With the age of the internet and such websites as YouTube, GoogleVideo, and Ebaumsworld.com, I've discovered that new found footage media tended to stray away from the obscure found film scavenged in trash dumps to more mainstream and visible footage from popular Hollywood culture. The implications of this are many, but of interest to me was what effect this transition from using unknown footage to highly visible footage had on the work as an art piece. For me, I have been watching video mashups on YouTube for years without ever having considered the theoretical and artistic implications of such mashups until very recently. I decided then to create my own movie trailer mashup in the vein of such works as "Must Love Jaws" or "Ten Things I Hate About Commandments" in order to ascertain for myself the artistic choices made in doing so. In creating "The Last Lion King of Scotland", a mashup movie trailer using audio extracted from "The Last King of Scotland" movie trailer incorporated into "Lion King" footage, I found that the act of CREATING a video mashup was rooted in the act of DECONSTRUCTING it. Not only was I deconstructing the actual footage and audio, I was, on a deeper level, deconstructing the cinematic codes employed in video and audio trailers and also how they interact. I discovered how audio cues signal visual transitions and vice versa. In choosing the two movies that I did for "The Last Lion King of Scotland" I also wanted to explore transitioning from 2D animation in a fantastical, animal world gone awry, to a live-action movie in a real, current world gone awry. Also, the mashing of two movies based on plight in Africa will inevitably raise issues of the exploitation and image of Africa in cinema as well. Perhaps the "The Last King of Scotland" was a strange choice of a movie as it was credited as one of the few, honest portrayals of Africa in recent Hollywood film, but my choice was in large part driven by the motive of a witty title stereotypical of these movie trailer mash-ups. In the end, I can't help but ponder about the usefulness of such discourse and theoretical wonderings of such work. Knowing the target audience of my piece intimately, as I was (and in many ways, still am) a member of it, I know that not many will be watching "The Last Lion King of Scotland" for its artistic implications in the field of New Media, appropriation, and found footage. They will be watching it to waste 3 minutes of their lives to avoid having to write an essay, or to make the time at their boring office job go by just a little bit faster. And maybe that's not such a bad thing after all.