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Vidding and/as pedagogy

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Katherine E. Morrissey
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VIDDING AND/
AS PEDAGOGY
Katherine E. Morrissey

As fan works and practices disseminate across contemporary media culture, they are increasingly
finding their way into college classrooms. From courses on digital culture to college writing,
educators are incorporating do-it-yourself (DIY) digital practices into their pedagogies. One
such practice is vidding, “a grassroots art form in which fans reedit television or film into music
videos” (Coppa, 2011, p. 123). Called “fanvids” or “vids” by practitioners, these are not your
standard MTV music videos.Vids explore themes related to the source material(s) they remix
and rework. In a vid, the juxtaposition of moving images and music, as well as careful sequenc-
ing, cutting, and pattern construction, work together to communicate the vidder’s messages.
Vidding is a fan practice and a form of “remix,” a term used to describe a range of practices
in which cultural artifacts are combined and manipulated “into new kinds of creative blends
and products” (Lankshear and Knobel, 2011, p. 95). Of course, all artists learn by engaging with
pre-existing artists and works. Analogue practices like mixed-media collage and cut-up poetry
are long-established remixing techniques. However, increased access to media production tools,
combined with popular media sharing services like YouTube and SoundCloud, have enabled the
widespread adoption of many remix practices. As a result, remix is a commonly used label for
a range of (mostly) digital remixing practices. In my own teaching, I utilize remix as a concept
that contextualizes a range of contemporary media practices for my students.This allows me to
situate fan remix practices like vidding as part of our broader, participatory, media ecosystem.
In scholarship on remix pedagogy, vidding is often overlooked or positioned as one of sev-
eral types of fan-produced videos (e.g. anime music videos or AMVs, fan trailers, machinema,
etc.). More often, the focus has been on AMVs. For example, in DIY Media: Creating, Shar-
ing and Learning with New Technologies, editors Michele Knobel and Colin Lankshear include
primers on machinima and AMVs but omit vidding entirely, overlooking its influence on
these other forms of remix (2010). In Lankshear and Knobel’s New Literacies: Everyday Prac-
tices and Social Learning, fan vids are not even included in a list of “popular everyday remix
practices” (2011, pp. 127–140). Omissions like these are problematic. As forms of video remix
popular with fans, vidding and AMVs share traits and have intersecting histories. However,
they are still two distinct remix genres with their own formal qualities, genre expectations,
and audiences. Vidding is known for representing a “distinctively female visual aesthetic and
critical approach” and for showcasing a range of underrepresented voices and perspectives
in popular culture (Coppa, 2008, para. 2.1). Neglecting to include vids and vidding in remix
pedagogy means these perspectives and aesthetics are being erased and undervalued.
This chapter addresses these gaps by focusing specifically on fan vids, vidding, and ways they
can be utilized in the classroom. First, I provide a brief history of vidding and an overview of

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its formal qualities. Next, I outline some of the ways vidding and remix have been theorized
as forms of media criticism. Finally, I discuss my experiences teaching vids both as texts to be
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analyzed and vidding as a mode of production. I identify some of the challenges vids present
within a media studies classroom and strategies I use to work around these issues.

Vidding History and Aesthetics

With its origins in slide projectors and VCRs, vidding outdates many of the DIY digital prac-
tices associated with remix today. When YouTube was created in 2005, vidding was already
celebrating its 30-year anniversary (Coppa, 2008, para. 1.4). Vidding emerged in the 1970s,
starting as Star Trek-centered slideshows set to music. The practice made its way to videotape
in the 1980s and 1990s (Coppa, 2011). Gradually, as media fandom emerged out of science
fiction and Star Trek fandom in the 1970s and 80s, vidding solidified as a creative and critical
practice.
In his history of political remix videos, Jonathan McIntosh situates vidding within a range
of historic “subversive remix video” practices (2012). These subversive remix videos demon-
strate five key traits:

