artists, activists and fan-vidders to make remixes via tape-to-tape editing. These early re-mixes were painstakingly done by hand, splicing strips of film and setting them to a new audio track. During World War Two, the Allies propaganda machine re-edited footage from Nazi rallies for newsreels to poke fun at the German Army making it seem less threatening. The tradition dates back to the 1920's when Russian re-editors (many of them women) would repurpose American Hollywood films to create different political narratives and class messages. The practice of remixing and re-framing moving images for political purposes has been around since the invention of film. It is a form of critical DIY media production which challenges power structures, deconstructs cultural norms and subverts dominant social narratives by transforming fragments of mainstream media and popular culture. Political Remix Video can empower people to assert their creative voice, tell alternative stories and critically engage with mass media systems. ![]() The following curator's statement was written by Jonathan McIntosh, who describes himself as "a pop culture hacker, video remix artist and fair use advocate." This is the second in an ongoing series of curated selections of DIY Video prepared in relation to the screening of DIY Video 2010 at the Hammer Museum in Los Angeles and organized by Mimi Ito, Steve Anderson, and the good folks at the Institute for Multimedia Literacy. ![]()
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