286 pages | 48 B/W Illus.
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.
1. The Specificity of Intertextual Media: Distinctive Characteristics of Remix
2. Visual Semiosis in Critical Remix: Decoding Echoes of the Past
3. Seeing is Believing: The Multimodal Rhetorical Potential of Remix
4. Critical Remix as Ideology Critique: An Alternative World View
5. Rethinking Intellectual Property: In Defence of the Right to Remix
Cultural and media studies are now well-established as important academic disciplines and are inspiring new research into a wide range of pertinent issues. This series presents outstanding research in these subjects, helping to shape the direction of future inquiry.
To submit a proposal for this series, please contact:
Suzanne Richardson, Commissioning Editor for Media, Cultural and Communication Studies