(1) Works appropriate mass media audiovisual source material without permis-
sion from copyright holders … (2) Works comment on, deconstruct, or challenge
media narratives, dominant myths, social norms, and traditional power structures
… (3) Works transform the original messages embedded in the source material …
(4) Works are intended for general audiences or do-it-yourself (DIY) communities
… and thus tend to use familiar mass media formats … (5) Works are DIY produc-
tions and rely on grassroots distribution methods.
(McIntosh, 2012, para. 3.1)

Subversive remix emerged in the 1920s with the re-cutting of Hollywood films by Soviet
filmmakers (McIntosh, 2012). Vidding emerged during the same decade French situation-
ist artist, René Viénet, was remixing Chinese propaganda films and American artist, Dara
Birnbaum, produced the well-known video art piece Technology/Transformation:Wonder Woman
(McIntosh, 2012). This places vidding within a long history of creative and transformative
artistic practices.
Today, vidding is a well-established form of fan work with its own aesthetic and formal
conventions. While the political and/or subversive elements of vidding deserve recogni-
tion, it is also important to acknowledge the affective aspects of the genre. A vid may be
celebratory, critical, funny, or sexy. In some cases, it may be all these. Vidding is a distinctly
melodramatic form. Not melodramatic in a pejorative sense, but in the sense that vids pair
music with moving images and are designed to elicit emotional responses from their audi-
ences. Understanding vidding as a type of melodrama is critical to working with vids and
vidding in the classroom. As with many modes of melodrama, some of the semiotic codes
and aesthetic traditions vidding draws upon are assigned more cultural capital than others.
Vidding requires close and immersive engagement with a source text.Vids often represent a
distinctly female gaze and feminized aesthetic codes. These elements affect vidding’s broader
reception and may partially explain why remix pedagogy has struggled to explicitly incor-
porate vidding as a form.
Until recently, vidding’s history and its ties to other forms of subversive remix video were
not widely known. Given vidding’s inherent reuse of clips and music, many vidders feared

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lawsuits from copyright holders. In an effort to protect themselves from legal action, vids were
not broadly distributed. Fans were uncertain which practices were sanctioned and vidders
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feared they were more vulnerable. Given vidding and media fandom’s long-standing associa-
tion with romantic and sexually explicit fan works, these fears were very real. Romantic and
adult fan works began to appear in the 1970s. This included “slash,” a label for fan works that
pair characters of the same gender together in romantic/sexual relationships. As more roman-
tic/sexual fan works began to circulate in the 1970s and 1980s, they sparked significant debate
amidst fans regarding “appropriate” fan activities. In the early 1980s, the official Star Wars Fan
Club threatened to shut down all Star Wars fanzines in an effort to stop Star Wars-related por-
nography. Responses like these disproportionately affected certain types of romantic/sexual
fan works more than others. After all, slave-girl Leia and her sexy bikini are canon, Han and
Luke falling in love is not. As a result of social pressures, aspects of media fandom were isolated
from other, more industry-sanctioned, facets of fandom. Recently, as norms regarding gender
and sexuality have shifted, the stigmas associated with these practices have diminished, and
they are more publicly practiced (Morrissey, 2016, pp. 113–124).
Internet access, combined with greater access to digital production and distribution tools,
has also helped vidding become more visible. Assumptions about vidding’s legality have also
changed dramatically. In part, the shifting views on vidding are due to the advocacy work of
individuals like Lawrence Lessig and groups like the Organization for Transformative Works,
the Electronic Frontier Foundation, the Center for Media and Social Impact, and many oth-
ers. Overall, these changing attitudes indicate an increased recognition of the intertextual and
collective aspects of all creative works. They also suggest a growing awareness of vidding and
remix as both creative contributions to our broader media(ted) culture and as speech acts.

