Film Studies in Motion: From audiovisual essay to academic research video Main Menu Introduction Chapter I: From Scribe to Screen Chapter II: Current Practice Chapter III: Closing the Gap Final Remarks References

Mashups

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Mashup videos combine audiovisual materials of different filmmakers and films, and usually have a more dialectic character compared to the supercut. If one were to seek a definitional difference between the overlapping practices of supercuts and mashups, it would be logical to argue that supercuts are compilations of repetitions without any true new meaning making ambition beyond highlighting and deepening recurring patterns, while mashups are geared toward creating novel concepts, emotional or narrative meanings, or sometimes even hinting at completely new narratives. György Pálfi’s ingenious mashup feature film Final Cut – Ladies and Gentlemen [2012] may be one of the most virtuoso examples, taking the latter idea to extreme lengths (about this practice see [Kiss 2013] and the article’s videographic adaptation [Kiss 2015)]). Similar to the supercut, mashups rarely contain voice-overs and often employ a single piece of music across the video, although their authors are generally more cautious to include a works cited list at the end of the video. Commonly, no media outside of the case studies are included, but relatively meticulous montage-combinations are pursued.

A prominent and prolific sub-genre of the mashup practice is the assigned remix. In 2012, the Press Play staff announced a competition called ​“Vertigoed: A Press Play mash-up contest”, inviting their readers to pair up Bernard Herrmann’s famous score from Alfred Hitchcock’s 1958 Vertigo to a randomly selected scene from any other movie.[50] The rules, as found in the announcement on Press Play’s webpage, were as following:
 

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  1. Table of types and traits Miklos Kiss