Happy to report that my research was recently featured in an article by Cameron McGough for the University Daily Kansan. Here are some excerpts from the interview:
“We, as a society, are starting to move toward a more transformative understanding of media, film and television,” Wille said. “We are becoming accustomed to the fact that there are remixes and modified versions all around us. With more and more fan editors willing to tackle different movies, it’s breaking out of the mold.” […] Wille said he knows just how hard it can be to get fan edits out to people. There are many legal and logistical hurdles the fan-editing community must overcome. “Fan edits are unfortunately compared to outright media piracy, and they are disparaged simply because they are modified versions of film — because they apparently violate a perceived sanctity of the filmmaker’s version,” Wille said. “It’s very important to understand that fan editors don’t make fan edits to replace the original. They make it as an alternative or a different perspective.” […] “We are getting to the point where we realize we don’t have to accept a movie, a song or a television show, the content of it, for what it is,” he said. “We don’t have to sit there and be passive spectators but rather active participants. Fan edits are works of art, and they should be recognized as works of art.”
The article also highlights my fan edits and their relationship to my research and teaching ambitions, including very nice comments from Prof. Andreas Stuhlmann about my approach to Watchmen: Midnight. Another fan editing project mentioned in the article is my reconstruction of Psycho: The Roger Ebert Cut, which led to further variations on the remixed digital material. I explored the mutative consequences of fan edit replication in a recent essay.