Module 4 Lecture Content: Intro to remakes, re-creations and remix

Remakes, Re-creations + Remix

This week I will introduce the concept of film and video remix, starting with the concept of “re-creation”. While remix is often discussed within an audio context, the same principles of deconstruction and reforming can be applied to visual content, both static and time-based. I will discuss all of these ideas more in-depth starting next week, but since it is Midterm Week, we will only address one related topic - the re-creation.

When discussing remix in relation to re-creation, especially with film and video, I do not like to draw clear distinctions between the two because they share many common principles and outcomes. As with many of the categories and formats discussed in this course, there is a lot of overlap, but it is still helpful to work with

Generally, I tend to regard an artwork as a re-creation if it keeps the narrative and/or visual form of the original source material mostly intact, and instead merges the previous meaning with the new meaning, or adds meaning to the original meaning. Remixes on the other hand, tend to first dismantle and or deconstruct the original artworks, and then re-build or recombine in a ways that changes the visual form or meaning from within. With many forms of remix, the original meaning might be completely different, while with re-creations the original meaning is still very present.

Presenting a recognizable narrative in a new way can be very engaging for viewers. This type of “re-imagining” has the potential to shift the viewer’s understanding of the original artwork - either in form (how it looks) or meaning - as they view the new artwork. This phenomenon relates to time from a more conceptual standpoint by altering a viewers perception of a previously viewed artwork as they view a new artwork, sometimes in a very similar time scale.

Mainstream Reboots

Reboots are one form of mainstream cinematic re-creation that have become very prevalent in the last 15 - 20 years. These tend to work with well-known narratives and similar formal elements, but incorporate new actors, styles and/or specifics. Even the most divergent reboot will still usually shift the viewers understanding of the original film or television show, however, this becomes increasingly complicated with multiple reboots (such as Batman + Spiderman) and/or with narratives that already have multiple, well-known formats.

Collaborative + other unique Remakes

The types of re-creations or remakes that I would like to look closer at this week are the ones that go beyond simply changing out actors and work in completely new formats or adjust the narrative circumstances enough the add new ideas to existing ones. An example of this is the film below, Star Wars: Uncut, and its sequel, Empire: Uncut. These two film projects utilized crowdsourcing to re-create the Star Wars films shot-for-shot. The resulting films are interesting viewing experiences because they are so dedicated to the original form and narrative, and yet include a wide variety of formats, actors and methods for communicating the narrative. I find these films especially interesting because Disney, the owners of the Star Wars franchise, fully support and even promote these films.

Below, the entire Empire Uncut Remake. Skip through this film for ideas to utilize for this week’s studio project.

When films are crowdsourced in this way, they both tell the story of the original film, and also reveal the ways in which all of the new filmmakers perceive, interpret and then re-create that film. These collaborative films also communicate a diverse collection of viewpoints and perspectives that stand out in comparison to a known narrative and form. Not only are viewers understanding this new perspective, it also might impact the way they understand or see the original film. This can be especially true or prevalent if the new film works with new technologies, narrative formats or relevant conditions in a way that transform the original narrative and/or visual form. This can be demonstrated in the inclusion of smartphone technology in older sitcom episodes - how many of the storylines and outcomes could have been easily resolved - or complicated - with the inclusion of easily accessible google search or access to social media?

Skim through the re-creation of Back To The Future below. How do different directors and contributors work with different filming and narrative challenges? How could you apply some of these solutions to your Studio Projects this week?