Beruflich Dokumente
Kultur Dokumente
Go kitsch!
No right answer
Low culture as good as
No more grand narratives (Lyotard) high culture
also called metanarrative
Mix up the time zones
Newest is not best
Pleasantville
Cheers bars, real
Central Perk in NY.
Structuralism is the opposite of Postmodernism
Structuralist Theories of Genre John FISKE
American Professor of Communication Arts, 2000s
Structural
Functionalism
Talcott Parsons was a sociologist in the 1950s who made
observations of society leading to the structural functionalist view.
This view suggests that society (like literature and film) has
necessary structures that keep it together. Like Propps spheres of
action, structural functionalism observes roles in society, particularly
gender roles in the nuclear family. Structural functionalists believed
that if roles were not fulfilled or changed then the structures would
adapt, entrenching new roles and society would progress into the
future based on a new structure.
pure postmodernism
Structuralism
mild postmodernism
Rejects as much structure as
Retains some structures
possible
but rejects others:
Ground-breaking or just plain
Spoof and parody does
weirdlayer upon layer of
this eg. Armstrong and
intertextuality and symbolism,
Millers Street-slang WW2
many unresolved micro-
fighter pilots or Chris
narratives.
Morriss The Day Today.
Eg David Lynchs Inland
Clever intertextuality eg
mainstream audience
Empire
Easily accessible to
Disneys Enchanted.
Inaccessible to mainstream
Still accessible to a
audience but loved by niche
mainstream audience
audience who get it.
Postmodernist Theory Historical or Cultural?
Principally, the grand narratives refer to the great theories of history, science, religion,
politics. For example, Lyotard rejects the ideas that everything is knowable by science or
that as history moves forward in time, humanity makes progress. He would reject universal
political solutions such as communism or capitalism. He also rejects the idea of absolute
freedom.
In studying media texts it is possible also to apply this thinking to a rejection of the Western
moralistic narratives of Hollywood film where good triumphs over evil, or where violence and
explotation are suppressed for the sake of public decency.
Lyotard favours micro-narratives that can go in any direction, that reflect diversity, that are
unpredictable.
What can you see?
In some ways this reflects what Rene Magritte painted in 1928 in his
work called The treachery of Images.
Magritte captions an arrangement
of paint on canvas with the
denotative words, Ceci nest pas
une pipe. (This is not a pipe).
What is it?
Semiotics is the study of signs.
It looks at the second question below
and asks how the sign works on our
minds.
http://www.bbc.co.uk/news/uk-england-london-15007309
Postmodernists eg Lyotard & David Lynch say:
It doesnt matter what the message is just look at the quality of the
medium.
There does not need to be a message, just look at the medium
Believe and enjoy the surface meaning (the micro narrative),
messages (grand narratives) dont work anyway.
simulation:
the process in which representations of things come to replace the things being represented . . . the
representations become more important than the "real thing
4 orders of simulation:
1. signs thought of as reflecting reality: re-presenting "objective" truth;
2. signs mask reality: reinforces notion of reality;
3. signs mask the absence of reality; eg Disneyworld, Watergate,LA life:
jogging, psychotherapy, organic food
4. signs become
4. signs become
hyperreality:- a condition in which "reality" has been replaced by simulacra argues that
today we only experience prepared realities-- edited war footage, meaningless acts of
terrorism, the Jerry Springer Show, Black Mirror 15 Million Merits.
The very definition of the real has become: that of which it is possible to give an equivalent
reproduction. . . The real is not only what can be reproduced, but that which is always
already reproduced: that is the hyperreal. . . which is entirely in simulation.
Circular referentiality
Postmodernist texts:
Inland Empire, David Lynch
Twin Peaks, David Lynch
Music videos by Art of Noise, David Bowie
Pleasantville, Gary Ross, 1998
Ulysses Gaze
The Piano I would disagree with you
David but thanks to
Nat Tate postmodern hyperreality I
believe you are not real:
Superdry adverts you are only a photgraphic
signifier. So there!
Breakdowns of master narratives featuring the final triumph of good over evil
through science or human problem-solving, as well as a clear distinction
between reality and fiction.
