What happens to the practice of criticism when it embraces reflexive remix? Not, though, as an object of study, but as a legitimate critical strategy within academic discourse? That is, we can study film, but we can also use a film as a medium of critique. Contemporary theorists, like Mark Amerika and Greg Ulmer, have demonstrated that this alteration of the object of study in visual culture, which reverses the direction of traditional scholarship, is an inevitable outcome of our continuing immersion in electrate culture (a paradigmatic term used by Ulmer to signal the electronic age as it has converged with alphabetic and visual literacy). Instead of taking a position of knowledge (teaching art a lesson or two), remix practitioners have applied visual and cinematic strategies to problems of textual production. This paper will explore the ways in which remix may be used as a tool for the production of critical knowledge about digital visual culture.