MONTAGE & COLLAGE

Hopefully, I do not cry while writing this blog post because apparently crying has become the theme of the week.

In Gustavo Romano’s article, “Of Re/Appropriations,” he mentions remix, reinterpretations, reengineered materials, recollections, and recirculations of information. Romano explains that remix is the “recombination of materials . . . traditionally [] associated with collage above all in relation to fixed images, paintings, or photography”. (Romano 425). This parallels my definition of remix quite accurately regarding the remerging of materials; I do appreciate the collage form of remix, as I made one for my self-portrait. Romano relates remix to Sergei Eisenstein’s montage. I know a little about Eisenstein, since I did soak my Screen Theory midterm with cinema-induced tears. I believe this comparison is fair because remix is juxtaposing materials, just like montage edits shots together to make something new.

We talked in class about appropriation and how taking someone else’s work and using it, typically without permission, is disconcerting. Repurposing someone else’s work can get a little messy, particularly regarding copyright laws. I relate to Aufderheide’s attitude of copyright laws: “Don’t Worry, Be Happy.” She essentially asserts that copyright laws are a bitch.

I believe the purpose of remix is to give new meanings and identities and montage to previously made compositions. I think we should remix works to create “new artistic life.”; I mean, without remixing, we would not have the rosy-cheeked Coca Cola Santa, the petrifying Mrs. Doubtfire trailer, or the Buffy the Vampire mashup with Twilight. And what would we do without those?!

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