CONTENTS

INTRODUCTION............................................................................................ 11

Chapter One
The Rise of the Author and the Emergence of Copyright......................... 21

1.1 The pre-Parenthetical model of authorship................................................. 24

1.1.1 The compound model of writing and the honorarium........................... 24

1.1.2 Printing as a politically mediated privilege............................................. 27

1.2 The Parenthesis opens................................................................................. 28

1.2.1 Early payment contracts......................................................................... 28

1.2.2 Writing as the author’s property............................................................ 31

1.2.3 A new market niche and the name of the author................................... 35

1.2.4 The professional writer.......................................................................... 36

1.3 Literary ownership, originality, and the invention of the Genius................ 38

1.3.1 From publisher’s copyright to author’s property.................................... 39

1.3.2 Literary originality and the invention of the Genius.............................. 41

1.3.3 The Genius returns to home soil............................................................ 48

1.3.4 The Genius and copyright: Wordsworth’s defence of
copyright extension....................................................................................... 54

CHAPTER TWO
Challenging the Genius Author/Original Works Model........................... 63

2.1 New Criticism’s intentional and affective fallacy......................................... 66

2.2 Before intertextuality: Nelson’s hypertext, Bakhtin’s dialogism................. 69

2.3 Works and authors, texts and scriptors...................................................... 73

2.4 Intertextual elaborations: typologies of intertextuality............................... 82

2.4.1 Fiske, Fairclough, Culler........................................................................ 83

2.4.2 Iterability & Presupposition.................................................................. 86

2.4.3 Genette’s Transtextuality...................................................................... 87

2.4.4 Miola’s seven types of intertextuality.................................................... 89

2.4.5 Obligatory, optional, and accidental intertextuality............................. 92

CHAPTER THREE
Towards a Remix Culture: The Author as a Remixer................................. 97

3.1 The rise of the DJ and the birth of remix..................................................... 101

3.1.1 The prototype of the DJ.......................................................................... 101

3.1.2 Jamaican roots....................................................................................... 103

3.1.3 Exporting the remix: the disco movement, the true DJ,
the break and the 12”..................................................................................... 108

3.1.4 The backbone of remix.......................................................................... 114

3.2 Remix: a study of definitions and practices................................................ 116

3.2.1 The remix ubiquitous............................................................................. 121

3.2.2 Remix in music...................................................................................... 123

3.2.3 Types of remix in music......................................................................... 125

3.2.4 Applying the principles of remix to the production of
independent works....................................................................................... 130

3.2.5 Remix in video and film......................................................................... 134

3.2.6 Remix in literature................................................................................ 143

3.2.7 Remix in painted art and digital imaging.............................................. 146

3.2.8 Remix in other domains........................................................................ 153

3.3 The functions of remix: remix categorised according to motive................. 155

3.3.1 Remix in music...................................................................................... 155

3.3.2 Remix in film......................................................................................... 159

3.3.3 Remix in literature................................................................................. 160

3.4 A juxtaposition of remix and intertextuality and
the exhaustion of intertextuality...................................................................... 162

3.5 Remix + collaboration | bricolage............................................................... 171

3.6 Remix culture: creativity through sampling and
building upon the works of others................................................................... 176

CHAPTER FOUR
Remix in Action: Recycling Popular Plots in the Cinema......................... 187

4.1 Remixing the Flood..................................................................................... 195

4.1.1 Pre-21st century depictions of the biblical flood:
striving for a truthful representation............................................................ 195

4.1.2 Of flamenco, piano, trance, and the Deluge.......................................... 202

4.1.3 Deviant interpretations of the Flood...................................................... 207

4.1.4 Critical reception of the films................................................................ 208

4.1.5 The Flood (Shady-ac Remix – Evan’s A.R.K.
@ Congress 21st-Century Inundation Epik).................................................. 209

4.1.5.1 Remix and intertextuality in Evan Almighty..................................... 214

4.1.5.1.1 The connection between Evan Almighty and Bruce Almighty..... 214

4.1.5.1.2 The connection between Evan Almighty and the biblical Flood.. 216

4.1.5.1.3 Intertextual props affirming the film’s relation to the Flood story...... 219

4.1.5.2 Ancillary stories establishing Evan Almighty as reflexive remix....... 220

4.1.5.2.1 The environmental agenda......................................................... 221

4.1.5.2.2 The united nuclear family agenda.............................................. 223

4.1.6 Darren Aronofsky’s Noah...................................................................... 226

4.1.6.1 Kreator – The Deluge (Aronofsky’s Watchers
Environ-Mental Vegan-Noah Remix)......................................................... 229

4.1.6.1.1 Vegan-Noah and the original sin................................................. 232

4.1.6.1.2 Noah’s nakedness and Ham as/in the centre of the crisis........... 236

4.1.6.1.3 Further ancillary stories establishing Noah as Remix................. 245

4.1.6.1.3.1 Tzohar................................................................................... 245

4.1.6.1.3.2 The Watchers........................................................................ 246

4.2 Reusing H. G. Wells’ War of the Worlds..................................................... 250

4.2.1 Victicite Lovers vs. The Anishinaabe Warrior
– The First World War of the Worlds (A Steampunk Documentary)........... 254

4.2.1.1 The stories The Great Martian War is built from.............................. 256

4.2.1.2 The Martian fighting machines....................................................... 259

4.2.1.3 Remixed print media in The Great Martian War............................. 263

4.2.1.4 Remixed events, places, and people in The Great Martian War....... 269

4.2.1.5 Novel material in The Great Martian War....................................... 273

4.2.1.6 Critical reception of The Great Martian War................................... 275

4.3 Remix in the hands of the less privileged................................................... 279

4.3.1 DIY videos.............................................................................................. 280

4.3.2 Memes................................................................................................... 282

CONCLUSION................................................................................................. 293

BIBLIOGRAPHY 301