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A Hard Day’s Night of the Living Dead

John, Paul, George, Ringo … and a world full of Zombies! If you thought it’d never happen, then you were wrong, because wonderous world of video mashups can bring two classics together to make A Hard Day’s Night of the Living Dead

It’s the best Beatles clip since the Grey Video and some of the smoothest mashups since the Brokeback Mountain inspired series early last year.

Hillary 1984

The races for party nomination and the Presidential election in the US always tend to bring out the most creative political media and mashups. The first great political video of the 2008 race is definitely Hillary 1984, which mashes up one of Apple’s most famous advertisements from 1984, using the imagery of 1984, with Hillary Clinton’s campaign launch speach. (Actually, the Apple ad used is the updated version released in 2004, with the sledgehammer-weilding Anya Major given an iPod to wear as she attacks the projections of an Orwellian big brother.)

An article called ‘Political video smackdown’ in San Francisco Chronicle has these sparse details:

It may be the most stunning and creative attack ad yet for a 2008 presidential candidate — one experts say could represent a watershed moment in 21st century media and political advertising. Yet the groundbreaking 74-second pitch for Democratic Illinois Sen. Barack Obama, which remixes the classic “1984” ad that introduced Apple computers to the world, is not on cable or network TV, but on the Internet. […]

The compelling “Hillary 1984” video recently introduced on YouTube represents “a new era, a new wave of politics … because it’s not about Obama,” said Peter Leyden, director of the New Politics Institute, a San Francisco-based think tank on politics and new media. “It’s about the end of the broadcast era.” […]

That theme — reflecting a generational change in the relationship between media, politics, candidates and voters — suggests that “Hillary 1984” could have the iconic power with the 21st century political generation that another classic political ad called “Daisy” represented to Baby Boomers, says Leyden. That 1964 spot for President Lyndon Johnson — featuring images of a child plucking a daisy, which morphed ominously into a nuclear mushroom cloud — battered GOP presidential candidate Sen. Barry Goldwater because it, too, portrayed “a shattering of the whole world” in both political leadership, and media.

Bill Burton, a spokesman for Obama, said he is aware of the “Hillary 1984” video and has gotten calls from reporters on it — but he insisted that the campaign is not connected to it. “It’s somebody else’s creation,” he said, declining to comment on the ad’s biting content. […]

The ad is proof that “anybody can do powerful emotional ads … and the campaigns are no longer in control,” Rosenberg said. “It will no longer be a top-down candidate message; that’s a 20th century broadcast model.”

Citizen media and participatory culture, indeed! 🙂 And the video itself:

[Via Rebecca Blood]

Update: For more on the politics on this mashup, see Chuck Tryon’s column ““Why 2008 Won’t Be Like 1984:” Viral Videos and Presidential Politics” in Flow. Also of interest is a statement in the Huffington Post by the video’s creator Phil de Vellis: I Made the “Vote Different” Ad.

My Second Life: Impressive SL Mystery Machinima

Here’s the blurb from Douglas Gayeton’s impressively edited, Second Life machinima short:

In January 2007, a man named Molotov Alva, dissapeared from his Californian home. Recently, a series of video dispatches by a Traveler of the same name have appeared within a popular online world called Second Life. Filmmaker Douglas Gayeton came across these video dispatches and put them together into a documentary of seven episodes.

And here’s the first episode:

It’s very well edited, telling a great story, and selling both the filmic potential of machinima based in Second Life, and the value of a good story in any medium. For educators using machinima to teach editing skills, and other machinima makers looking for great examples, check this series out. For everyone else: it’s a good story, so why not click the great big play button? [Via Boing Boing]

It’s a Small World After All: From Wired’s Minifesto to the Twitterati

Apparently small is the new black. This month’s Wired Magazine contains a Minifesto, celebrating the coolness of all things mini, from meals to media:

Today, media snacking is a way of life. In the morning, we check news and tap out emails on our laptops. At work, we graze all day on videos and blogs. Back home, the giant HDTV is for 10-course feasting – say, an entire season of 24. In between are the morsels that fill those whenever minutes, as your mobile phone carrier calls them: a 30-second game on your Nintendo DS, a 60-second webisode on your cell, a three-minute podcast on your MP3 player.

