Postmodernism: 'The Player'

Postmodernism – ‘The Player’
By Emma Swinfield
(Notes taken from reading ‘Post modernism in the cinema’ by Cristina Degli-Esposti, from Cynthia Baron’s ‘Parody of Hollywood)

• Requires the audience to reconsider existing concepts, with the factual use of how individuals are represented and displayed/treated within Hollywood
• The idea of ‘suture’ – a “subject” is stitched into a chain of ‘dialogue’ and narrative, with the idea that the character realises that they fit into one identity and course, as displayed with Griffin Mill (Tim Robbins) alongside the other celebrities featured within the picture.
• Point of view editing – allows us to follow the celebrity and big boss types, alongside witnessing their views from their perspective through the different layers of communication. Adds to the narrative style, with as they develop their viewpoint, the audience is allowed to follow his perspective. From this, we don’t follow stereotypical, all round perspectives – we wholly focus on “the figure of the absent one”.
• The main character is confused with typical classical-realistic pictures of dealing with society; the expectations of a star’s image taken from the industry is elaborated here again
• The characters are social types, to who have been shaped from their environment and historical circumstances rather than their own upbringing and personal interpretations
• The star’s featured within the film draw attention away from the narrative due to their well known status, rather than highlighting a fictional tone
• Disruption of conventions through identification – the use of A-list stars featured within this film is ambiguous and parodic, due to some playing themselves, others hinting at being stars but fictional, whilst others playing relevant fictional characters all together – adds several layers of communication to the piece.
• Shifting of audience involvement through the variety of editing skills and shots, which adds to intertexuality from ‘epic theatre’ found in Germany in the 1920’s.
• The narrative structure depends upon interruption and digression, with juxtaposed scenes, therefore distorting the narrative through its editing.
• Typical Hollywood conventions as it presents factual events, therefore recognised in the present
• Ambiguous as how the stars are treated – a spoof or a “homage” to the individuals?
• Thought of as a ‘showbiz film’, as appears to focus upon factual events of Hollywood based upon itself rather than represent an original story, represented through a fictional picture. It focuses on ‘the business’ and ‘the strive to make it’, presenting a negative Hollywood image.
• Combination of messages comes across within the film; conflicting opinions, being motivated by greed; hyperbolic use of casting and its mise-en-scene. Highlighted through the overwhelming responses of technology, as shown through communication; phone calls, messaging, faxes, the card messages, etc...
• Underscores the problem with interpretation, as he kills the wrong man but still ‘gets the girl’ – highlights communication can be ambiguous and overwhelming, as well as ironic with the dependency of the audience to interpret the film independently.

Postmodernism: '12 Monkeys'

'12 Monkeys' is a film directed by Terry Gilliam, released in 1995, starring Bruce Willis, Madeleine Stowe, Brad Pitt and Christopher Plummer. It is inspired from the French short film, 'La Jetee' (1962)


• Introduction with modernist technology, through the use of computer digits introducing the story – a distinctive way of piloting the narrative with the use of telling the future in the beginning, rather than broadening the storyline or telling events during the present of the narrative
• Opens with a flashback – distinct through the baroque, as the picture has been edited with high contrast. Follows with a shifting of narrative (metalepse), highlighting a significance
• Idea of this being a dream – distorted, extraordinary with OTT colours through distinct contrast. Questions arise through the previous unexplained event
• Break of narrative to ‘present’, with bleaker colour introduced by man (Bruce Willis) waking up from the opening shot
• Post modern technology highlighted through the suit of man, gadgets helping him, idea of him moving through time through an elevator... highlights transformation of time, as this film is set in 2035: shows how technology has developed
• Social decay and change is established in third setting, as Willis is brought outside into winter settings – could be harsh for humans at this time from possible worsening of global warming, as his suit may emphasize: also, the isolation of the buildings and the randomness of the bears appearance highlights a negative change and scare- adds to interpretation from the audience’s view
• Questioning upon prisoner individuals and to why they are thrown into the outside setting – allows freedom, with conscious interpretations from the viewer.
• Security/organisation – the use of a woman over a loud speaker in a shopping mall has been elaborated through intertextuality, with her now taking overall authority of civilisation, compared to a small shop
• Use of costume makes a group of individuals appear superior, with their lab coats and formal language highlighting they take control. Emphasizes capitalism and how higher status/paid jobs take power
• Interruption of this storyline as we follow a separate area of the film – a woman. Non gender bias? Therefore, audience has to rely on memory from various types of film already from the start (e.g. remember dream to man in prison like area to being taken away to snow area to talking to authority figures to woman discussing a patient) However, audience will hope/aim that stories will interlink and these partial memories will combine the plot together. It highlights multi-voiced storylines
• Repetition in introduction of man, however from her perspective rather than audiences – he appears frightened now however, adding to the sublime storyline
• Ideas of ‘germs in air’ – highlights frightened idea of cleanliness and isolation, adding to previous shots in prison and outdoors
• Skip back in time, with man confused with time period ‘its 1990’- adds to time travel being an introduction, as well as an allocated job. Also, when man steps outside, settings are completely diverse and urban, adding to this dramatic change within years.
• Use of mental institution – stereotypical with the idea of blank white walls and men walking around gormless. Parody with man pretending an individual is in on the job, although deceitful. Also intertextuality with adapting an actual cartoon onto the television
• Adds to isolation when mocking the idea of having a ‘telephone call’ – contributes to the social isolation of mentally challenged individuals, as they are represented here in typical isolation. Brad Pitt almost clings onto isolation, as he thinks he’s on the ‘inside’ of things and forces his knowledge onto Willis, highlighting his need to cling onto society.

