The illustration video remix sub-genre describes clips, which use appropriated footage but, which isn't central to the message being communicated in the clip.
Music videos are the most obvious example here where the music track takes centre stage, supported by imagery that illustrates or that fulfils a metaphorical function in terms of interpreting and translating ideas, which are present in the music.
Reauthorer: (Manuel Braun) circa: 2017
This clip created by fan Manuel Braun for the hip-hop, spoken word artist Kate Tempest/Calvert is a good example of the illustration video remix sub-genre. The video presents a compelling case for the potential of recycled footage - rather than generating from-new as is the norm. In doing so Braun combines images from reality TV with those of extremists, far right politicians as well as images of suffragette Emily Davison's tragic death with scenes of war, time-lapse nature documentaries, riots and cosmetic surgery. It does so with great timing and pacing. Despite this, the clip quite unsubtly illustrates Tempest's rhythmic tirade, shuffling through a series of literal representations, that are designed to shock and provoke (while providing only limited space for contemplation and reflection). (Perkins. S, 2017)
Adam Curtis's documentary HyperNormalisation (2016) presents a compelling narrative that seeks to explain our contemporary global circumstances, which has seen the erosion of public confidence in the state and people and positions of authority (and the factors which have conspired to create this situation). In presenting his case Curtis relies heavily on the importance of information being communicated through his spoken commentary. This is supported by found and archive footage that is used both to illustrate his points and to communicate something of the mood and feeling of described events. While Curtis generally uses this format, HyperNormalisation more than his other films uncouples pictures from commentary, causing them to perform very much an ancillary rather than integral function. Most likely this is because Curtis wrote the commentary with only limited consideration for how it would be communicated on-screen (and/or because many of the concepts that he discusses are simply too abstract and difficult to communicate visually). This approach contrasts with other films/filmmakers such as the landmark film Sans Soleil (1983) by Chris Marker, where both pictures and commentary are integrally linked. (Perkins. S, 2017)