From YouTube’s clip culture to Apple’s iTunes (not iAlbums), it seems for the time being smaller is, in fact, better! In the world of social software, the coolest and probably the smallest is Twitter, which allows users to post entries of no more than 140 characters, sent in from the web, IM or text message and being sent out via these same three platforms to your Twitter friends. Twitter has some impressive parents, including Evan Williams (who started Blogger before is was sold to Google) and the other Obvious folk. I’ve experimented with Twitter for the past few days, and I can see the appeal of its immediacy, and the fact that you really can’t take up much time with so little space to type! From the larger blogosphere, Jill Walker has been thinking about her Twittering in terms of blogging, noting similarities and differences:

…there’s something very satisfying about logging your days like that and seeing what others are up to. It’s a blog at a different scale than this one, in a way, very short posts, but far more frequent…

The logging aspect is quite addictive, and despite the brevity of posts, reading just a few Twitters seems to build quite an intimate picture of someone. Ross Mayfield in his post ‘Twitter Tips the Tuna’ gives this succinct explanation of Twitter:

Twitter, in a nutshell, is mobile social software that lets you broadcast and receive short messages with your social network. You can use it with SMS (sending a message to 40404), on the web or IM. A darn easy API has enabled other clients such as Twitterific for the Mac. Twitter is Continuous Partial Presence, mostly made up of mundane messages in answer to the question, “what are you doing?” A never-ending steam of presence messages prompts you to update your own. Messages are more ephemeral than IM presence — and posting is of a lower threshold, both because of ease and accessibility, and the informality of the medium.

I think that notion of ‘Continuous Partial Presence’ may very well be the core of Twitter. Mayfield goes on to argue that Twitter is peaking, with the uptake rate getting higher and higher, with everyone from Joi Ito to the BBC staking their claim as Twitterati. Indeed, as Steve Rubel notes, even John Edwards who is once again campaigning to be the Democrat candidate in the US presidential elections, is using Twitter to keep in touch with his supporters.

While there are probably a lot of people who’ll see Twitter as the icon of procrastination (and I can see their point!), Liz Lawley responds to criticisms of Twitter, pointing out that these ephemeral tidbits can actually be quite important:

The first criticizes the triviality of the content. But asking “who really cares about that kind of mindless trivia about your day” misses the whole point of presence. This isn’t about conveying complex theory–it’s about letting the people in your distributed network of family and friends have some sense of where you are and what you’re doing. And we crave this, I think. When I travel, the first thing I ask the kids on the phone when I call home is “what are you doing?” Not because I really care that much about the show on TV, or the homework they’re working on, but because I care about the rhythms and activities of their days. No, most people don’t care that I’m sitting in the airport at DCA, or watching a TV show with my husband. But the people who miss being able to share in day-to-day activity with me–family and close friends–do care.

The second type of criticism is that the last thing we need is more interruptions in our already discontinuous and partially attentive connected worlds. What’s interesting to me about Twitter, though, is that it actually reduces my craving to surf the web, ping people via IM, and cruise Facebook. I can keep a Twitter IM window open in the background, and check it occasionally just to see what people are up to. There’s no obligation to respond, which I typically feel when updates come from individuals via IM or email. Or I can just check my text messages or the web site when I feel like getting a big picture of what my friends are up to.

So, for Lawley, it would appear that everyone has their own Twitterati who are more likely to be family and friends than anyone else. Thanks once again to Steve Rubel, there’s now a basic Twitter Search, so if you’re not using it already, why not explore a little and decide who might be in your Twitterati? 😉 (And feel free to add me, if you like.)

