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.
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