Jonathan Donald Kramer (December 7, 1942, Hartford, Connecticut June 3, 2004, New York City), was a U.S.
composer and music theorist.
Postmodernist Theory Frederic Jameson
Jameson also sees reason for the present generations to express themselves through
postmodernity as they are the product of such a heavily globalised, multinational dominated
economy, which carries the multinational media industry as one of its main branches. The
onmipresence of media output helps explain postmodernists merging of all discourse into
an undifferentiated whole "there no longer does seem to be any organic relationship
between the American history we learn from schoolbooks and the lived experience of the
current, multinational, high-rise, stagflated city of the newspapers and of our own everyday
life (p.22 Postmodernism, or, The Cultural Logic of Late Capitalism. Durham, NC: Duke
University Press. 1991.)
Postmodernist Theory Mr. Ford
Media teacher and blogger from
Lutterworth College
A definition of postmodernism -
Label given to Cultural forms since the 1960s that display the following qualities:
Irony: Post modernism uses irony as a primary mode of expression, but it also
abuses, installs, and subverts conventions and usually negotiates contradictions
through irony
Boundaries: Post modernism challenges the boundaries between genres, art forms,
theory and art, high art and the mass media
With acknowledgement.
Structuralist (modernist) vs Postmodernist
Theorists
Derrida no text without a genre
Baudrillard hyperreality and a world
Jameson understands why dominated by commercialism.
postmodernism came inot being but
believes a text should have a point. Lyotard grand political (eg Communism) and
religious narratives have failed so there should
Talcott Parsons when society be no meta-narrative in media texts.
changes, structures change.
McLuhan the medium is the message.
Barthes no more original writing.
All media fit five codes action, Jencks modernism ended with the failure of
enigma, semic, referential, symbolic. the high rise housing solution in 1972.
Parody there are elements of homage in Davids obsession with the TV soap
Pleasantville there are also sharp criticisms of its unrealistic and escapist
nature. The navet and excessive innocence of the characters is a pastiche not
so much of the actual decade but the portrayal of America as an ideal society in
the 50s and 60s. There are also elements of nostalgia for the childhood of the
filmmakers - Gary Ross was born in 1956. Consider issues of censorship at the
time and the way film/TV companies were in thrall to the Catholic League of
Decency.
The key to the film is the way that whilst Jennifer starts out as a corrupting
influence on the youth of Pleasantville, she also learns how to improve her own
life. David and the Pleasantvillians learn from the modern world but Jennifer
learns about books and the value of education in the emancipation of women
from what she has seen in the historical situation of Pleasantville. This fits Jencks
definition of postmodernism very well - an eclectic mixture of any tradition with
that of its immediate past.
The ambiguous ending of Pleasantville - suggesting that change is okay per se,
even if we do not know what it will be - places it in the postmodern idiom by
defying the need for a film to end conclusively or with certainty. The world has
not necessarily improved for David, Betty, George or Bill - its just different, and
thats okay. Unfortunately, this in itself could also be seen as a cheesy version of
a postmodernist moral - and postmodernist art should not carry a moral, by
definition.
Postmodernist Text
Black Mirror dir Brooker, 2011
15 Million Creditsis an edition of Black Mirror, a Channel 4 mini-series devised
by Charlie Brooker. It is a futuristic vision of a world taken over by the media.
There are three levels of society: those who work in the media; those who pedal
bicycle-generators in a post fossil fuel environment to create electricity to power
the media and those who clean up.
The middle band of society are a parody of lower middle class Britain who
swallow the fodder put out to them on television and blindly adopt the
hegemonic prejudices they are exposed to notably a contempt for the fat
cleaners who do not have access to the exercise bikes. They are also a parody
for todays gym and keep fit industry of healthy living and they are so busy
exercising or relaxing that they actually live their social lives via an avatar. The
isolated world they inhabit is clearly influenced by Baudrillards vision of a
hyperreal world made up entirely of simulacra.
