We’re beginning our final unit this week on remix culture and revision, which has me thinking even more than usual about revision.
Specifically, I keep coming back to the questions of parody and satire as revisionary modes. Every parody is a revision of an earlier work, but is satire also inherently dependent on earlier productions? Counter-intuitively, the answer may be yes. Think of all the satires you know — do any of them not depend on clear generic conventions to make their point?
Further complicating matters: can you think of any satires that are not also parodies, and vice versa?
Now that we’re all befuddled and wrapped up in ever-shrinking Venn diagrams of parodicity, satiricism, and revisionary thought, here’s a fun example of a parodic satire revising Justin Timberlake’s mindless jiggle, “SexyBack“: The Grey Kid & Daniel Stessen’s “PaxilBack“:
(X-Posted to: Digital Digressions)