Vidding as Argument
A growing number of scholars advocate that vidding and remix be thought of as forms of
writing and rhetorical practice. Vidding and remix are increasingly recognized as forms of
media criticism and defended as types of public speech. Lawrence Lessig argues remix is “a
critical expression of creative freedom” in a democratic society (2008, p. 56). Virginia Kuhn
positions remix as “a form of digital argument crucial to the functioning of a vital public
sphere” (2012, para. 1.5). Kuhn frames vidding (and other remix practices) as types of rhetoric
and, equally important, as modes of scholarship (2012).
There are clear parallels between remix practices and analytic writing (Lessig, 2008). In
college writing courses, students read carefully, select key passages and produce new pieces of
writing that quote and analyze these passages. Students write using patterns of arrangement
that recycle existing cultural materials and juxtapose these materials against their own ideas.
In contemporary classrooms, these types of analysis are not limited to print. Lawrence Lessig
argues that “these other forms of ‘creating’ are becoming an increasingly dominant form of
‘writing’” (2008, p. 69). The practices of quoting and juxtaposition found in analytic writing
can be identified within a range of remix practices and, in particular, within a form like vid-
ding. Much like the quotes in an analytic essay, vids are a mode of expression dependent on
the right to quote “a wide range of ‘texts’ to produce something new” (Lessig, 2008, p. 69).
Framing vidding as a form of rhetoric that “cites, synthesizes, and juxtaposes its sources” has
significant implications for media studies, communication, and college writing instructors
(Kuhn, 2012, para. 3.2). As media texts, vids offer instructors an additional category of media
criticism to use in the classroom.1 As an expressive form, vidding can be taught as a genre of
analytic writing and a mode of close reading, and can be used to develop media literacy skills.

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Fan Literacies: Making Vids Matter as Texts

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When I first assigned vids as texts to be analyzed in class, I taught them like I might any other
film or TV text. I assigned relevant theoretical readings and a few well-known vids to watch.
I expected students to come to class ready to discuss the vid’s themes and composition. How-
ever, a particular problem kept reoccurring: none of my students had anything to say. When I
attempted to initiate discussion, students were comfortable stating a vid was “good” or “bad,”
however, the discussion generally ended there. The silence was unusual. For a group of film
studies students, analyzing composition and editing choices should have been simple.
I remember carefully selecting a fan vid focused on the character of Black Widow, a female
superhero in the movie The Avengers (2012). From my perspective, the vid was a straightfor-
ward celebration of a female character and her important role in the film’s narrative. It seemed
like an easy way to open a discussion.To my surprise, the students struggled to identify that the
vid had a central character, let alone the vid’s general themes. I tried screening additional vids
for the class, but they tended to receive similar responses. Despite my attempts to choose vids
with more overt themes or focused on popular media franchises, students found it challenging
to identify patterns and themes within the vids.
At first, I wondered if this was a remix literacies issue.Were my students unaware of vidding
as a genre? Was remix entirely new to them? However, I knew my students were watching fan
vids online. They were sending me links to favorite vids before coming into class and were
excited to see these materials being discussed. Next, I wondered if the issue was practice-based.
Did my students need to know how to make a vid before they analyzed one? In response,
I added a small production unit to the course, taught video editing basics, and asked students
to produce videographic essays. Learning about video editing helped my students appreciate
the work that went into vids, however, it did not help with analysis. At multiple levels, there
was a clear disconnect between the work we did in the classroom and the videos students were
watching or making in their spare time.
In media fandom, vids are often part of conversations already in progress. Francesca Coppa
argues “[v]idding is a form of collaborative critical thinking” (2008, para. 5.1).Within fandoms,
vidding can operate as a collective working through of issues and gaps in a particular source
text. In the process, fans put their own ideas in conversation with the ideas of other media fans,
media producers, and media critics. Vids are typically created for a pre-existing set of view-
ers and are seen within that context. As Turk and Johnson point out, “while fan creators are
audiences, they also have audiences” (2012, para. 1.3). Each vid is situated within a particular
ecology, which has its own conventions for the creation, interpretation, and circulation of vids
(Turk and Johnson, 2012). This collective conversation, one specific to particular networks of
fans, is critical to understanding vids and working with them in the classroom.
Like all forms of communication, a vid’s rhetorical situation shapes the way it is constructed
and the ways it communicates meaning. While vids operate as a form of media criticism,
vidding is not a standard academic discourse. Unlike an analytic essay, vids do not care about
maintaining a formal tone.Vids do not generally provide thesis statements, context paragraphs,
or summaries of relevant arguments for their audiences. This means vids often lack the kinds
of overt markers associated with “quality” art or media criticism. Given academia’s traditional
preference for detached observation, and the stigmas often associated with feminine aesthet-
ics, vidding’s melodrama can become a barrier. Students may feel uncomfortable with a vid’s
emotional themes or with acknowledging a vid emotionally affects them. Students may also
feel reluctant to share they are fans or that they have an in-depth knowledge of the source
material. All of these elements can make speaking up risky.