The key character, Bing, with intertextual echoes of George Orwells novel 1984,
befriends Abi, another member of his gym, and persuades her (by giving her his
15 million credits) to try her voice on the pastiche reality show Hot Shots. The
plan is thwarted when Judge Wraith (the other two are ironically and self-
referentially named Judge Hope and Judge Charity) sees her potential not as a
mid-ranking singer, but as a porn icon. Faced with the choice of a bland
Postmodernist Text
Black Mirror dir Brooker, 2011
Frustrated by the way Abi has been forced to sell out her principles and has been
exploited by the media industry as mere fodder for the male gaze (Mulvey,
1974), he decides to concetrate all his effort into cycling enough to re-build his
15 million credits. With this capital, he is able to enter an inane and stupid dance
on the show Hot Shots. However, having secreted a shard of glass in his
clothing, he suddenly stops danv=cing and threatens to kill himself unless the
judges and avatar audience hear whay he has to say. He gives a long rant about
the shallow, prejudiced, exploitative and hyperreal world they live in.
Bizarrely, Judge Hope (a thinly disguised parody of Simon Cowell), applauds the
rant. However, he is appluading the performance (the style) and ignores the
content (the substance). He sees an opportunity for Bing to rant about a variety
of matters in a show of his own the subject matter is unimportant, merely the
style with which he rants. It is an intertextual hint at the five minutes hate in
Orwells 1984.
Bing faces an instant dilemma but decides to sell out for the lifestyle he can gain
as a member of the celebrity class. In a final irony, nothing is changed in the
world and even the shard of glass Bing used to threaten suicide becomes a
simulacrum as it is available in a variety of forms as Bing Madison merchandise.
Postmodernist Text
Enchanted dir Lima, 2007
The plot moves through familiar stages of the present day world learning from
the innocence of the past world (represented by the Disney fairytale) and the
cartoon characters learning from the real world - even Prince Charming comes to
accept the value of dating before marriage. Its all quite corny - but in a very
humorous and ironic manner. Traditional elements are all there - functioning as
structures - such as the defeat of the wicked step-mother, an icon of failed
marriage and dysfunctional family relationships. Perhaps most ironic is the way
the women swap worlds - Princess Giselle remains in New York whereas the
feminist Nancy loves the spontaneity and romance of Prince Charming, returning
with him to Andalasia.
Postmodernist Text
Another postmodern nightmare that should endear him to his fans, Empire made me
take a step backwards as Id always been on the fence regarding Lynch but was blown
away by Mulholland Drive. Of course, as establishedhes not one to play by the rules
but I wasnt sure just how off the deep end hed go with this rambling and incoherent but
beautiful work. Were never quite sure exactly whats happeningwe believe its about
Nikki Grace (Dern), a married blonde actress who takes a role on a film that she later
learns may be cursed after discovering its a remake of a doomed incomplete Polish
production that found the two leads dead. She begins to let her imagine run away with
her while simultaneously becoming attracted to co-star Justin Theroux. After a bizarre
opening, the first hour of the film is compelling and even easy to decipher but thats
when Lynch reminds us once again hes running the show and takes us further into the
nightmares and dreamscapes of his subconscious mind with a meandering hybrid of
fantasy and horror involving a carnivalesque stable of freaks and people living on the
fringes of societylife sized rabbits living out a domestic drama in front of what appears
to be a live studio television audience, hookers who enjoy doing the locomotion, a scary
old woman, lots of Polish speakers, and a film crew.
Text Jen Johans
Postmodernist Text
Inland Empire
Co-produced by Dern who inspired the title of the piece after sharing that her
husband musician Ben Harper is from the area nicknamed that, the film co-
stars Jeremy Irons, Harry Dean Stanton, Diane Ladd, William H. Macy, Julia
Ormond, Mary Steenburgen and also utilizes the involvement of Nastassja
Kinski, Laura Harring and Naomi Watts. Lynch, who told Joe Huang at the AFI
Dallas Film Festival that the films episodes were never supposed to be edited
together for a feature but were rather just film short stories he wrote and shot
on digital video, earned a Special Award from both the Venice Film Festival and
also the 2007 National Society of Film Critics Awards for what they called his
labyrinthine Inland Empire, a magnificent and maddening experiment with
digital video possibilities. Overall a film to be experienced rather than sincerely
admired such as Mulholland or his other works, Inland Empires three hour
running time is daunting indeed but for those ready to take the journey, go
ahead and follow along and try your best to keep up.
