Remix is now considered by many to be a form of derivative work, but such generalizations have resulted in numerous non-commercial remixes being wrongfully accused of copyright infringement. Gallagher argues, however, that remix is a fundamentally transformative practice. The assumption that cultural works should be considered a form of private property is called into question in the digital age; thus, he proposes an alternative system to balance the economic interests of cultural producers with the ability of the public to engage with a growing intellectual commons of cultural works. Multimodal analyses of both remixed and non-remixed intertextual work, with a particular focus on examples of critical remix video, fuel the discussion, synthesizing a number of investigative methods including semiotic, rhetorical and ideological analysis.

chapter |9 pages


chapter 1|37 pages

The Specificity of Intertextual Media

Distinctive Characteristics of Remix Video

chapter 2|44 pages

Visual Semiosis in Critical Remix Video

Decoding Echoes of the Past

chapter 3|40 pages

Seeing Is Believing

The Multimodal Rhetorical Potential of Remix Video

chapter 4|74 pages

Critical Remix as Ideology Critique

A Social Libertarian Alternative World View

chapter 5|66 pages

Rethinking Intellectual Property

In Defense of the Right to Remix

chapter |5 pages