ABSTRACT
This chapter documents the audiovisual essay as a remix practice and a profitable methodology in the study of cinema. It begins by addressing the analytical potential of remix, before attending to sampling's propriety for "quoting" a film text. The chapter finally positions the remixed audiovisual essay within the digital humanities, arguing that it is a qualitative undertaking using digital content creation as a way to think through praxis. Bellour's work during the 1970s was invested in structural analyses that performed meticulously close readings of specific scenes examining every shot at a microlevel. Remixing a film might also help the film scholar come to better understand aspects of the film's moments of cinematic excess. Grant conveys the various benefits to be obtained from engaging with the materiality of a film through touching it via the tools contained in video editing software for the purposes of analysis.