Text Jen Johans
Postmodernist Text
Chris Morris The Day Today
The Day Today was a surreal British parody of television news programmes
broadcast in 1994. Each episode is presented as a mock news programme,
and the episodes rely on a combination of ludicrous fictitious news stories,
covered with a serious, pseudo-professional attitude.
So why is it postmodern?
Lyotard says that in a postmodern world we tend to question everything, we don't trust
what we see before us, and we look for hidden meanings in things. The Day Today clearly
does this, as Chris Morris wants to highlight how unreal the news actually is. News
programmes purportedly represent truth, represent whats really happening in the world.
Yet, as weve seen from Charlie Brookers Newswipe programme, the news is often
misleading (cardboard boxes in Haiti). Chris Morris uses over-the-top graphics, sound,
interviews and silly sketches (Elvis fan on death row) to highlight how unreal the news is.
It is also, of course, self-referential on the face of it Chris Morriss news presenter
represents what we expect (smart suit, clear authoritative voice, neat hair, studio based
etc). Yet he plays with this representation and breaks down what the audience expects a
seemingly pleasant interview about making jam for charity has his character crushing the
interviewee, he mocks his fellow presenters, chats up and uses obvious innuendo with
another presenter, etcThe sketches are also self-referential: on the one hand typical of
news reports, but the stories are often ridiculous or, in the case of the weather reports,
simply meaningless.
Postmodernist Text
Meshes of the Afternoon Maya Deren 1943
An experimental film by dancer and film maker Maya Deren dating right back to
1943, showing that experimental cinema is not just a modern idea.
This text demonstrates how the audience is made to feel uneasy when the
familiar guidelines of genre conventions and structured narrative signposts are
taken away.
There are constant references to David Bowies music and videos (Life on Mars and Ashes
to Ashes) which were experiments in postmodern art from the late 70s and early 80s. A
Pierrot clown keeps appearing a visual quote from Bowies Ashes to Ashes video.
There is frequent self-reflexivity (Michael Real) in references to the first series, Life on Mars
and to the fate of its main character Sam Tyler.
There is obscure religious symbolism in the role of the Devil character Jim Keats trying to
coax the protagonists to Police Hell in the basement whereas Nelson (also only
recognisable self-referentially to viewers of Life on Mars plays St Peter enticing the team to
Police heaven or Manchester tavern from Life on Mars The Railway Arms aka pub.
Postmodernist Text
Twin Peaks
Intertextuality - This TV series by David Lynch, a director well known for his
postmodernist texts, has many intertextual references. Such references were
sometimes explicit and explained by the characters involved, or were more
obscure. For instance, any reference to the black lodge or the white lodge in
Twin Peaks is a reference to the Tibetan Book of the Dead, but also to Christianity
and its notions of heaven and hell.
Like Blue Velvet, Twin Peaks "provides an improbable and disturbing stitching
together of different genres and genre expectations" through its "running
together in a postmodern fashion the tradition of the small town film" with a
rhizomatic mix of the unpresentable and the common place.
Twin Peaks' small town locale, affluence and lack of children is reminiscent of
other night time soap operas of its era, including Dallas, Falcon Crest and Knot's
Landing. However, the fact that its male hero resolves the central narrative of
this series through a mix of traditional detective work and intuitive techniques
questions gender stereotypes in the extra filmic world and poses a challenge to
the conventions of the detective genre.
Postmodernist Text
Twin Peaks
Twin Peaks surrealistically used a variety of characters with mythic
proportions including dancing dwarves, giants, doppelgangers and owls
plus the spiritually charged black and white lodges to depict the role of
divine influence in people's lives. And as within postmodern culture, everything about Twin
Peaks was plural. It lay within two mountains, had two creators, numerous directors with
broad film and television experience plus two versions of its double pilot and finale
episodes.
This postmodern spirit is also evident in the numerous popular culture references found in
Twin Peaks which are used to extend upon its intertextual meaning.
For instance, the series murder victim Laura is loosely based around a character from the
1950's noir film Laura. Indeed, Laura's presence as the central, absent figure in Twin Peaks'
narrative is also somewhat reminiscent of Alfred Hitchcock's 'Rebecca'.
