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