Beteiligte: | |
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In: | Journal of Fandom Studies, The, 4, 2016, 2, S. 209-223 |
veröffentlicht: |
Intellect
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Medientyp: | Artikel, E-Artikel |
Umfang: | 209-223 |
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ISSN: |
2046-6692
2046-6706 |
DOI: | 10.1386/jfs.4.2.209_1 |
veröffentlicht in: | Journal of Fandom Studies, The |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | Intellect (CrossRef) |
<jats:title>Abstract</jats:title> <jats:p>The term ‘recut’ designates a trailer that a fan has created by editing footage from a film or trailer to new sound (voice-over, sound effects and underscore). The resulting re-imagined audio-visual text typically presents a genre-shifted narrative that intertextually relates to the source material. The ‘re-tuning’ by fan-editors involves imposing a new soundtrack (usually music and/or narration) over reordered and edited images, like the adapted family-friendly ‘Shining’ (2005) from the horror film The Shining (Kubrick, 1980) or the horror trailer refashioning of ‘Mrs. Doubtfire – Recut’ (2009). The literature about ‘vidding’ and recutting provides a foundation for considering how fans provoke new meanings when they add or re-order voice-overs, sound effects and music in recut trailers. The fan-editor must creatively engage with genre-based cinematic trailer practices and traditions of musical signification in re-imagining the source text. Thus sound effects and electronically distorted music predominate in re-tuned horror trailers, like ‘Mrs. Doubtfire – Recut’ or ‘Scary Mary Poppins’ (2006), while light-hearted melodies and instrumentation prevail when adapting source material to create a recut comedy trailer (‘The Wicker Man’ 2006). Thus the recut and re-tuned trailer represents a transformative nexus of sight and sound within fandom.</jats:p> |