The Sheriff of Twin Peaks, Harry S Truman, gained his name from an ex US President; while
Dale Cooper is named after a prominent Northwest American figure.
The brothers Ben and Jerry, who are food obsessed, are named after a gourmet icecream
and the brothel in the series is named after the 1950's Marlon Brando Film 'One Eyed Jack.'
In addition to this the one eyed character in the series, Nadine Hurley, is a female version
of one of the most popular soap characters of the eighties, Patch from 'Days of Our Lives';
while biker James Hurley is intended to be a nineties version of James Dean.
The utilisation of double coding, double genres, intertextual references, plural meanings
and irony in Twin Peaks and Fire Walk With Me reflects the plurality and spirit of
postmodernism as a whole.
Postmodernist Text
Dead Men Dont Wear Plaid
Intertextuality - This film mixes original footage from well known films noir with
modern footage set in the noir period, using black and white. Levi-Strauss might
refer to this form of intertextuality as transposition and/or addition.
Parody using homage, to show a genuine appreciation of the noir style, period,
performance, although it is partly postmodernist in the way that it is knowing in
its adoption of a slightly superior, benefit of hindsight humour, making some of
the extracts looks overblown in their acting style.
The film does not establish a style of full hyperreality although it is clearly not a
naturalistic piece or full set in versimilitude.
The film also challenges binary oppositions through James Ellroys use of the three-man
structure of having three detective heroes of equal status and no particular antagonist,
although it could be said that Dudley Smith assumes this role when he shoots Jack
Vincennes.
Postmodernist Text
LA Confidential dir Hanson, 1997
Any period piece set in the past and selectively choosing what elements to
suppress and which to emphasise is in danger of making a postmodern
re-interpretation of that past. The film avowedly avoids noir style in its approach
to cinematography and lighting and locations are chosen to create a mise-en-
scene that feels both 1950s and contemporaneous with today. The film is not
constrained by the Hayes Code, as would have been a crime film made in 1953.
This raises the question of whether the audience sees a more or less accurate
representation of LA in the 1950s than we receive from a film made at the time.
In this sense we can question whether.
This fits with a historical approach to postmodernism and challenges the view
that there was a better, more innocent time somewhere in the past because the
film seeks to blend images and interpretations of the past with images of the
present, perhaps proving that the 1950s were more similar to our own times
than we have been led (or have led ourselves) to believe or perhaps creating a
never-time that is nothing but a hyperreality.
Postmodernist Text
Chris Morris - JAM
Jam was a postmodern British comedy series created, written and directed
by Chris Morris and broadcast on Channel 4 during March and April 2000. It
was based on the earlier BBC Radio 1 show, Blue Jam, and consisted of a
series of unsettling sketches unfolding over an ambient soundtrack. Many of
the sketches re-used the original radio soundtracks with the actors
lip-synching their lines, an unusual technique which added to the programme's unsettling
atmosphere. So why is it classed as Postmodern?
Meaning is superficial, not deep - Its a work of pop culture championing the slipperiness of
meaning like Twin Peaks, some sketches can be taken at face value (lizards in a TV), whilst
others are far darker (little girl hitman). Does Chris Morris mean anything by creating such
disturbing sketches? Or rather, does the audience bring meaning to the text? We, the
audience, interpret what we see and decide whether its funny, unsettling, sad, shocking
etcnot Chris Morris.
Its self-referential, as Chris Morris takes what is normally represented by a comedy sketch
show and subverts this. Audience expects to find comedy sketches funny, jokes with a
build-up then a punch line, to feel comfortable, to watch recognisable character types, for
meaning to be clearJam does the opposite. Whilst many comedy sketch shows purport to
show (or to exaggerate) real characters or situations (remember Little Britain), Jam
doesnt pretend to represent reality or to exaggerate it in a normal sense; it subverts it and
plays with our expectations.
It uses decontextualisation he uses objects outside normal context (lizards in the TV)!
It uses Juxtaposition two extreme objects put together that shouldnt (young girl as a
hitman)
Baudrillard tells us audiences makes sense of the real world by using the hyperreal,