This remixed trailer re-envisions the 1990 romantic comedy film “Pretty Woman”. The original movie stars Richard Gere as a wealthy businessman and Julia Roberts as women who prostitutes herself on the streets of New York City. The original film was supposed to be a dark drama dealing with the difficult lives of sex workers but was rewritten into a Cinderella-type romantic comedy prior to production.

“Pretty Woman” reinforced and glamorized a myth that prostitution is a way to find a wealthy husband, a myth that conveniently conceals the harsh realities of sex work on the street. It also hinds the fact that woman often enter the sex trade as a way to economically support themselves when few other options are available.

Here, FunkyBeccaBecca re-edits the movie trailer re-imagining it in a more appropriate genre, horror. She adds a new soundtrack and with it re-frames Richard Gere’s character transforming him from “wealthy savor” to violent controlling predator.

Category: movie trailer
Topic Tags: gender, hollywood, sexism, sexuality

Public Knowledge has just released their new series of four video interviews called “We Are Creators Too” that focuses on artists who push the boundaries of copyright law. First to be featured was Nina Paley whose Sita Sings the Blues feature film (set to music from the Public Domain) reveals the timelessness of an old Indian folk tale while simultaneously exposing the archaic nature of copyright. Francesca Coppa, fan, academic and keeper of women’s vidding herstory is also featured along with Jonathan and myself.

Public Knowledge is a great resource for remix artists and vidders because they acknowledge that Fair Use is a right, not a privilege. As artist, we can only continue making new work with the hopes that the product and process decreases copyright confusion and encourages the use of new media technologies to sustain media literacy and critical thinking about popular, and proprietary, culture.

Part 4 – Francesca Coppa

Part 3 – Jonathan McIntosh

Part 2 – Elisa Kreisinger

Part 1 – Nina Paley

Category: About Remixing
Topic Tags: activism, copyright, corporations, fair use, REMOVED, rights, television, vidding

Why it Takes Three Weeks to Post Your Youtube Video

In the year 2009, copyright disputes have been taken over by robots.

On July 21^st I posted a remix video to Youtube called “Super Pork and Beans All-Stars.” It was a remixed version of Weezer’s popular Pork and Beans music video, which is owned by Universal Music Group (UMG) – my version was made of new footage that I manipulated to match the song.

Immediately after the upload, Youtube’s copyright bots recognized the UMG song on my soundtrack and disabled my video. Youtube has a built-in online tool for copyright disputes, so I used that to tell them that my work was fair use and should not have been removed. My movie was put back online right away,  but the dispute process wasn’t over.

YouTube forwarded my dispute to UMG and I was surprised to find out that UMG replied back only a day later. They told Youtube that they owned the song and that I was not allowed to use it without permission. Such a quick response from UMG makes me suspect they’re using more bots to respond automatically to Youtube’s built-in disputes. After UMG’s response, my movie was automatically taken down once again.

Luckily for me I had already learned how to deal with this from Owen Gallagher, who runs totalrecut.com and has successfully fought other Youtube takedowns. On July 23^rd, I followed Owen’s example and sent Youtube a DMCA counter-notice. These counter-notices need to be formatted in a specific way to be considered legitimate, otherwise it’s at Youtube’s discretion whether or not they ignore you. You can find a guide to how the DMCA counter-notices work at Chillingeffects.org.

I was finally notified that my video was going back online on August 12^th — around 21 days after my original posting. A big chunk of that was spent waiting for UMG to meet their DMCA-imposed deadline to seek legal action against me if they found my video to be infringing. Thankfully, nobody has yet invented a bot that can take you to court, so the deadline lapsed and my video back went online, hopefully for good.

In the year 2010, copyright disputes should be handled by people.

So I got a happy ending, but imagine if I was a career artist who wanted to dedicate more time to creating than to looking up copyright law and counter-notice procedures. Or imagine I had kids, or school, or any number of things that might be more important to me than being a copyright geek. How willing would I be to dig through Youtube’s site to find the automated dispute process? And once that automated dispute got rejected, how willing would I be to research the precise criteria required to send my counter-notice in a format that Youtube couldn’t ignore? And if I had to do this for multiple videos, and wait three weeks per submission, who could blame me for concluding that Youtube just wasn’t the place to reliably distribute my work?

Youtube is actually one of the more obliging sites for providing tools and instructions on how to exercise your fair use rights, but even there it’s a small research project for any user who may want to fight back. Meanwhile major labels aren’t even bothering to hire staff to make sure they’re not taking down legal videos. The Electronic Frontier Foundation (EFF) has sued other content companies for abusing copyright in this way, but that has not been enough to deter the massive automated takedowns.

Others have already proposed an important step toward fixing this problem: replace the current “notice-and-takedown” laws with “notice-and-notice” ones. If UMG wants to take people’s videos down, users should have a chance to dispute it  before the content is removed. There should be no pressure on service providers to take down legal content. This ought to be a minimum, uncontroversial step, even if we put aside other legitimate arguments for expanding fair use and reducing copyright terms. Internet users should not have to fight uphill battles to keep legal videos online just so a handful of labels can save on staffing costs.

[This is a guest post for PRV by video remixer IKAT381]

Category: articles
Topic Tags: copyright, corporations, fair use

This remix by freeyourpixels is a short yet eloquent critique of the US Marines “Red Stripe” online ad campaign. The remix uses still images and TV commercial clips for source materials and implements additive text and precise match-on-action editing techniques to unite them. The red stripe transitions the viewer from one clip to next and was created using After Effects. It’s a brilliant, yet simple, visual motif which echos the brutal imperialist history of the US Marines. The Scarlet Stripe, said to commemorate the bloodshed by US Marine officers during the 1846 Battle of Chapultepec in Mexico, is more often referred to as the Blood Stripe.

