Repurposing, Reformatting, Re-presenting and Remaking

         “Cosmopolitanism, Remediation, and the Ghost World of Bollywood” (2010) tells of David Novak’s complex remediation and remix of “Jaan Pehechaan Hoo”, a song and dance sequence from the Bollywood film, Gumnaam (2004). The debate triggered from the “Jaan Pehechaan Hoo” remediation can be seen as a cultural appropriation which provides a multicultural identity for a different audience, in this case, the United States. Certain characteristics are acceptable while others are non acceptable when reusing works; Novak illustrates how a modern creation of Romeo and Juliet (1996) serves as an acceptable version of re-presentation while the Coldplay song ‘Viva La Vida” exemplifies an unacceptable work of reuse.

Novak describes the process of remediation as ‘repurposing’ media, or a reformatting of the original work into something else. This notion links to the anthropological understanding of how remediation creates a re-presentation of something that is superficially unreal (virtuality) to social experiences and pertinent globalization issues. Remediation thus allows the audience to both keep up with and comprehend circulating trends and cultural globalization discourses on another level.

         William Shakespeare’s Romeo and Juliet tells of two tragic and young ‘star-crossed lovers’ whose death ultimately unites their feuding families. This story is one of the most romantic and most well known love stories worldwide and may be the most filmed play of all time. Romeo and Juliet has been adapted on various occasions for stage, film, musicals and opera and in 1996 Romeo and Juliet was successfully re-made into a film by director Baz Luhrmann. The film was accompanied by a soundtrack targeting the ‘MTV generation,’ a young audience of similar age to the characters. The play turned-movie presented a grimmer, violent and superficial appearance of society. Novak’s addresses an idea introduced in the 1990’s labeled “follow the things,” a concept in literature which illustrates “how media is diversified by the detachment of texts from their original context in transnational circulation, and how appropriation creates conflicts around the cultural authorship.” (Novak, p.41) This concept of remediation assists one to re-identify the features and conditions for new themes established through these practices of appropriation. The reuse of media is seen appropriate when original material is given voice.  In this case, to identify and acknowledge the original works of Shakespeare and his storyline, yet modify it (by removing material or adding material) and placing it within a believable MTV-inspired storyline (with a dose of action, guns, and music.) The director’s creative expression demonstrates how re-use of material can be seen as the appropriation of a creative act. In creating remedies the director instills a cultural identity through self-expression. The author comments on how ‘dubbing culture’ creates a global media circulation. “The power of the ‘dub’ comes not by erasing authenticity but by inaugurating new authenticities not dependent on traditional or translation.” (Novak p.54) Remediation thus becomes a powerful tool to re-exemplify cultural identity through multicultural projects such as the Ghost World and Jaan Pehechaan Hoo.         
           Novak reflects on the negative side which remediation becomes problematic with cultural authorship, especially when the creative work is ‘detached’ from the original context. This generates a boundary where remediation becomes unacceptable. In 2004, guitar player, Joe Satriani, filed a lawsuit against the band Coldplay for alleged copyright fraud, yet the two parties eventually reached a financial settlement as there was no concrete proof to demonstrate the band’s wrongdoing. Copyright issues often paint a clear picture of the misuse of material. While it is wise to be alert to copyright issues, it’s also important to maintain a perspective on the relevant issues and laws that contribute to its regulations. Outright attempts to steal songs in today’s music business are actually quite rare while modern copyright law safeguard’s songwriters to help protect their rightful ownership of songs they create. This, however, can also refocus and reestablish a new subject through the practices of appropriation. (In creating remedies they serve a sense of cultural identity through self-expression and cultural expression.) Novak discusses how “openness to dubbing and juxtaposition in Bollywood, allows these songs to slip readily into an alternate receptions overseas.” (Novak, p.50)  This was produced through the remixing of the film’s songs through DJ compilations. This ‘mash-up’ is a combination of “cultural references; of different global voices and bodies places and mind,” (Novak, 50) works in creating another mode of acceptable remediation. For Novak, not only is the meaning of the original piece intentionally lost, but remediation generates a fine relation between ‘mockery’ and ‘tribute’. This reveals new aspects on the world of popular music as multidirectional social imaginary due to the imbalances of global media circulation. “Remediation works by pushing the limits of cultural identifications with media, and its productivity lies in its recognition of different juxtaposed interpretations.” (Novak, 62)