Catching Up

With Andrea out of town for the weekend, I’ve spent much of my time attending and participating in Duke University’s Marxism and New Media Conference. While my own work seemingly places much more emphasis on the category “new media” than “Marxist,” I deeply enjoyed and benefitted from testing the limits of current conversations in media studies about the practices of production, and in my own essay on social check-in services, about the creation of value in an attention economy. I’m not going to try to read today’s links completely through the lens of the conference, but I think it has sharpened my thinking on a couple of key points:

  • One quick bit of news: Star Wars Uncut, a fan film I discussed in the edited collection, Science Fiction Film, Television, and Adaptation: Across the Screens, has been released on YouTube in a director’s cut, one that includes more seamless video and sound editing. I discussed SWU as a paradigmatic example of a crowdsourced adaptation and still remain fascinated by it, though I have to admit that I still have some fondness for the original patchwork version that was auto-generated based on people’s votes.
  • Speaking of fan responses, I’ve been interested in the Vertigo meme, in which fans, responding to Kim Novak’s complaints about the use of the Vertigo theme in The Artist (which she referred to as a “violation”),  have been adding the music to a wide range of other texts. For one of the more thoughtful discussions of this project check out Jason Mittell’s discussion of how he Vertigoed The Wire and Kevin Lee and Matt Zoller Seitz’s announcement of the contest at Press Play.  Scroll down for one of my favorite examples, in which The Big Lebowski gets the Vertigo treatment. Moments like these renew my faith in remix culture.
  • This story is a few days old, but given my focus on digital cinema, I think it’s worth noting that Eastman Kodak has filed for Chapter 11 bankruptcy.
  • I’m intrigued by the discussion of this screening of Martin Scorsese’s Hugo, in which the pre-show advertising automatically turned on during the movie, leading to overlapping images showing Ben Kingsley talking over ads warning us to silence our cell phones, animated candy bars, and other advertising ephemera. It’s a bizarre mashup and a horrifying depiction of the automation of theatrical projection in the era of digital cinema.
  • On a related note, Anthony Kaufman discusses some of the challenges for indie and art house theaters in the era of digital projection.
  • Worth noting, many of the videos I’ve mentioned today would be at risk of being pulled (and their websites would also be threatened with legal action) if SOPA and/or PIPA had been passed. Henry Jenkins links to a detailed discussion of some of the creative activism that has been inspired by the anti-SOPA movement. On a related note, New Tee Vee has an article that explores some of the possible motivations for piracy, specifically the lack of available premium content via digital platforms.
  • Curiously, given this complaint, however Janko Roettgers, also of New Tee Vee, argues that we are in a “golden age of content.” Roettgers uses the announcement that  both Hulu and Netfix are producing original series (rather than merely serving as a portal to access content produced by others) to argue that we have far more choices for watching than ever before. Videonuze also has a discussion of “online originals.”
  • On a related note, Aymar Jean Christian has announced the launch of a new academic blog dedicated to the study of the future of video and television, Hacktivision.
  • This has been around for a while, but via the cinetrix, I just learned about the promo video for a planned adaptation of William Gibson’s Neuromancer from 1986.
  • Joe Swanberg has a new film out called Marriage Material. Richard Brody reviews the film favorably and notes that it will be available to watch online for free for two weeks.

The Big V from Will Woolf on Vimeo.

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