Professional Documents
Culture Documents
A ‘real’ image of
people fleeing the
dust cloud in the
aftermath of ‘9/11’
Theories of Genre Jacques DERRIDA
French philosopher
Structural Functionalism
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 n’est pas
une pipe.” (This is not a pipe).
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;
hyperreality:- a condition in which "reality" has been replaced by simulacraargues that today
we only experience prepared realities-- edited war footage, meaningless acts of terrorism,
the Jerry Springer Show.
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
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 ‘micronarratives’ that can go in any direction, that reflect diversity, that are
unpredictable.
Postmodernist Theory Jonathan Kramer
postmodern music theory
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.
Postmodernist Text
Dead Men Don’t 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.
Parody – there are elements of homage in David’s obsession with the TV soap
‘Pleasantville’ there are also sharp criticisms of its unrealistic and escapist nature. The
naïveté 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 sensorship 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 - it’s just different, and that’s 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
LA Confidential dir Hansn, 1997
In many ways, this is a conventional film but it does contain elements of
Postmodernism both in its ‘message’ about ‘sellin’ an image’ and in the danger
of its approach to historical interpretation.
The film is self-referential in that it deliberately challenges images of reality portrayed by the
contemporary media and suggests that the media was in the pockets of the political authorities. The TV
show ‘Badge of Honor’ (pastiching the real series, Dragnet) presents the image of the LAPD that the
mayor desires to public to have - the ‘walk on water’ as Sid Hudgens puts it. Sid Hudgens embryo
tabloid journalism is clearly shown to fake its stories, with the collusion of Sergeant Jack Vincennes.
Vincennes describes his role as adviser to ‘Badge of Honor’ by saying that he ‘teaches Brett Chase to
walk and talk like a cop.’ When his companion points out that ‘Brett Chase doesn’t walk and talk like you’
Vincennes replies with the actor/character’s full ironic self-awareness that ‘America isn’t ready for the
real me.’ Kevin Spacey has said that he modeled his portrayal of Vincennes on the persona of Dean
Martin - 50s cool - and in a scene of multi-layered intertextuality, he looks into the mirror behind the bar
in the ‘Frolic Room’ (a real LA bar), sees his life disappearing into drink, corruption and illusion while
Dean Martin sings ‘smile, smile, smile’ in the background.
The film also challenges binary oppositions through James Ellroy’s 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
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. It’s all quite corny - but in a very humerous 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
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
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 - It’s 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 it’s funny, unsettling, sad, shocking etc…not Chris Morris.
It’s 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 clear…Jam does the
opposite. Whilst many comedy sketch shows purport to show (or to exaggerate) ‘real’ characters or
situations (remember ‘Little Britain’), Jam doesn’t 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 shouldn’t (young girl as a hitman)
Baudrillard tells us audiences makes sense of the real world by using the ‘hyperreal’, images we have
watched and processed from the media. Ask us what a car chase is like and we describe a film version,
not something based on reality. Chris Morris knows that for many people, what they see on TV is what is
real…so he gives us something that is wholly unreal, that doesn’t pretend to show ‘reality’.
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 what’s really happening in the world. Yet, as we’ve seen from Charlie Brooker’s 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 Morris’s 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, etc…The 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.