Download Understanding Postmodernism in Film

Postmodernism in Film
(the super-basic version)
JC Clapp, North Seattle College
Modernism
Modernism (about 1885-1945 or
so) was interested in the new
master narratives and that would
provided truth and unity. Social,
political, cultural progress was
seen as inevitable and important
(no stopping progress!). Cultural
unity and hierarchies of values of
class supported the divide
between “low” and “high”
art/culture. There was a clear
understanding of human’s place in
the world (at the top).
Postmodernism: Overview
Postmodernism subverts and resists modernism and does
not have faith in master narratives or true/real
interpretations. It looks at the contradiction,
fragmentation, and instability and attempts to destroy
hierarchy and boundaries. It takes a deeply subjective and
fractured view of the world and identity, claiming that an
endless process of signification and signs is where any
"meaning" lies. It values style over substance.
Postmodern Film: Characteristics
Overview
• Pastiche (mixture of many genres and
styles) – no distinction between
“high” and “low” styles
• Extreme self-reflexivity of techniques
that highlights its production and
incorporates references to other
media/cultural texts, which can
include the use of irony, parody, and
“retro”
• Deconstruction and fragmentation of
chronological time (non-linear
narratives) or manipulation of time on
screen to draw attention to the
constructed nature of the film
Intertexuality
• Self-referentiality, parody, pastiche, and a nod to
various past forms, genres, and styles are the
most common characteristics of postmodernism.
These features may be found in a film's form,
story, technical vocabulary, sound/music, casting,
mise-en-scène, or some combination.
Intertexuality
• Quoting, plagiarizing, or alluding to other
films or cultural artifacts – making
reference in one cultural text to another.
Intertexuality: Pastiche
• Mixture of both "high" art and
"low" popular culture from
various time periods and
cultures.
Intertexuality: Parody
• Parody uses various
styles, genres, or texts
for a critical purpose.
Pastiche copies past
forms without an
underlying critical
perspective. Whether a
film engages in parody or
pastiche with its
intertextuality is largely a
matter of interpretation.
Style over Substance
• Images (signs) are consumed for their own sake
rather than for their deeper meaning or values.
We consume images/signs precisely because they
are images/signs, and disregard their questions of
usefulness and value.
• Style is more important than substance.
Postmodern Nature of Film Industry
• Hollywood’s Golden Age (Modern): Films shot on celluloid by
big studios with actors/crew under exclusive contract. Limited
prints were made; the experience of viewing the film was
similar for all viewers (under theatre conditions)
• Current System (Postmodern): Films are often shot on a digital
format by the major studios (subsidiaries of multinational
corporations), independent studios/filmmakers, or amateurs.
Stars/crew don’t have long-term contracts with studios
(agents are used to broker deals and publicists generate press
and prestige). Huge numbers of prints are made, and
audiences may view the film via theatre, DVD/TV, cell phone,
on an airplane, or online. Films now have ads and product
placement in them which connects the connect to the world
outside of the film.