Audiovisual Literacy and the Ghost of Silent Cinema in Contemporary YouTube Clips

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Notes

Acknowledgments

This article was submitted in relation to the 4th World Conference on Media & Mass Communication in Bangkok, Thailand, 2018.

Notes

1 Jenkins, “What Happened Before YouTube?” in Confessions of an ACA-Fan.

2 Bolter and Grusin, Remediation: Understanding New Media; Manovich, The Language of New Media; Jenkins, Convergence Culture: Where Old and New Media Collide.

3 Bolter and Grusin, Remediation, p. 270.

4 Manovich, Language, p. 11.

5 Gunning, “The Cinema of Attractions. Early Film, Its Spectator and the Avant-Garde,” in Early Cinema: Space–Frame–Narrative.

6 Rizzo, YouTube: The New Cinema of Attractions,” in Scan: Journal of Media Arts Culture.

7 Rizzo, YouTube New Cinema.

8 Gunning, “Re-Newing Old Technologies: Astonishment, Second Nature, and the Uncanny in Technology from the Previous Turn-of-the-Century,” in Rethinking Media Change: The Aesthetics of Transition, p. 51.

9 Cook, A History of Narrative Film, p. 95.

10 Belshaw, What Is Digital Literacy? A Pragmatic Investigation, p. 17; Cope and Kalantzis, “From Literacy to ‘Multiliteracies’: Learning to Mean in the New Communications Environment”, in English Studies in Africa; Lankshear and Knobel, New Literacies: Everyday Practices and Social Learning, p. 32; Livingstone, “Media Literacy and the Challenge of New Information and Communication Technologies,” in Communication Review, p. 7.

11 See, for example, Tornero and Varis, Media Literacy and New Humanism, pp. 31–32; Lin et al., “Understanding New Media Literacy: An Explorative Theoretical Framework,” in Educational Technology & Society, pp. 161.

12 Jenkins, Convergence Culture; Bruns, Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage; Bourriaud, Postproduction; Lessig, Remix: Making Art and Commerce Thrive in the Hybrid Economy; Toffler, The Third Wave, p. 282ff).

13 McLuhan, Understanding Media, p. 304. See also McLuhan and Nevit, Take Today: The Executive as Dropout, p. 4. For that matter, it is in a sense already suggested in Walter Benjamin’s famous essay “The Work of Art in the Age of Mechanical Reproduction,” from the 1930s—see Benjamin, Work of Art, in Illuminations.

14 Russo and Coppa, “Fan/Remix Video (a Remix),” in Transformative Works and Cultures.

15 Hobbs, “The Seven Great Debates in the Media Literacy Movement,” Journal of Communication, p. 16; Hoechsmann and Poyntz, Media Literacies: A Critical Introduction, p. 16; Jenkins, Convergence Culture: Where Old and New Media Collide, p. 170; Kubey, “What is Media Literacy and Why is it Important?” Television Quarterly, p. 25.

16 Jenkins, Confronting the Challenges of Participatory Culture: Media Education for the 21st Century, p. 55.

17 Ibid.

18 Logan, Understanding New Media: Extending Marshall McLuhan, p. 43.

19 Bird, “Are We All Produsers Now?” Cultural Studies, p. 504.

20 Jenkins, “Rethinking ‘Rethinking Convergence/Culture,’” in Cultural Studies, p. 285.

21 Masters, “TWO British Brothers Have Made Internet History by Clocking Up 250 MILLION YouTube Hits,” in The Sun.

22 Livingstone, Media Literacy, p. 6.

23 Buckingham, “A Commonplace Art? Understanding Amateur Media Production,” in Video Cultures, p. 43.

24 Bird, All Produsers Now?

Additional information

Funding

This work was supported by the Independent Research Fund Denmark under Grant number [DFF-4089-00149] (“Audiovisual Literacy and New Audiovisual Short-Forms”).

Notes on contributors

Mathias Bonde Korsgaard

Mathias Bonde Korsgaard is Assistant Professor in Film and Media Studies at Aarhus University. His work focuses on music video, audiovisual studies, and remixing. He has published several pieces in international journals and anthologies, is the author of Music Video After MTV (Routledge, 2017) and co-editor of the online film journal 16:9.