Rip It Up and Start Again: Creative Labor and the Industrialization of Remix

IF 2.4 2区 文学 Q1 COMMUNICATION
Alessandro Delfanti, Michelle Phan
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引用次数: 0

Abstract

Creative industries rely on workers who use sampling and remix to produce new content assembled from existing materials. In the process, remix cultures are commodified and reshaped by industrial logics. Rip-o-matic videos provide an example. These scissor reels are used as visual storyboards for television commercials. They are produced by video editors who cut and paste clips found on video sharing platforms. Interviews with rip-o-matic producers show the impact of the industrialization of remix on creative workers who face challenges to their ability to assert their creativity, content ownership, and reputation. Other examples, such as social media and fast fashion, nuance the picture. Industrialization also paves the way for automation by generative “AI.” These software tools are based on processes of appropriation and remix that mirror those used by rip-o-matic producers. Remix is in sum at the center of today’s corporate cultural production.
撕碎重来:创意劳动与混音工业化
创意产业依赖于使用采样和混音技术来制作由现有材料组合而成的新内容的工人。在这个过程中,混音文化被商品化,并被工业逻辑重塑。Rip-o-matic 视频就是一个例子。这些剪刀片被用作电视广告的视觉故事板。它们由视频剪辑师制作,剪辑和粘贴在视频共享平台上的片段。对剪辑制作者的访谈显示了混音产业化对创意工作者的影响,他们在坚持自己的创意、内容所有权和声誉方面面临挑战。其他一些例子,如社交媒体和快速时尚,则使情况更加细微。工业化还为生成式 "人工智能 "的自动化铺平了道路。这些软件工具以挪用和混音过程为基础,而挪用和混音过程正是rap-o-matic制作者所使用的。总之,混音是当今企业文化生产的核心。
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来源期刊
CiteScore
5.60
自引率
5.00%
发文量
49
期刊介绍: Television & New Media explores the field of television studies, focusing on audience ethnography, public policy, political economy, cultural history, and textual analysis. Special topics covered include digitalization, active audiences, cable and satellite issues, pedagogy, interdisciplinary matters, and globalization, as well as race, gender, and class issues.
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