Postmodernism

and its Role Within Media Texts

The Postmodernism Theory

• Postmodernism media rejects the idea that any media product or text is of greater value than the other

• Some define Postmodernism within media as;

Postmodernism: is a theory that allows creative artists to challenge conventions, forms and ideologies.

• Others define postmodernism as;

Postmodernism challenges conventional relations between audience and text but also arouses controversy in representations and conventional ideas.

Challenging Meta Narratives

Pulp Fiction

Pulp Fiction is a brilliant example of challenging meta narratives both through the filming techniques as the representations, the technique used by director, Quentin Tarintino of rewinding time and telling the same story from different perspective is a brilliant way to reveal the story, because we see the ending of the film within the first half an hour but by retelling and explaining the story we are able to understand why these events have occurred from each of the characters perspectives.

Challenging Meta Narratives: this is the directors way of not following the standardised genre conventions that typify Hollywood mainstream cinema, for example their use of non-linear texts, anti-narratives like freeze frames and challenging characters representations like the role of women in traditional films.

Intertextuality:

Carrie

Carrie(2013) is a reimagining of Stephen kings classic novel about an outcast girl who is ridiculed by her piers and who also has superhuman telekinetic powers. The remake however stays truer to the original novel rather than a remake of the 1976 film we can see this through; no nudity, bullying becoming more unacceptable and the main difference is hat the new Carrie is more empowering towards women in the final scene. There are elements of homage being the use of the similar dress, similar style house and school hall.

Intertextuality/Pastiche :this is an idea of borrowing ideas from previous relevant films and changing and remodelling the concepts to appeal to the relevant audience. For example the use of story-lines with the addition of current problems or topics. Bricolage is another example of intertextuality where costumes and props are stolen from other films.

Hyperreality

Kill Bill Vol.2

Kill Bill vol.2(2004) uses Hyperreality in two ways, the first by using ‘high art styles’ like anime style fighting to show the power and skill of the warriors. The other is when Uma Thurman breaks the fourth wall and discusses the last film and what is yet to come, this is very effective as it keeps the audience on edge of what might happen next.

Hyper reality :Producers make audiences aware of an alternative reality to challenge viewers expectations, it helps to much the ideas of what is and isn’t real, for example the use of specialised editing, slow motion filming, annotation etc.. To make audiences aware that they are watching a film.

Genre in Media• Genre is a French word which means type or kind.

• More Flexible Definitions- this is used for more independent and niche audiences.

• Genre is a French word that means type or kind. Most people will be aware of genre as a way of putting films, television programmes and other media texts into groups that have things in common, such as the story, or the ‘look’ of a film, or the characters, the settings and even the way the characters dress.

• Genre, especially in film, is a key concept because it is more complex than just a way of putting similar films together in a group.

• Most directors divide their films in two types of genre;

• More Rigid Definitions- this type of genre is normally used for the more mainstream ‘Hollywood’ audiences

Rigid

Definitions

Flexible

Definitions

Postmodernists like Quentin Tarantino want audiences to take part in their ideas of iconography and connotations in his films.

Tarantino makes references to many films (intertextuality). He uses a range of generic conventions. Therefore creating hybrid genres, an example is Kill Bill.

Action

AnimeCrime

Genre-

Dystopia

Dystopia : an imagined world in which everything is bad and unpleasant. Dystopia is the opposite of utopia.

Dystopian films normally take place after a disaster ( war, holocaust, plague, alien invasion or disaster).

These films normally create an end of the world scenario and sometimes include a new-beginning or a re-birth.

Anti-

Hero

Human

Survivors

Animal like

tribe

The Helper

Loner/Surviv

or

Dystopia – Batman Begins

Helper: they help batman to become

the dark knight

Loner/Anti-hero: the hero that will do what ever is

necessary to save his city even if that makes him villain in

the peoples eyes

Crime underworld: animalistic, they will

stop at nothing to control the city.

Human Survivors: they fight for what is

right to take back their city.

In Time Trailer Analyse

Will Salas - Anti-hero

Sylvia Weis – The Princess

Time Keepers– Animal Like tribe

Phillip Weis- Anti-hero

Time Keepers– Animal Like tribe

In Time Trailer Analyse

In Time is a dystopian film set in the near future, in which after 25 you do not age and the length of your life is decided by how much “time” (MONEY) you have. To the left you see a shot from the trailer explaining that this system is corrupt and the world has gone wrong. The green text layered over the black background draws you straight to the text and foreshadows what a dark world this place has become.

To the left you can see the “time keepers” this are your corrupt and savage police, they control and monitor the time and make sure the rich stay rich and the poor stay poor, this is more easily monitored through their created time zones each containing a different average life expectancy.

To the right is an example of this , you can see that this is a problem meaning that people have control over life and death. The power that this simple clock holds is to much which makes it an unfair and chaotic system.

To the left you can see the corruption and the economical divide that comes from this type of system ( this would be an interesting concept to use in our trailer but due to budgets and equipment it would not be possible).

Above shows that for the poor one minute is the difference between life and death.