Postmodernism: 'Akira Kurusawa's Dreams'

‘Akira Kurusawa’s Dream’s’ (also known as ‘I Saw a Dream like This’ and ‘Such Dreams I Have Dreamed’) was developed in 1990 from personal interpretations of the Japanese director’s own dreams. The film features eight different segments of dreams from different stages of his life, based more upon imagery than dialogue. It was distributed by Warner Brothers, costing twelve million dollars to produce.
It can be difficult to analyse Kurusawa’s films, due to his avoidance of discussion upon their meanings and interpretations. He is avoidant upon talking of his work, only that he notes through categorising these dreams as being ‘a form of art within themselves’, as well as their originally being eleven dreams, shortening to eight, hinting at a non-linear storyline. He also reflects an ‘unconscious process of creation’ through this movie, which compliments his quote feature in Vogue before production: ‘Nothing reveals the creator more than the body of the work itself’.

The segments follow in this order, with additional notes next to them to my references as to why they may be postmodern:

‘Sunshine through the rain’ –
• Study of language/subtitles – due to it being in Japanese
• Sighting of Japanese culture – allows audience to experience part of their civilization, therefore blocking out own and needing to interpret film through this diverse viewing, not one that they are comfortable with
• Reference to title – ‘Sunshine through the rain’ – loner girl standing still in pouring rain, seemingly unaware of harsh weather around her – levels of unreality? Typical small child may be immature in situation
• Unusual reference to ‘foxes’ – animal versus nature?
• Baroque – arty expression through pretty, eccentric Japanese culture
• Significant lingering image of forest between cut, to linger a questioning opening of this film
• Use of heavy fog – fictional elements – retelling of a story, horror-like? Likewise to ‘The Fog’
• Ironic as focuses on memory, although dream may have be interpreted from memory
• Introduction of group act as a religious segment, introducing different religious beliefs within our society. Diverse but common to them – open mind needed and harsh upon atheism?
• Scared child behind a tree – typical stereotype of young being fragile and hopeless in confrontation. Reflects age dominance within society
• Juxtaposition of clean child/previous beauty of scene in reflection to the mud/wet ground that the child steps on. Shows divides within society
• Child would be advised to not travel far from home, therefore the seriousness/formal architecture of the building in juxtaposing of the forest (presumably nearby) adds to individual’s ignorance
• Fox delivers a knife to a child, referring to high crime rates to those who are at a younger age. Akira’s interpretation of mass crime rate at that time reflected into dreams?
• Mother turns back on child – disgrace of some families/parents. Discarding of children and lack of love and support highlighted here
• Imagery of child within a mass, beautiful landscape (bright vagrant flowers, beautiful sky, rainbow, etc...) reflects nature’s superiority over humans and how minute we are in comparison to the world? Although we aim to destroy it by taking its resources. Improved technology of time – highlights Enlightment as boy is forced to find himself. Also differs from audience’s expectations to view a ‘fox’ or corruptive scene, and concludes on magnifying imagery

‘The Peach Orchid’
• Elders dominating the young – boy left aside and not acknowledged. Also feminist hint, at women take control/orders, differing from typical patriarchal society views
• Religious references and confusment, as boy stares at statues bemuses
• More artistic expression – typical Japanese bright reds/purple – adds to obvious culture
• Adds to boy being alone, as singled out in forest
• Sexual hints? Boy chasing girl – maturing, chasing sexual desires? Bell from girl is a warning sign. Multiple endings at introduction of adults - adults dressed up block his way, possibly blocking his maturity at such a young age
• Their costume typical/bright – Japanese culture, although a master shot reveals they’re in a variety of different costume. This could reflect an open state towards different culture/religion throughout the world
• Different dancing could signify the stages of life? Happy music/child at end reveals answers have been completed, answering his scared nature towards death?