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Vids are not special or unique in having these qualities. Issues of voice, distance, and audi-
ence expectations come up when teaching many different media genres. Helping students
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move beyond their expectations regarding surface level markers of “quality” criticism is some-
thing instructors already deal with regularly in classes on media and culture. One way of
managing these expectations is simply to acknowledge them and set them aside. In my own
classes, I am typically assigning vids precisely because I want students to consider different
ways of engaging with media. Fore-fronting this purpose helps me prepare students and begin
our analysis.
The issues of contextual information and awareness of the source material can be more
challenging to address. I have developed two different strategies for this, depending on how
much time the course schedule will allow. When we have limited time for discussion, I have
students begin by listing all the things we can observe about the vid. Next, we move on to
listing any aspects of the vid we have questions about. I ask students to pull out their laptops,
phones, or other devices and start looking for more information.We investigate the music and
lyrics, the source media, its characters, etc. Gradually, the class begins to deconstruct the vid
and learn more about it.
In providing only a few vids and then attempting to have class-wide conversations about
them, I also failed to draw upon students’ individual knowledge and passions. If I wanted to
encourage deeper readings, I needed to incorporate vids on a range of topics and to facilitate
a variety of student conversations. For students to fully follow these videos, they need to be
insiders. Students need to know the media being remixed and be invested in the broader cul-
tural conversations happening about the source materials. I needed to make space for more
informal modes of media criticism and the deep knowledge of a source text that comes with
fandom. What my classroom was missing was not remix literacies but fans and fan literacies.
I have now turned the remix discussion into group projects. I make a large selection of vids
available to the class and I ask each student to identify a vid they would like to spend time
with. Students are sorted into groups and each group is responsible for analyzing one video. As
part of the assignment, each group must research the source materials and begin developing
their analysis. On their own, individual students may feel lost or inadequately prepared to ana-
lyze a particular vid. In small groups, the students are able to push each other, test their ideas
with their peers, and work together to analyze a particular vid’s themes.
With one viewing, a vid often conveys a general mood or theme. With repeated and more
careful viewings, students are able to begin pulling apart the layers—analyzing editing choices
and paying more careful attention to the juxtaposition of images and music. This process
matches the kinds of analysis students already do but more explicitly draws on their fan litera-
cies. Here, fandom is essential for a student to fully engage. Rather than denying fan literacies
a space in the classroom, the activity directly calls upon them. The next step is to place the
students in the position of expertise. Each group presents their findings to the class, breaking
down the vid’s message and its communication strategies. The groups help the entire class
“see” the vid from their perspective as fans. Going through these steps, students supply missing
context for each other and they help other students better understand the vid’s themes and
the vidder’s composition strategies.

Fan Literacies: Making Vidding Matter as a Practice

When teaching vidding as a practice, calling upon fan literacies becomes more complicated.
Not only is vidding a non-standard academic discourse, much of what we value about the
form comes from its non-commercial and non-academic context. As subversive remix, vids

