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Download and View Video Files, but Followed Discussions on the Newsgroup Regarding the Vidding Process and Clip Selection University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/74095 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Exploring the Vid: A Critical Analysis of the Form and its Works by Emily Charlotte Stevens A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Film and Television Studies University of Warwick, Department of Film and Television Studies August 2015 ii Table of Contents TABLE OF CONTENTS ................................................................................................. II ILLUSTRATIONS ....................................................................................................... IV ACKNOWLEDGEMENTS ......................................................................................... VIII ABSTRACT ............................................................................................................... IX INTRODUCTION ........................................................................................................ 1 BRIEF INTRODUCTION TO FANDOM AND HISTORY OF VIDS .......................................................... 5 REMIX, RECUT, REUSE ....................................................................................................... 10 FANNISH GENRES AND THE VID ........................................................................................... 12 MUSIC VIDEO .................................................................................................................. 18 STRUCTURE AND AIMS OF THE THESIS ................................................................................... 20 CONCLUSION ................................................................................................................... 23 CHAPTER ONE – METHODOLOGY ............................................................................ 24 CORPUS SELECTION ........................................................................................................... 30 APPROACH: TEXTUAL ANALYSIS ........................................................................................... 36 SEMIOTICS AND CAPTIONING .............................................................................................. 45 CONCLUSION ................................................................................................................... 47 CHAPTER TWO – REVIEW OF LITERATURE ............................................................... 49 THE VID IN EXISTING LITERATURE ......................................................................................... 51 PRODUCTION AND RESISTANCE ............................................................................................ 57 FLOW AND INTERRUPTIONS................................................................................................. 65 TECHNOLOGY AND AUDIENCES ............................................................................................ 70 ‘QUALITY’ AND ARCHIVES ................................................................................................... 81 CHAPTER THREE – ARCHIVES, VIDS, AND VERNACULAR HISTORIOGRAPHY .............. 86 INTRODUCTION ................................................................................................................ 86 COLLECTION AND ARCHIVE ................................................................................................. 90 ARCHIVING THE VID (DISTRIBUTION AND EXHIBITION) ............................................................ 108 VIDS FROM THE ARCHIVE .................................................................................................. 121 VIDS’ ARCHIVAL AESTHETIC .............................................................................................. 137 CONCLUSION ................................................................................................................. 153 CHAPTER FOUR – FASCINATING IMAGES: THE VID AND VISUAL PLEASURE ............ 156 INTRODUCTION .............................................................................................................. 156 FASCINATING PEOPLE ...................................................................................................... 164 FASCINATION WITH BODIES: DESIRE, SPECTACLE, AND IDENTIFICATION ..................................... 182 FASCINATION WITH GENRE ............................................................................................... 204 CUT UP AND VIDS IN THE GALLERY SPACE ............................................................................ 223 CONCLUSION ................................................................................................................. 228 iii CHAPTER FIVE – VIDS AS ADAPTATIONS: MUSIC, NARRATIVE, AND GENRE ........... 233 INTRODUCTION .............................................................................................................. 233 OVERVIEW OF BATTLESTAR GALACTICA ............................................................................... 237 GOD IS A DJ (2006), PART ONE ....................................................................................... 246 THE STAR IMAGE OF PINK ................................................................................................. 253 POPULAR MUSIC AND TELEVISION ...................................................................................... 257 VID RESPONSES TO BATTLESTAR GALACTICA ......................................................................... 275 GOD IS A DJ (2006), PART TWO ...................................................................................... 280 CUZ I CAN (2007) .......................................................................................................... 287 I’M NOT DEAD (2009) .................................................................................................... 296 CONCLUSION ................................................................................................................. 303 CONCLUSION ........................................................................................................ 306 VIDS AS VIDS AND THE AFTERLIFE OF TELEVISION .................................................................. 306 SUMMARY OF FINDINGS ................................................................................................... 307 SONGS AND THE VID FORM .............................................................................................. 310 FUTURE WORK ............................................................................................................... 313 FINAL THOUGHTS ........................................................................................................... 316 BIBLIOGRAPHY ..................................................................................................... 318 VIDS CITED ........................................................................................................... 336 FILMOGRAPHY ...................................................................................................... 340 SONGS CITED ........................................................................................................ 356 iv Illustrations Figure 1, A Vindication of the Rights of Woman (Skud, 2010), stills taken from the sequence in which sword-fights lead to sexual encounters. The films/series represented are, clockwise from top left: Cutthroat Island (Renny Harlin, 1995), Pirates of the Caribbean: Dead Man’s Chest (Gore Verbinski, 2006), Doctor Who (episode ‘Girl in the Fireplace’, BBC, 2006), and Sense and Sensibility (Ang Lee, 1995). ................................................................................................................................ 2 Figure 2, first page of ‘contact sheet’ created from screen shots of I'm Not Dead (Dualbunny, 2009). .......................................................................................................... 41 Figure 3, It's All Coming Back to Me Now (Kandy Fong, 1997): beginning sequence. Clips from the fourth Star Trek film (top row and bottom left) are immediately followed by clips from the television series (bottom right). .......................................................... 99 Figure 4, All Coming Back, left to right ‘…there were moments of gold/and there were flashes of light’. ............................................................................................................. 100 Figure 5, All Coming Back, Spock’s memory enacted in a dissolve from series to film; the hand-clasp is synched to the lyrics ‘If I kiss you like this…’ .................................... 100 Figure 6, Vulcan hands: left, Spock in All Coming Back, clip from Star Trek:The Motion Picture; centre and right: Spock's parents Sarek (Mark Lenard) and Amanda (Jane Wyatt) in Star Trek episode ‘Journey to Babel’. ........................................................... 101 Figure 7, DVD sleeves for VividCon 2011 (top) and VidUKon 2013 (bottom). VividCon’s llama mascot appears ‘in costume’ as a different character every year; these will refer to a particularly notable contemporaneous character or fandom. In 2011 (pictured),
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