‘The Blizzard’

Blurry image – unclear to viewer exact position of storyline – interpretations/post modernist’s main goal of memory dependency needed here. Gasps and sighs of are only noise, also adding to a questioning plot and high level of focus through cognitive. Cinematography main centre of opening, forcing viewer to maintain focus upon screen
• Unknowing as to what is going to happen, relying upon ‘suspension of belief’
• High level of reality, as people experience these phenomena’s daily – adds to a complex viewing upon this being a ‘dream’
• Interruption of speech – shocks viewer
• Desperation from actors – harsh reality of death and pain/suffering from others reflected. Adds to people’s scared attitudes towards death within society.
• Man tackles death from guardian angel – people’s hidden desires towards someone ‘watching over them’ and saving them from death. Adds to fear and need of comfort

• No technology within epic scene – highlights part of a dream’s ‘reality’?
• Caring for others, showing not everyone’s selfish and unreliable. Brighter through this aiming of saviour – also slow paced shot to add to a fictional, unreality element (reminder it’s a dream)

‘The Tunnel’
• Diverse from other dreams – more reality in opening location. Tunnel highlights he’s entering a new world?
• Dog highlights anger/rage within society, juxtaposition from the man’s previous calm mood. Red filter on dog connotes rage – a warning sign towards new situations?
• Long walking scene – forces audience to rely on cognitive and interpret own meanings from previous shot, as well as added tension for the other side of the tunnel? World appears ‘normal’ again on outside of tunnel, but dog reflect al is not what it seems
• Tunnel – signifies death
• Soldier appearing – unexpected. Is of a man visiting from dead – relies upon death again, as he appears to ponder upon it, to almost being confronted. Soldier staring back and into distance highlights his shock/confrontation with death. Man has to persuade him of his death, but he cannot accept. Adds to ignorance and greed in society, as well as how people deal negatively with loss.
• The mass amount of soldiers corresponds with their marching, as almost a summoning to death with beats of boots – heartbeat like. Adds to counting down/nearing to death, depending on interpretation of viewer.
• Level of reality in retelling of a story of soldiers dying at ‘action’ – ‘third platoon’.
• ‘Returning to the world like this proves nothing’ – world not worthy of, people live life then should rest, nothing to come back for, society is destroyed within itself/the world physically...
• When man confronts dog, is now not scared – highlights now he’s confronted death once, he’s not frightened? Dog could highlight a ghost/Lucifer/evil spirits, summoning him – retelling of stories, whether interpreted fictional or not

‘Crows’
• Reality shown through ‘Vincent Van Gogh’ paintings – actual life story of viewing his art? Typical young man, recognisable to all of audience. Factual through real man/ Historical quotes from the man
• Juxtaposition between man and paintings, as they are surreal whilst he highlights reality – therefore ironic as this is moreover a dream.
• Overall baroque of film forms from Gogh
• Postmodern technology highlighted, as cut in of painting reveals reality – painting comes to life. Highlights a trend in technology. Heterotopology formed from this, as the space we live in is drawn out as he falls from it into a painting
• Shifting of narratives from this through a metalepse
• Confusement of settings – old-fashioned but bright (e.g. a worn down house with a yellow cottage in same shot) – a combination of futuristic elements combined with historical
• Levels of concentration needed between language, as varies between English and Japanese
• Ironic – reference from painter to ‘a dream’
• Use of Martin Scorsese as Gogh – adds to aim of cinematic element l
• Use of cut shots of train (‘I drive myself like a locomotive’) moving to highlight his brain fast-forwarding diverse the audience from shot and forces them to value previous elements of plot – interpretations fully allowed here
• Historical element to cutting ear off – reality morphed into dream, which is fictional
• Multi-layered imagining – technology allowing man to morph into paintings and different world – to become one within the paintings, as well as the audience to become one with the film and overall the dream. Meaning of dream revealed as he consumes himself through paintings – possible diverse career from directing?
• Personal dreams highlighted here? As man begins in a gallery, he concludes actually within the paintings, concluding that he has achieved his two dreams – to meet Gogh and be a painter? Or moreover, be Gogh, due to receiving advice from the man? – adds to Kurusawa’s personal admirations towards to painter, therefore in reference to relating to his dreams. Adds that looking at paintings ‘changed the real world for me’, referring to his future career in doing this through film rather than art
• The use of the black crow’s interruption the man’s sight of Gogh may connote interruption of his plans/dreams, which is represented when he falls out of the painting and confronts ‘Wheat field under threatening skies with crows’.
• Pulled back to reality in conclusion, finalising not all dreams come true, but to still believe. Also refers to a symmetrical look on the film, as he puts on his hat on the right side of a painting, then leaves taking it off on the left. This could refer to a learning of respect from his journey.
• Overall, adds to understanding a ‘visual art’ – people assume crows represent Gogh’s fragile, mental state, however has been stated a ’crows flew away, terrified by the report of a gun’ which ‘Vincent had just fired’, going on to ‘feel a failure’. Therefore, the overall direction of the dream lies on not presume interpretation, in reference to over-interpretation of the audience – as noted by Umberto Eco – as may direct in opposite direction compared to intention of the artists work. It shows how limited people’s conceptions can be.

