“This in-depth study of mashup music expertly combines practitioner interviews with critical insights drawn from musicology, media studies, and legal scholarship. Brøvig offers a comprehensive framework for rethinking our appreciation and understanding of appropriation-based music-making.”
Martin Zeilinger, Senior Lecturer in Computational Arts & Technology, Abertay University; coeditor of Dynamic Fair Dealing
“Highly recommended—I have no doubt that Parody in the Age of Remix will become a significant and important contribution within the fields of remix studies, new media, intellectual property, and music studies.”
Owen Gallagher, Head of School, Creative Media, Bahrain Polytechnic; author of Reclaiming Critical Remix Video
“Parody in the Age of Remix makes a compelling case for rethinking—and protecting—the vital art of mashup music. Artists, scholars, and policy makers alike should read this engaging, deeply researched book.”
Mark Katz, author of Capturing Sound: How Technology Has Changed Music and Music and Technology: A Very Short Introduction
“Brøvig's research on musical mashups presents the first in-depth scholarly analysis of these misconceived artistic techniques from a copyright perspective. Offering an exciting reinterpretation of parody, Brøvig challenges traditional doctrines and constitutes a must-read for those involved in copyright policy.”
Sabine Jacques, Associate Professor, IP/IT/Media Law, University of East Anglia, UK
“Offering a fresh perspective on remix/mashup culture, Ragnhild Brøvig exposes both the serious implications and the playful possibilities of parody as a significant form of cultural expression. A stimulating must-read for all popular music scholars.”
Lori Burns, Professor, University of Ottawa; editor of The Pop Palimpsest and author of Disruptive Divas
"[This book] is undoubtedly an interesting contribution to the discourse on creativity and intellectual property. Brøvig's work highlights the battles faced by mashup artists and echoes a call for reevaluation of legal frameworks to better accommodate the realities of digital cultural production. Her book is an essential reading for anyone interested in the intersections of technology, law, and creative expression.”
International Journal of Communication