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pride themselves on their grassroots and outsider status. Bringing vidding practices into
the classroom, and into alignment with academic standards like thesis statements, provid-
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ing context, or pairing claims with evidence and analysis, has many pitfalls. For example,
turning vids into objects of analysis and vidding into a mode of academic expression might
be viewed by some fans as a commodification of fan work by outsiders or a distortion of
vidding as a practice.
Just think of the complications that come with teaching vidding in a college writing course.
As part of a first-year writing program, I regularly teach a course on “The Future of Writing.”
The goal of the class is to help students gain experience with different genres of analytic writ-
ing, particularly digital ones. In this context, students are encouraged to produce work that
speaks clearly to a broad audience and sets up its arguments in ways that are transparent and
easy to follow. When I first tested a remix unit in this course, the fan vids, specifically, were at
a disadvantage compared to other types of digital projects.The earliest signs of problems came
during a standard workshop session. Students met in small groups and offered feedback on
each other’s projects. During the workshop, student-produced vids received mixed feedback.
The reviewers expressed confusion regarding the vids, their messages, and whether they could
be considered analytic work that had a thesis and/or made an argument. The students urged
each other to revise the projects so they explicitly incorporated thesis statements and used
narration or written text to underscore their claims. They asked students to reorganize proj-
ects to include segments addressing the source material’s original purpose and acknowledging
other possible interpretations. After revision, the projects begin to look less and less like vids
and more and more like videographic essays.
In the context of an academic writing class, this drift from vid to videographic essay is not
necessarily a problem. If the goal is to teach academic writing practices and to emphasize
clarity and coherence, students need to consider audience and provide context in ways vids
may not. However, rather than learning and valuing alternate forms of analysis, the process
adapted vidding and transformed it into something more like a standard academic essay. In the
process, the vid’s emotional appeals and the combination of moving images with music were
lost. Rather than broadening the modes of analysis and media criticism my students engaged
with, the process privileged a particular set of academic norms.
This leaves me conflicted about teaching vidding or remix in a first-year writing/college
writing course. Depending on the course’s learning outcomes, formal digital and/or video-
graphic essay projects may be more aligned with the course goals. However, I am reluctant
to drop the remix unit and these more informal types of media analysis from the course.
The remix unit provides me with an opportunity to demonstrate that critical thinking is
not limited to the classroom or to more traditionally packaged academic materials. The unit
reminds students that many kinds of media can communicate an argument or advocate for a
particular view of the world. It links the work we do in the classroom to student’s daily media
consumption.
When I teach vidding outside college writing courses, different issues and learning objec-
tives begin to take precedent. In a class on fandom or digital culture, I use a unit on vidding
to emphasize learning by doing and to engage with vidding as a component of digital culture.
In other media studies courses, I use a vidding unit to teach important editing and production
fundamentals to students. Unlike the college writing courses, the emphasis here is more on
skill building, creative experimentation, and developing the students’ media literacies.
In both these classroom contexts, I now assign a concept paper as part of the remix proj-
ects. In it, students are required to reflect on their process and analyze their work. The con-
cept paper has two distinct benefits: (1) it allows the students to re-contextualize their work,

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­ oving it into the context of our classroom and its learning objectives without needing to
m
distort the form; and (2) it provides the student with an opportunity to explain their concept
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to me and helps me see the work through their own eyes.When analyzing vids as media texts,
I learned to bring a fannish lens into the classroom. When producing vids, I now ask students
to apply a class-specific lens to the works they create.