To the right you can see that even though Will Salis is the good guy the system rejects him because he isn’t rich and powerful. He kidnaps the richest mans daughter to prove a point with the hope of blackmailing her father, however the strange twist is that she felt trapped in her old life and helps him break the rules to do what's right.

In Time Trailer Analyse

The grading used in the film is what is expected for this genre; for the poor we have dingy living accommodations and overcrowded buildings, whereas the rich have spacious and extravagant accommodation.

To the left you will see that during the film they break rules in order to help the people who are too poor to help themselves.

Throughout the film the setting that are chosen are perfect to explain what is wrong with the world, the poorest time zone, named the Ghetto, is dirty and crowded whereas the wealthiest time zone named New Greenwich is clean technologically advanced and over the top. For me the line in the film that explains the situation best is from the timekeepers “ you can tell who is the richest around hear, just look for the person eating slowest”

In Time Trailer Analyse

Crime Genre

Lloyd Hughes Guide to

CrimeCrime film originates from Hollywood Gangster films from the silent era (1920s) to

today. It originally reflected the prohibition era (1920s) which lead to criminal gangs racketeering. Each era tends to reflect society’s crime waves or fears (It’s context)

Generic Iconography:

• Themes: ‘Ascension’ killing/Rival killings/The Heist• Characters: Alienated Hero/Buddies/Hit-men/ Henchmen/Bent Cops/Good

Cops/Canaries/Femme Fatales• Mise-en-scene: Tuxedos/Suits/Dark lighting/ Dark rundown sets/High status cars• Sound: Moody Scores/ ‘Wise guy’ language

Above Scarface 1932

Left Scarface 1983

Crime TimelineOriginal Gangster Films: Reflected the prohibition era of the 1920s when real life Mobsters, such as Al Capone, took control of bootlegging through their speakeasies. E.g. The Public Enemy (1931).

30’s 40/50’s 70/80’s60’s 90’s

American Crime

British Crime

Film Noir: Studios copied the 1930s dark lighting and minimal sets and updated the themes to reflect a more sinister side of life including more confused roles for the genders - alienated heroes and femme fatales.

British Noir: Reflecting post war anxieties, British Crime followed Film Noir conventions charting the darker side of civilian life. E.g. Brighton Rock (1947) and The Third Man (1949).

Crime Capers: Reflected the economic and social optimism of the ‘swinging 60s’, with light hearted narratives and ‘loveable rogues’. E.g. Oceans 11 (1960)

British Crime Caper:Mixes comedy with the heist movie using ‘cheeky cockney’ characters of the Ealing Comedy era, romantic European settings and the original ‘cliff-hanger’ ending. The Italian Job (1969)

Gritty Gangster Epic: Reflected the economic depression of 1970s with hard hitting Dons and drug pushing. E.g. The Godfather (1972). Blaxploitation Films: mainly all black casts dealing with issues of racism, drugs and prostitution.

Gritty British Crime: Emerged from the harsh downturn from the late 60s and early 70s. E.g. Get Carter (1971)

Postmodern Crime: Reflects the Postmodern age where society today is overloaded with ideas, Hybrid genres, heavily stylised and blurred representations. E.g. Pulp Fiction (1994),

British Postmodern Gangster: Borrowing ideas from past British Crime iconography, often reflecting the ‘New Laddism’ of the 1990s, E.g. Lock, Stock and Two Smoking Barrels (1998),

The Italian Job Trailer

AnalyseThe remake of the Italian job is itself a pastiche of the 60’s original with one major twist. To the left we see the rich, romantic and affluent setting that we expect, we see below the scouting of their intended target and the high tech machinery that can be used to steal the gold.

However unlike the original the clothes, cars and attitudes have had a 20th centre spin to make them more modern. This makes this film much more appealing to a younger audience.

The film opens with a group of high class criminals being assembled to pull off the heist of their lives in a traditional manor (however they are using cutting edge technology). The props that you see are conventional for this genre; guns, phones, briefcases and high tech explosives.

The atmosphere that this scene creates is intense and puts the audience on the edge of their seats

The Italian Job Trailer

AnalyseTheir methods of procuring the safe are modern but are however predictable and are expected in this type of film, there is a large escape scene through the teaming streets of Venice which is usual for this type of film

The difference is that after the heist has been completed they are betrayed by one of their own, who steals the prize and kills the lead member of the team, this single action fuels the teams revenge which is the main focus of this film.

Throughout the film the lighting is bright which is strange for a crime film normally they are dark and gritty whereas this film opens to a bright and vibrant city, however the film focuses on a more urban setting later in the film.

The Italian Job Trailer

AnalyseAfter a few years the group re-joins still rippling with anger towards their betrayer and they again plan to take it back by whatever means necessary, this incudes a large amount of explosions high tech hacking of the traffic lights causing chaos to cover up their crime and a high speed chase.

Throughout the film the setting that are chosen perfect to we see a busy city, whilst undercover the team is hard at work

However the iconic mini is still present.

Bibliography

• http://www.youtube.com/

• http://www.imdb.com/

• http://www.sociology.org.uk/pcpmod.pdf

• http://media.edusites.co.uk/category/c/postmodern-theory/

• http://www.google.com/imgres?imgurl=http://