‘Mount Fuji in Red’
• Use of technology, differing from crowded natural scene to explosive volcanoes on green screen
• Historical elements combined with futuristic – real Mountain (tallest in Japan at 3,776m) and last erupted in 1707-1708, although individuals portrayed as recent e.g. new clothes, modernised fences, a car in background etc..
• Could reflect societies needs to conform and mould together – shown as a group, when people usually prefer to individualise
• Apocalypse style – adds to an omen for our future state? A threat/scare to humans, as well as a hint at the death fear references beforehand in previous dreams
• Separation hint – both small-scale and large (within family and throughout society) Nuclear plant blamed as the danger – shows people’s dislike towards it, but could also be a confrontation to the human kind towards their abuse upon the planet.
• Distorted imagery through repetition of fog: carnavilized as worlds fragmented as well as forming a significant image between the space

‘The Weeping Demon’
• Juxtaposition between nuclear bomb and flower – adds to thought processes, as have to use cognitive upon historical events, areas of war, or just interpret own past of this story
• Tension created in repetition of many continually walking – adds to suspicion and forces wonders upon who he is, what he’s doing, what’s happened personally to him, where he’s going, etc.. .Achieves goal of absorbing story fully as viewer adapts into story of why? No answers are given in the opening here
• Assumption of man being hurt in bomb, but in fact ‘I used to be human’ adds to Eco’s theory of ‘over-interpretation’
• Man tells story – ‘long ago...’ could be retelling a fictional historical element
• Adds to how mankind disrupt planet, through flashback of flowers representing its beauty, although now the use of war has disturbed/began to ruined the earth – societal issue
• Watch as fast pace of flowers dying – post modern technology shown within a historical story? Also adds to the fast-paced society issue of the world being harmed
• Use of large flowers – bizarre and unordinary. Twists upon nuclear bombs destroying what also remains on earth, such as humans born with birth defects, for example. The ‘poisonous wastes’ literally changing/exploiting the earth
• An apocalypse reference – ‘it has destroyed our birds, our animals...’, therefore aiming to scare the audience. An omen upon our Earth – perhaps exaggerated through the dream element, but references and similarities similar to those shown in film have been found, so it is overall possible

• Use of ‘horned-devil’: people will develop and change in form, may become the norm? Also possible religious reference to apocalypse, with ‘devils’ ruling earth? Also retelling of God damning us all, in reference to Adam and Eve story, as these individuals all suffer, with references to their horns beginning to hurt.
• Contrast in colour – the reality of this to a puddle reflecting colour – is a reminder of this being a dream, as abnormalities follow around. Colour could symbolise pain to come