Vids in the Classroom: A Work in Progress

There are larger and unresolved ethical questions to consider around the use of vids in the
classroom. Teaching vidding as practice can be perceived by fans as an appropriation or com-
modification of the form. In selecting vids to teach, an instructor is moving this work out
of its normal circulation network and into an academic one. The goals of the classroom may,
at times, align with the goals of vidders and vidding communities, but it would be unfair to
pretend our objectives are one and the same or that power is distributed equally across these
groups. There is also no single set of ethical standards for teaching fan works or practices.
Instead, it is critical that each individual instructor thinks through these concerns and develops
their own personal code of conduct.
Teaching production requires teaching students a variety of skills. Students are not simply
learning how to work with video editing software, they also need to gather raw materials.This
means learning how to copy, preserve, and manipulate pre-existing media content. Teaching
vidding and remix requires teachers to address copyright, fair-use, and intellectual property
law. My students regularly wrestle with the technical barriers caused by Digital Rights Man-
agement (DRM) protections on DVDs and media files. At times, students have uploaded their
finished projects on YouTube, only to be served with a takedown notice the next day.
Teaching vidding as a practice means teaching students how to make informed choices
about the fair-use exceptions to copyright. I provide students with primers on copyright
and we discuss the four factors of fair-use in class. More than anything, however, I remind
students that fair-use determinations are made on a case by case basis in the United States.
This means there is no clear line to guide their choices or to protect them from copyright
takedown notices. Ultimately, each student must be able defend their choices.When there is
time in the class schedule, I ask students to draft a fair-use statement explaining the choices
they made regarding the materials they reused and remixed. Another option I am testing
is having students draft their own “best practices” guide as a class. This allows the class
to create a document which thinks through common classroom scenarios in which they
might need to access/remix copywritten materials and, as a group, to develop s­uggested
guidelines.
When teaching vids as texts, instructors need to consider which fan works they are bringing
into their classrooms, which fan artists and/or networks they are bringing to students’ atten-
tion, and why. Not all vidders want their work to be shared outside of fan networks. Giving
students the names/pseudonyms of fan artists or links to their social media accounts means
the students have direct access to fans’ digital lives. While I do not believe it necessary to ask
permission to share publicly posted materials, it would be irresponsible to treat these artists as
if they were experienced professionals accustomed to significant public attention.
In my own teaching, I look for fan works that are publicly available, circulating widely, and
relevant to the context of the class I am teaching. I privilege works that are already widely
discussed online, in fan scholarship, or have been linked and shared on social media.Whenever
possible, I archive the videos and give students access to this archive, rather than linking my
students directly to the artists’ materials online. This places a buffer between my students and

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the vidder’s social media accounts, rather than putting these two different groups in direct
contact with one another.
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Bringing vids and vidding into the classroom means remixing the classroom itself. If vidding
is DIY-media analysis, this is DIY-style teaching. It requires experimentation and flexibility.
As a form of media criticism and engagement, vids can be a useful tool within media studies
classrooms—both as media texts students analyze and create. However, vids are a unique form
of rhetoric and it is important to consider the ways their production contexts can affect and
challenge viewers. Rather than trying to modify a form like vidding to fit the context of the
class, it is critical that students experiment with these forms and then, through reflection and
analysis, bring what they have learned back into the context of the class.

Note
1. Robin Anne Reid takes this a step further, advocating for the use of vids as a form of (fan) scholarship. Reid notes
vids can sometimes address “significant gaps in the academic body of work” on fans, fan practices, and popular
media (2012, p. 179). For example, fans have been tackling the issue of race in fandom for some time, but fan
studies scholars have struggled to do the same (Reid, 2012).

References
Coppa, F. (2008) “Women, Star Trek, and the Early Development of Fannish Vidding,” in Transformative Works and
Cultures (1).
Coppa, F. (2011) “An Editing Room of One’s Own:Vidding as Women’s Work,” in Camera Obscura 26, 123–130.
Knobel, M. and Lankshear, C. (eds.) (2010) DIY Media: Creating, Sharing and Learning with New Technologies. New York:
Peter Lang.
Kuhn,V. (2012) “The Rhetoric of Remix,” Transformative Works and Cultures, (9).
Lankshear, C. and Knobel, M. (2011) New Literacies: Everyday Practices and Social Learning. New York: Open University
Press.
Lessig, L. (2008) Remix: Making Art and Commerce Thrive in the Hybrid Economy. New York: Penguin.
McIntosh, J. (2012) “A History of Subversive Remix Video before YouTube: Thirty Political Video Mashups Made
Between World War II and 2005,” in Transformative Works and Cultures (9).
Morrissey, K. (2016) Romance Networks: Aspiration & Desire in Today’s Digital Culture. Milwaukee: University of
Wisconsin-Milwaukee.
Reid, R. A. (2012) “Remaking Texts, Remodeling Scholarship,” in K. Loock and C. Verevis (eds.) Film Remakes,
Adaptations and Fan Productions: Remake/Remodel. New York: Palgrave Macmillan, pp. 179–196.
Turk, T. and Johnson, J. (2012) “Toward an Ecology of Vidding,” in Transformative Works and Cultures (9).

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