02016nas a2200193   4500008004100000245006200041210006100103300001400164490000700178520143200185653001601617653001801633653002601651653001301677653001001690653001101700100001501711856009601726       2013                        eng d00aMore than Just Remixing: Uptake and New Media Composition0 aMore than Just Remixing Uptake and New Media Composition  a183–1960 v303 a<p>This article turns to genre theory's recent explorations of uptake, broadly defined as the ways genres interact, as a resource for sketching a pedagogy of shuttling between genres. Using uptake, I intend to reconceptualize multimodal compositions as a means of participating in rhetorical ecologies that consist of transactions between genres instead of thinking of remixes as an end in themselves. In this article, I first define the concept of uptake in detail and discuss its use in rhetorical genre studies. After further illustrating uptake through an analysis of transactions between YouTube parodies and the 2005 German language film Downfall, I discuss existing scholarship in multimodal composition that draws on genre but not the idea of uptake in order to lay a foundation for a pedagogy that highlights the links, feedbacks, and rules that coordinate genres. My aim in the last section is to sketch possibilities for how teachers and students can deploy the concept of uptake as a rhetorical tool to strengthen their awareness of genre and multimodality. In doing this, I hope to reposition multimodal projects as beginnings or midpoints that lead to students’ emersion into public discourse rather than culminations or end goals in themselves. Integrating studies of uptake into writing curricula in this way will help students to make sophisticated rhetorical decisions in the age of media convergence.</p>
10aconvergence10amultimodality10anew media composition10apedagogy10aremix10auptake1 aRay, Brian  uhttps://genreacrossborders.org/biblio/more-just-remixing-uptake-and-new-media-composition-0