The illustration video remix subcategory describes clips, which use appropriated footage as a visual accompaniment to a primarily audio message.
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.
Creator: Anonymous [Patriots for Trump]. (2016). The Patriotic Trump - Real American ULTIMATE TRIBUTE.
Despite the authors intentions, this clip functions more like a parody than anything which might be reasonably thought otherwise. This is due to its exaggerated and unsubtle use of patriotic symbolism i.e its over-coding, that draws on a combination of historical and mythological ideas, which are central to North American ideas of cultural identity.
Creator: Franklin Goodbody (2016). Where does the meat come from?.
This is an example of détournement publicitaire (advertising hijack) - where the cut-up producer has repurposed an existing television commercial to communicate an alternative message to that originally intended.
Creator: Dáithí MacCionnatha (2016). Danny Healy Rae Climate Change Remix.
Creator: Adam Curtis (2016). HyperNormalisation.
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)