The Intertextuality of Demi Adejuyigbe’s September Genre.

Attributing Celena Kusch’s definition of intertextuality goes as so: intertextuality is the web of interrelationships among texts of various times and contexts, including indebtedness or earlier plots, common metaphors, idioms and other literary figures, and other influences and repetitions of language.

This definition of intertextuality can be seen throughout many genres, but my main focus is Demi Adejuyigbe’s September dance genre. When we look into this genre we can see many diegetic and non-diegetic sounds taking place. Something that is diegetic is reffering to any sound presented as originated from the source within the film’s world. Digetic sound can be either on screen or off screen depending on whatever its source is within the frame or outside the frame. And on the contrary non-diegetic, also called commentary or nonliteral sound, is any sound that does not originate from within the film’s world. The film’s characters are not able to hear non-diegetic sound.
So, in this genre the many instruments that Demi uses in his videos would be seen as diegetic while any background music would be non-diegetic. Demi offers both of these in his genre. A genre is defined as a category or type of literature, such as poetry, drama, and prose. Recognized by common conventions of length, style, form, content and other features, attribution again to Celena Kusch for the definition. We can categorize Demi’s dancing series as a genre for many reasons. One of these reasons is the fact that each one contains similarities as the genre continues on. For example, each video carries on the song September by Earth, Wind, & Fire, Demi always wears a white shirt that says “September 21st” on it, and each one was posted on the 21st of September. Although they carry similarities throughout, Demi knows to add some differences to keep the audience enticed throughout the series. Demi does this by adding new instruments, confetti cannons, and even a small choir of little kids singing the aforementioned song.
All of those things combined make Demi Adejuyigbe’s dance videos a genre, but how does intertextuality come into play? Well, all of the items listed above in turn lead to intertextuality.

Each of the episodes intertwine in different ways in that Demi keeps certain aspects of his videos each time, but he changes some aspects as well. From the first video to the second video, Demi uses dubbing, which is the act of putting a new soundtrack on a film or adding a soundtrack (of dialogue, sound effects, or music) after production, to match the action and/or lip movements of already-filmed shots, to keep his upcoming videos more interesting. Demi skillfully uses aesthetics and aesthetic qualities in his video to keep the audience entertained, such as the use of certain visuals and audios. The visuals and audios combined create a wholesome, and aestheticly pleasing experience.

All of these things are essential to Demi Adejuyigbes September genre. The intertextuality is shown within each of the things that I listed above.

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