‘Village of the Watermills’
• Multi-cultural children, all polite and holding hands, sensible and kind: a wishful society, one that would be full of peace and love. Picking flowers – also symbolises peace
• Man walking alone – why, what’s he doing? Also use of various turn-wheels, may represent an individual’s spinning thoughts whilst going for a simple walk
• Range of ages adds to a range of people within society – from young man to group of young children to an elderly male – highlights peace within ages, rather than bias that sometimes reflects within a disrupted society
• Questioning interpretations over the village having no name – history of the film
• Conversation about societies views – straight forward to audience – differs slightly, but also marks only their opinion, allowing discussion for audience
• Use of tree shot to signify their conversation and allow it to linger in audience’s mind
• Old man telling story – typical convention, therefore not postmodern
• Remembrance clearly highlighted – within people and his ‘love’ highlights memory (ironic for postmodernism) as well as an individual’s strong feelings upon an area, never leaving their grasp
• Ambiguous in time of film – appear old-fashioned through costume and setting, although man re-appears with a bright, neon orange gown on – probably uncommon in past times: adds to the use of historical with present
• Culture gathering together in a parade – highlights the coming together of people, possibly through peace during the previous negative, death-related features of before. Ambiguous however as in a single language, which is unreliable and unknown to some
• Use of coffin is ambiguous – people appear to be celebrating, as shown with their glorious singing and dancing and bright colours, although they carry a coffin, but appear to neglect this. May inflict views upon rather than being pessimistic at the death of a loved one, to indeed glorify upon their life. The deceased may represent the man’s wife who he talks of passing on, as he takes over parade in glee
• The use of symmetry in this represents other areas of the videos, as the man walks along a journey alone, to watching people walk along together in happiness, followed by walking alone by him in end. May reveal – through coffin – people end up alone in finale, although life may be experienced in thoughtful (as man represents) or happy (as parade represents) manners

Postmodernism continued from lesson

• Baudrillard: "there's no such thing as truth"


• Postmodernists claim that in a media-saturated world, the distinction between reality and the media representation of it becomes blurred or even invisible


• Media reality is the new reality


• Jean Baudrillard states that 'hyperreality' is an 'absolute event' (there are no distinctions between reality and its representation, known as SIMULACRUM)


• An 'absolute event' is how we understand through media invention, which we only understand because the media has presented it in a certain way e.g. photographs, maps, disneyland


• Postmodernism is an historical development


• Modernism (late 19th century-20th) toyed with representation of reality e.g. Picasso's paintings were anti-representational


• The 20th century was the new beginning; changes were formed with technology, science, art, literature and the mass media e.g electricity, antibiotics, Great Gatsby, films developing, etc...


• Postmodernists 'remix' representation


• Through pastiche (a copy of something), parody and intertextuality


• Tend to express themselves deliberately - don't pretend to be 'realist'


• Postmodern media rejects that any media product/text than any other


• Focus on merely taste - both low and high cultured


• Anything can be art - culture 'eats' itself


• HIGH CULTURE AND LOW CULTURE: high culture would be arty, non-mainstream film, when focusing upon thought and expression e.g. the theatre, Shakespeare. Low culture follows a wider audience, for the mainstream e.g. rom-coms, musicals


• The distinction between media and reality has collapsed, with a state of simulacrum, now focusing on the images; the images refer to each other representing reality; rather than a pure reality; state of hyper reality; we don't know what is real and what's not

AGAINST POSTMODERNISM:

• The truth are just competing claims - the truth an individuals believes is the 'winning discourse'


• Intertextual and self-referential: don't want to represent reality, but represent media reality

Postmodernism: 'The Matrix'

Directed by the Wachowksi brothers (Andy and Lana), this winner of four Oscars was released on 11th June 1999, following the theme of ‘free your mind’ – relevant for a postmodernist film. Following action, adventure and science-fiction, this movie follows computer Hacker Neo get lured into criminal mischief from being branded a terrorist by the government. He gets taken under Morpheus’ wing – alongside his troop – in order to tackle to ‘real world’ and confront ‘the Matrix’, in order combat the dark hidden secrets of the world. It stars Keanu Reeves, Laurence Fishburne and Carrie-Anne Moss.

