Now that you actually have to work at it to find some of the Downfall parodies on YouTube, John Naughton looks at the cultural power of remix culture, which has been most recently popularized by Bruno Ganz in his mesmerizing performance as Adolf Hitler:
Ganz’s performance is a real tour de force, so much so that the New Yorker critic wondered aloud if it would have the effect of humanising Hitler. But the scene had another, equally extraordinary, side-effect. It became the basis for a wildly successful and entertaining comic virus, in which people used everyday video-editing software to remix the scene in modern contexts (politics, sports, technology, popular culture). The German soundtrack was left unchanged, but new subtitles were added and then the results were posted on YouTube.
[. . .]
Some of these parodies are tiresome. But many are side-splittingly funny, a testimony to the power of remixing as a way of enlivening cultural life. Nevertheless, not everyone is delighted by this new art form. Jewish organisations have been understandably disturbed by the way the architect of the Holocaust has been turned into a comic turn. “Hitler,” said the director of the Anti-Defamation League, “is not a cartoon character”.
[. . .]
The YouTube remix culture is thus a new take on a venerable tradition. I wouldn’t argue that the Downfall spoofs are high art, but they are evidence of bottom-up creativity and intelligence in a new medium. And if we allow narrow considerations of intellectual property to stifle this creativity, then we may all, except for the lawyers, live to regret it.
