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Postmodernism
Journal

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Postmodernism Journal
The film version of The Great Gatsby identifies with the
Postmodern movement in multiple aspects. In order to 1 engage

[ Possible wordiness

a contemporary audience, this film 2 uses the postmodern

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stylistic techniques of maximalism, temporal distortion, and

pastiche. Maximalism is the use of disorganized, lengthy, and
highly detailed depictions of characters or events. Both the
book and the movie include excess and extravagant details
about the lives of Gatsby, Daisy, Tom, and Jordan. In
Fitzgerald's book, pages 39 and 40 are filled with the Gatsby's
chaotic new wealth and parties. In the movie, the scene
of Nick's first attendance at one of Gatsby's parties is depicted
with similar amazement and detail from Nick:
And I mean everyone: from every walk of life, from every
corner
of New York City, this kaleidoscopic carnival spilled through
Gatsby's door Billionaire play-boy publishers, and their
blond
nurses Heiresses comparing inheritances on Gatsby's
beach My
boss, Walter Chase, losing money at the roulette tables
Gossip
columnists Alongside gangsters and governors exchanging
telephone numbers Broadway directors Morality
protectors

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and Ewing Klipspringer, dubious descendent of Beethoven!

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3

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However, the movie's use of both Nick's voice overs and the

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visual aspect to depict these scenes provide more

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extensive postmodern maximalism.5 This technique truly 6

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(Luhrmann, The Great Gatsby)

Although the book includes similar extravagance, the movie is
considerably more over-the-top than the book appears. For
example, while the book describes Klipspringer playing a
piano, Luhrmann decides to put a large organ in Gatsby's
house simply because it is grander.3 Other scenes, images, and
characters, such as Tom and Daisy's house, the Valley of
Ashes, and Tom and Nick's visit with Myrtle have similar
detail and obvious 4 profusion in the book and the movie.

engages all viewers, especially with the 7 distinct contrast

from 8 Gatsby's wealth and parties to the "grotesque" and
colorless Valley of Ashes (Luhrmann, The Great Gatsby).

In addition to maximalism, temporal distortion and

fragmentation are postmodern elements that appear primarily
in the movie. Temporal distortion is the use of a nonlinear
timeline and narrative techniques in the story, and
fragmentation is an interrupted sequence of events, character
development, and action. In the movie, Luhrmann adds this
postmodern element by having Nick tell the story of Gatsby to
a doctor and then write it down. The movie starts with a drunk
Nick obviously 9 years following the events with Gatsby,10 but
10

then shifts back to the beginning of Nick's time in New York.

Nick struggles, admitting "I don't want to talk about this

[ Incorrect use of com

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Doctor" (Luhrmann, The Great Gatsby). However, when the

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doctor suggests writing about his past, Nick

is intrigued: "NICK: What would I write about? DOCTOR:
Anything. Whatever you can't cute talk about; a memory;
a thought; a place Write it down" (Luhrmann, The Great
Gatsby). This engages the audience in a unique way by
dragging them along Nick's journey with Gatsby. Viewers join
Nick, curious about how his hopeful, clean self years ago ends
up in his current bleak situation. The movie ends with a view
of the finished copy of The Great Gatsby by Nick Caraway
while viewers know it is truly a modern book written by F.
Scott Fitzgerald.

The Great Gatsby movie, unique from the book, includes

pastiche throughout its structure. Pastiche is the taking of
various ideas from previous works or styles and pasting them
together to make a new style. The book is written 11 and set in
the early 1920s with techniques of modernism. However,

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elements of the movie are taken from different time periods

and styles, making it postmodern. For example, "Gatsby's
yellow Dueseberg" (Luhrmann, The Great Gatsby) in the
movie is actually 12 the 1929 model rather than the book's
Rolls-Royce in 1922. Additionally, the contemporary music in
the movie makes it more relatable for its watchers, while also
highlighting the constant partying spirit of the character's lives.
These modern songs include "Back to Black," "Young and
Beautiful," "A Little Party Never Killed Nobody," and more.
The movie combines a 1920s storyline with modern elements

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of greed, celebrity focus, and enhanced extravagance. Overall,

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The Great Gatsby film uses postmodern elements of

maximalism, temporal distortion, and pastiche to engage a
contemporary audience. This is accomplished 13 through
relatable features, such as music, and further emphasis the
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major themes of the book, such as the distinction between old

money, new money, and no money.

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