Following on from my post about narrative archetypes, I was interested to see Michel Gondry declare himself averse to such influences in a recent interview:
We can think of the 'codes' (vampire, zombie, fantasy) that Gondry refers to as narrative memeplexes. And we can think of his 'rules' as related narrative memes which together comprise those memeplexes.
Given his stand against archetype memes, it seems more than a little ironic that Gondry's latest film, Be Kind Rewind, should make imitation it's subject. In the film, Jack Black and Mos Def play a pair of hapless video store workers required to swede classic films after accidentally wiping their tape stock. This so-called 'sweding' involves the creation of a lo-fi copy which loosely resembles the original.
The notion of sweding is interesting to memeticists for several reasons.
Firstly, because it is itself a highly infectious meme, if my experience is any guide to that of the wider film-loving population. I have delighted in explaining the concept to several friends and colleagues - partly due to its prescience in the YouTube age, but also because the word 'sweding' is rather amusing. (As Wikipedia notes, 'The tapes are described as having come from Sweden as an excuse for higher rental fees and longer wait times'. This etymology is pretty funny, but the very sound of the word is enough to make me grin. Sometimes pleasing or unusual phonetics are all that's required for a word to replicate and become an established part of a language).
More important than its meme status, though, is the lo-fi copying that sweding denotes. One of the cornerstones of evolutionary theory is that hi-fidelity copies are produced. With genes, this condition is comfortably met. But as Susan Blackwell points out in The Meme Machine, memes are often copied at lower fidelity, as memetic replicators are less resistant to mutation than genetic replictors. In the case of sweding, we might ask whether the copying fidelity is so low that it cannot meaningfully count as an instance of replication or memetic inheritance. I would argue that it can count, as the meme sweders are really interested in is a narrative meme, not a stylistic meme, and the fidelity of the narrative is sufficiently preserved post-swede, despite severe mutation of the style.
Phew! So much to say about one Director, one film, one concept, one word. But great to touch upon some key issues within memetics in the process.
"I don't like films that use codes. I don't like vampire movies or zombie movies. I went to see I Am Legend with an ex-girlfriend the other day, and I immediately realised it was a zombie movie! You know what I mean? There are certain rules, and those rules are things that you've seen many times. I have a hard time with fantasy movies too."
We can think of the 'codes' (vampire, zombie, fantasy) that Gondry refers to as narrative memeplexes. And we can think of his 'rules' as related narrative memes which together comprise those memeplexes.
Given his stand against archetype memes, it seems more than a little ironic that Gondry's latest film, Be Kind Rewind, should make imitation it's subject. In the film, Jack Black and Mos Def play a pair of hapless video store workers required to swede classic films after accidentally wiping their tape stock. This so-called 'sweding' involves the creation of a lo-fi copy which loosely resembles the original.
The notion of sweding is interesting to memeticists for several reasons.
Firstly, because it is itself a highly infectious meme, if my experience is any guide to that of the wider film-loving population. I have delighted in explaining the concept to several friends and colleagues - partly due to its prescience in the YouTube age, but also because the word 'sweding' is rather amusing. (As Wikipedia notes, 'The tapes are described as having come from Sweden as an excuse for higher rental fees and longer wait times'. This etymology is pretty funny, but the very sound of the word is enough to make me grin. Sometimes pleasing or unusual phonetics are all that's required for a word to replicate and become an established part of a language).
More important than its meme status, though, is the lo-fi copying that sweding denotes. One of the cornerstones of evolutionary theory is that hi-fidelity copies are produced. With genes, this condition is comfortably met. But as Susan Blackwell points out in The Meme Machine, memes are often copied at lower fidelity, as memetic replicators are less resistant to mutation than genetic replictors. In the case of sweding, we might ask whether the copying fidelity is so low that it cannot meaningfully count as an instance of replication or memetic inheritance. I would argue that it can count, as the meme sweders are really interested in is a narrative meme, not a stylistic meme, and the fidelity of the narrative is sufficiently preserved post-swede, despite severe mutation of the style.
Phew! So much to say about one Director, one film, one concept, one word. But great to touch upon some key issues within memetics in the process.