Sampling Media

This book puts sampling studies on the academic map by focusing on sampling as a logic of exchange between audio-visual media. While some recent scholarship has addressed sampling primarily in relation to copyright, this book is a first: a critical study of sampling and remixing across audio-visual media. Of special interest here are works that bring together both audio and visual sampling: music that samples film and television; underground dance and multimedia scenes that rely on sampling; Internet "memes" that repurpose music videos, trailers and news broadcasts; films and videos that incorporate a wide range of sampling aesthetics; and other provocative variations. Comprised of four sections titled "roots," "scenes," "cinema" and "web" this collection digs deep into and across sampling practices that intervene in popular culture from unconventional or subversive perspectives. To this end, Sampling Media extends the conceptual boundaries of sampling by emphasizing its inter-medial dimensions, exploring the politics of sampling practice beyond copyright law, and examining its more marginal applications. It likewise puts into conversation compelling instances of sampling from a wide variety of historical and contemporary, global and local contexts.

About the Companion Website; List of Contributors; Introduction: Into the Remix: the Culture of Sampling; Laurel Westrup and David Laderman; PART I: ROOTS; Chapter 1: Shadow/Play: The Cinematic, Remixed, by David Laderman; Chapter 2 : Remixing With Rules: Constraint and Potential in Restrictive Remixes, by Richard L. Edwards; Chapter 3 : "Whatever Rubbish Was at Hand": The Emergence of the Media Sample in Guy Debord's Films, by R.D. Crano; Chapter 4 : Rigorous Infidelity: Whole Text Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-Fran?ois Lyotard, by Barry Mauer; PART II: SCENES; Chapter 5: The Sydney Club Scene and the Sampling of Global Electronic Dance Music Culture, by Ed Montano; Chapter 6: Piggin' Out! Constructing Spanish Cultural History Through Media Sampling, by Miguel Fern?ndez Labayen & Vicente Rodr?guez Ortega; Chapter 7: Time Stand Still: Sampling Scenes and Slowing Media, by Ryan Alexander Diduck; Chapter 8: From M?jico M?xico to Pol?tico: Sampling the Past and the Present in the Mexican Musical Scene, by; H?ctor Fern?ndez L'Hoeste; PART III: CINEMA; Chapter 9: Love in the Club: Karaoke Realism in Chinese and Hong Kong Cinema, by Brian Hu; Chapter 10: Articulating a Hip Hop Sampling Aesthetic Through Film: Music and Memory in Three Hip Hop Documentaries, by Jesse Stewart; Chapter 11: "Dreamlo-lo-lover Where Are You-u-u?" Sampling as Analysis, Sampling as Symptom, by; Martin J. Zeilinger; Chapter 12: (In)appropriation: Productions of Laughter in Contemporary Found Footage Films, by Jaimie Baron; PART IV: WEB; Chapter 13: All Work and No Play: Trailer Park, the Mashup, and Industrial Pedagogies, by Jonathan Cohn; Chapter 14: Popular Culture through the Eyes, Ears, and Fingertips of Fans: Vidders, Anime Music Video Editors, and Their Sources, by Samantha Close; Chapter 15: How the World is Being Remade: The Case of Antoine Dodson and the Limits of Sampling as Trans-Cultural and Cross-Class Expression, by Corella Di Fede; Chapter 16: Thinking Through Sampling, Literally, by Laurel Westrup; Afterword; Sampling Across the Curriculum; Laurel Westrup and David Laderman; Bibliography; Index

David Laderman is Professor of Film at the College of San Mateo. He has also taught film and media studies at the University of California, Davis, San Francisco State University and Stanford University. His previous publications include Driving Visions: Exploring the Road Movie (2002) and Punk Slash Musicals: Tracking Slip-Sync on Film (2010). Laurel Westrup has a Ph.D. in Cinema and Media Studies from UCLA, where she is currently a Lecturer in Writing Programs. She also teaches courses in Film and Electronic Arts at CSU Long Beach. Her work has appeared in the journals Film and History and Spectator.