Remix culture has become more predominant in current years because of the rise in technologies and the ease of distribution across the web. Axel Bruns believes that a remix of content has the ability to attract equal to or even more attention than the original content itself. Remix culture is usually most present in music and the emergence of DJs has caused this remixing of music to grow quite rapidly due to the technology we have at our fingertips through computers and software. The song “Somebody that I used to Know” by Gotye, for instance, has been remixed many times since its release. It’s distribution through social media and platforms like YoutTube make it easily accessible. Remixes can be humourous or just a mashup of two songs, either way, whatever the purpose, they attract attention in large audiences due to the familiarlarity of the original content
However remix culture is also prominent with film. The remixing of films such as The Hunger Games in clips on the YouTube channel Bad Lip Reading generated millions of views. Although this is not the only film to be voiced over the popularity of this remix continues to grow which in turn allows remix culture to grow as well as popular culture is given a different twist which also promotes the original content that is being remixed.
Copyright issues and licensing issues can also arise from remix culture. While it is great to draw in audiences, the original content makers can lose out if copyright laws are not met. Remix culture is predominantly user created, meaning the viewers of the original content are the ones creating remixes which is why producers may not get the credit where it is due.
Remix culture has become an important part of the media and how music and film are received by audience today through the use of technologies such as social media. It is a way to promote content that producers create and has the ability to gain an even larger audience.
Bruns, A 2010, Distributed creativity : filesharing and produsage, Sonvilla-Weiss, Stefan (Ed.), Mashup cultures, pp. 24-37.