Battlestar Galactica Videomaker Toolkit

As part of their ever-expanding interaction with the fan community, the producers of Battlestar Galactica have announced a competition allowing fans access to selected BSG clips, sounds and music which they can mix with their own footage to create new videos. As their instructions explain:

Be a part of Battlestar Galactica!

We’re giving you sound and visual effects and music clips that you can use to create and share your own four-minute Battlestar videos.

Create your own mock commercials, short scenes or even mini-episodes — funny or dramatic. Choose from more than 30 visual effects, 20-plus audio effects and cuts from the show’s soundtrack, specially selected to help give your videos the Battlestar look and sound. Use them to make your video, add the required promo clip at the end, and send it to us!

Battlestar Galactica executive producer David Eick will choose one video to broadcast in full on SCI FI Channel during an upcoming Battlestar episode.

This sounds fantastic off the bat. Certainly I’d love to have a play and try out my sorely under-used editing skills. However, the instructions also come with these rules:

Your video can’t be longer than four minutes. Don’t use footage you don’t create yourself or that you didn’t get from the Battlestar Videomaker Toolkit.

Do not use any music for which you don’t have the rights.
Do not include images, photos, logos or artwork that you did not create or to which you don’t hold the rights (such as pictures from magazines, books and other Web sites).

No inappropriate content. If we can’t show it on network TV in prime time, don’t put it in your video.

Do not post your film on other sites, such as YouTube, MySpace, Google, etc.

You must be a legal resident of the United States and over the age of 18.

So, once again, the Battlestar Galactica franchise is treated as a purely US property. While I sympathise with the demands and difficulties of copyright, I have to concur with the forums in my disappointment that these wonderful fan-engaging opportunities are not open to the wider, global BSG community. This is another instance of what I have called the tyrrany of digital distance.

Also problematic is the notion that these videos can’t be uploaded elsewhere – be it YouTube, MySpace or similar. I imagine such restrictions disuade some fans or simply get ignored (and its not like YouTube currently lacks BSG fan-made films).

All of that said, I commend the producers of BSG for this initiative, I just hope they can widen both the level of participation and allow fans broader rights to distribute (not profit from, just distribute) the fan films they’ll be creating.

[Via Rex]

Alex Malik on TV downloading in Australia

The Age has a revealing article on work done by Alex Malik which concludes that the delay between the US/UK and Australia release dates for television are one of the primary reasons what people turn to bittorrent:

Huge delays in airing overseas TV shows locally are turning Australians into pirates, says a study conducted by technology lawyer and researcher Alex Malik. It took an average of 17 months for programs to be shown in Australia after first airing overseas, a gap that has only increased over the past two years, the study found. The findings were based on a “representative sample of 119 current or recent free-to-air TV series or specials”, said Malik, who is in the final stages of a PhD in law at the University of Technology Sydney. […]

Malik admitted there had been some signs of progress recently – programs such as The O.C. air within days of being shown in the US – but he insisted the overall delays had become longer. “Over the past two years, average Australian broadcast delays for free-to-air television viewers have more than doubled from 7.6 to 16.7 months,” the study reads. Malik also studied comments by TV viewers on various internet forums, and concluded: “These delays are one of the major factors driving Australians to use BitTorrent and other internet-based peer-to-peer programs to download programs illegally from overseas, prior to their local broadcast.”

Malik’s findings are perfectly in line with the idea of the tyranny of digital distance which I’ve written about before (see “The Tyranny of Digital Distance” and “The Battlestar Galactica Webisodes & The Tyranny of Digital Distance“). Malik’s study is further evidence that as long as media distributors continue to enforce ridiculous national/geographic-based release dates in an era of global information (and promotion, and fan actvitity), then bittorrent will continue to be a major source of TV for Australians. However, if we could legally download episodes at the same times as our US and UK neighbours, then media companies may very well discover that they could make more money, not less, by giving Australian consumers the choices we want!

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