Jonathan Cohn
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199949311
- eISBN:
- 9780199364749
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199949311.003.0014
- Subject:
- Music, Popular, History, American
This chapter looks at how the contemporary conception of the digital mash-up became both a recognizable and acceptable part of mainstream media through its early use as a pedagogical tool for ...
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This chapter looks at how the contemporary conception of the digital mash-up became both a recognizable and acceptable part of mainstream media through its early use as a pedagogical tool for commercial editors. One of the most widely known examples of this genre is Robert Ryang’s “Shining,” which used creative editing, a new voice-over, and a rather peppy Peter Gabriel song to transform Kubrick’s thriller into a feel-good father-son melodrama. Ryang’s mash-up was made for a contest held by the Association of Independent Creative Editors, which represents commercial editors. This chapter argues that it is this original context of commercial industrial pedagogy that made it possible for this piece and the mash-up genre as a whole to be hailed by a wider public interested in both its pedagogical and artistic potentials. In the process, the chapter challenges the oppositions that are often made between mainstream “professional” productions and “amateur” mash-ups.Less
This chapter looks at how the contemporary conception of the digital mash-up became both a recognizable and acceptable part of mainstream media through its early use as a pedagogical tool for commercial editors. One of the most widely known examples of this genre is Robert Ryang’s “Shining,” which used creative editing, a new voice-over, and a rather peppy Peter Gabriel song to transform Kubrick’s thriller into a feel-good father-son melodrama. Ryang’s mash-up was made for a contest held by the Association of Independent Creative Editors, which represents commercial editors. This chapter argues that it is this original context of commercial industrial pedagogy that made it possible for this piece and the mash-up genre as a whole to be hailed by a wider public interested in both its pedagogical and artistic potentials. In the process, the chapter challenges the oppositions that are often made between mainstream “professional” productions and “amateur” mash-ups.
