Intertextuality is one of my most favourite topics to discuss in the blogging world. I have discussed it previously for songs like BHOOM BHOOM WORLD CUP, Bumbu Sauce’s My Punjabi Love For You, as well as the comic Umru Ayyar, and finally, in my own short film Sasti Masti.
Here is an academic definition of the concept:
…the first step in this process as one where “the foreign texts which become known in the original language are perceived as “strange” and as belonging to the elite by the domestic audience.” Lotman argues that once the periphery becomes saturated with texts from the center it begins to master the language, create its own adaptations and translations until it begins to “bombard” its own texts at other structures, including the former center.
I recently came across a most delightful example of this concept on Twitter.
First the context – there is a Twitter/Tumblr/Facebook account by the name of WTFRenaissance. You can check out this Huffington Post piece which gives a background to the account as well as various examples.
Rick and Fiona hadn’t realised the kids had snuck in. What they had seen would haunt them forever. pic.twitter.com/MUYesQPIFd
— wtf renaissance (@WtfRenaissance) August 26, 2014
A couple of days ago, Islamabadi tweeter Mansoor Bashir aka @MyDixonCider (who also blogs here) took this ‘foreign text’ format and applied it to Mughal miniature art. What I love most about intertextuality is that you take an idea that is already known to the audience but the creative process is the ability to add a new, local context while still staying within the rules of the original idea. MyDixonCider adds to the originality of his efforts is the fact that the captions are a brilliant insight into contemporary Pakistani life. So without further boring academicspeak, here’s WTFMughalMiniature.
Her: “Do you think this photo will get me 100 likes?” Photograph: “Madam 100 nahi, 1000 hazar likes milenge” pic.twitter.com/kxwkv8gngV
— Buffetkhor (@MyDixonCider) August 27, 2014