Category: tv commercial
Topic Tags: capitalism, corporations, government, iraq, marines, military, terrorism, violence, war

Please note this vid deals with issues of rape and consent. More specifically, it’s a playful yet critical look at the troubling presentation of these issues in the Fox television show “Dollhouse”. Because these topics are intense, we feel viewers should  be aware of the content before viewing.

The vid is fittingly titled “It Depends on What You Pay” by vidder Gianduja Kiss who expertly combines clips from the first season of Joss Whedon’s new television show “Dollhouse” with music from the 1960’s off-Broadway musical “The Fantasticks”.

For those unfamiliar with the premise of the show, it’s set inside a secretive corporation called the Dollhouse. People are coerced into handing over their bodies to the Dollhouse which then rents out those bodies for profit. The “actives” or “dolls” have their minds wiped and are then re-programed with the personalities and skills desired by each new “client”.

Gianduja Kiss’s vid brilliantly exposes the fact that these “dolls” have no way to consent to any of their “engagements” – sexual or otherwise – an issue the show ignores. The vid names this disturbing lack of consent for what it is – rape. This calling out of the show’s narrative is an important step in countering the current rape culture and its place in our culture of violence.

Here is the original vid post on dreamwidth where you can get a hi-res version.

Please enable Javascript and Flash to view this Blip.tv video.

For more on these issues and “Dollhouse” check out this post on The Angry Black Woman “The problem with Dollhouse is not that I don’t understand subtlety” and this one on Feminist SF “Working in the Dollhouse” as well as Gianduja Kiss’s insightful posts on the topic.

In closing we would like to echo a recent tweet on the  Feminist Frequency blog about “Dollhouse” that links to Joss Whedon’s inspiring 2006 Equality Now speech and reads:

Dear Joss, you should rewatch this video because I think you may have forgotten your principles, you might learn something from yourself. Love, Anita http://bit.ly/lBvP3

Category: vidding
Topic Tags: gender, sexism, television, vidding, violence

YouTube’s January 2009 Massacre hit many vidders using that video sharing site particularly hard because their Content ID system can not decipher between a copyright violation and a fair use of the original material. Last week fannish vidders found themselves caught in the midst of yet another online video massacre. Much of the vidding community had been using the media sharing site imeem which, until recently, had been a safe space for them to post fan works and share in fan communities. But imeem recently announced they were ’simplifying’ their website and deleting all use- generated video (UGV), again leaving vidders without a community to upload and share their works. Imeem is now “de-emphasizing” UGV because of costs and concerns over their return on investment (ROI). They say “Simply put, there’s no ROI for us in UGV.”

We feel this is an insult to the vidding and other photo/video communities that helped build imeem as a service. We think that to simply jettison user generated creative works in this way due to profit margins is shameful and abhorrent.

The end of the vidding community on imeem does not just stop with the loss of the vids but also a deletion of all comments and playlists, loss of the cumulative hit counts and vidding network disruptions. To add insult to injury, imeem continues to prohibit users from downloading their own content. Some of the startling experiences and over-all mistreatment of content producers are documented here.

What this means for our blog is that many of our favorite vids will be offline until they can be relocated to other sites. Many of our favorites will be on blip.tv since they’ve implemented a fair use policy, this despite their recent vidder-targeted takedowns for posting “copyrighted material”. Others will be moving to BAM. A comparison of the two sites’ hosting capacities is posted here.

In caution to vidders transitioning away from imeem, Morgan Dawn has outlined the copyright policies of various video services. She adds “how they will handle the transformative nature of fan vids is still anyone’s guess.”

Please be patient with us as we try to find the new location of vids we have posted here over the past few months and update our posts accordingly. If you’ve found a vid’s new digital home, please let us know!

Category: news
Topic Tags: copyright, fair use, imeem youtube, vidding

Sloane’s first vid is a visual critique of the “re-booted” Star Trek movie selectively edited to the sexist, misogynistic song, “Too Many Dicks on the Dance Floor” by Flight of the Concords. While “Too Many Dicks…” was originally about having too many men on the dance floor and not enough women to court, Sloane reclaims it by editing together multiple images of the largely male Star Trek cast to critique it’s male dominated storyline.

“When I saw the Star Trek movie, I was disappointed that J.J. Abrams had dramatically rewritten so many elements of Star Trek canon – and had largely ignored women. I was surprised how many people didn’t seem to think that was a problem, or even that the issue existed.” — Sloane

Her vid eloquently proves her point: it is hard to ignore the male to female ratio in the new updated Star Trek movie. Uhura has the heavy burden of being the only female character with any significant dialog and, to further the disappointment, is written into “the girlfriend” role. The vid is extremely popular in the fan/vidding community, emphasizing the huge demand to see more women in prominent roles on television and in the movies.

This vid also serves as a strong argument for the importance of cam recordings used for visual criticism and critique. It is essential that these types of critiques be made in a timely fashion while films are still fresh in the mind collective consciousness of the public. If vidders and political remixers have to wait to make their visual arguments until a film’s DVD release, than the window for sparking public debate and discussion will often have past.

Because a song’s lyrics are often the critical lens through which the viewer can read the commentary in a vid, we have pasted them below the fold.
Read more…

Category: vidding
Topic Tags: bootleg, fandom, gender, hollywood, music, sexism, vidding