• Opens up with use of technology – computer graphics. Theme of film – a story taken from story of a sci-fi narrative?
• Computer graphic shown through morphing of digits into lights – modernist technology versus postmodern technology?
• Opens up the time of the film from this: modern/futuristic?
• Warehouse/gritty building in first shot: juxtaposition between time/shots, as historical resemblance within a modern film
• Police combine with men in suits, who appear business-like and dominant (police ask them for help) – highlights capitalisms control over the classes?
• Clothing – policemen in typical uniform, whilst woman in dominatrix-style bondage cat suit (black, leather) – lures up a futuristic element of clothing with a modern one
• ‘Hyperbolic visibility through construction’: iconic fragmentation through freeze frame/fast forwarding/slow paced shots, added with a mock of technology as the camera pans around this also. Reminder to the audience of the technology elements, especially in reference to the turn of the millennium
• Iconic from this as within an old building, through the flips/freezes, etc... Compared inside a derelict building. Individual dominates building through weapons – opposing of conflict within the world? Overcome with violence however, as shown with weapons and fight scenes. Interpretations are never ending – no core/answers to society or more precisely within the movie? A symbol of mocking show a few frames later with a sign highlighted ‘GUNS’
• Dramatic music – juxtaposition between orchestra music and synchs – combination of movements from centuries?
• Woman slowed down as men follow – shows her beauty/control – women dominate here?
• Flanerio (Friedberg) form of tourism through time – shows change from VCR to DVD – complimented here with old buildings to control of humans alongside special effects
• Remembrance of conversation at start throughout as pondering on storyline – why chase? Importance of women/why she hiding?
• Act of ‘looking’ – old buildings and cops – disturbed by ‘technological effects’
• Old smashed ‘Victorian buildings’ – ironic with guns
• Confusement between time set – appears in past but mise-en-scene states otherwise e.g. telephone box, costumes, lorry, etc...
• Use of computers – interpretation of time – radio/technology with devices around
• Heterotropic film – unsolved events throughout – consuming with questions, as actors don’t allows direct interpretations to audience. Freedom and lingering thoughts achieved here.
• Futuristic clothes – silver/metal/jewellery/high hair, etc...
• Cross-cultural plundering – questions arise as no answers to settings e.g. movement from Victorian houses to large studios to techno discos to underground stations. Retelling through settings? Repetition of settings
• Distorted music matches distorted characters/storyline/settings – adds an ambiguous questioning plot to the story
• Unknowing answers adds to the unknowing plot/characters
• Mobile phone of its time (1999). The use of showing this in slow motion combines technology of its time with that of the future – forceful confrontation of what is to come to the consumer
• Photos and pictures on wall resemble modern buildings – an ambiguous representation for the audience
• The use of CCTV adds to modern times
• Future ‘scare’ through plot of film; group of ‘The Matrix’ searching for individuals and singling them out – crime will toughen in the future? Social underline of a tough issue. Scare of extreme consequences in the future – films aim to tighten crime? Issue highlighted of computer hacking, as Neo introduces through being brought up to ‘The Matrix’ > introduction of computers and possible heightening of this in the ‘90’s, which may have been an omen for the film’s production. Has come true, which Internet Fraud rising considerably yearly.
• Graffiti reflected – a common petty crime
• Vehicles are present but equipment is futuristic/non-existent – juxtaposition?
• Retelling of stories through ‘Alice in Wonderland’ – “you’re wonderland” and ‘Wizard Of Oz’ – “Canzas.” Also representation hint of ‘The Simpson’s’ character, Mr Burns, in Morpheus’ presentation of himself in large posh chair.
• Quotes: ‘world pulled over our eyes to blind you’ and reference to it being a ‘prison’ – society entrapping people. Reference to society at the time, or their prediction?
• Character looks at Morpheus, although we see his reflection through his glasses lens, to which we witness him looking at the audience. Tells his knowledge of the story, witnessed as confused and dazed, during the crucial explanation/decision moment of the film.
• From this, the technology of the time is shown to be developing, as no reflection of the camera’s lens is reflected in Morpheus’ glasses. Digressions from original frame and multi-voiced text, through the distorted editing to force the audience to think.
• Irony of the OTT equipment witnessed inside the derelict building
• His perception of mirror being smashed to not – his realisation emphasized, as well as the time frame supposed for the audience to develop alongside the storyline?
• Use of hospital equipment to monitor Neo – reality
• The gradual use of Neo being gradually consumed by a liquid, as well as the camera (through graphics) slowly morphing into his body and witnessing what is happening internally. Therefore, we witness a wider picture, adding to a more developed perspective compared to just the outside of a being. Also adds to technology gradually progressing

• Use of television screen – looks at audience again – confronts self?
• Use of large bug and tunnel like swimming ride – spot lights on character, followed by a claw, vending-machine grab-like machine process which consumes his entire body (almost like retelling a dream/human game?) has a travelling sense, too (hint of travel in the future?)
• Note that ‘The Matrix’ world is a change from 1999 to 2199 – harsh reality of the future, what corruption and crime will inflict upon our planet, what poverty/wastage of earth’s resources will inflict. From this, Morpheus looks at camera from his perspective, speaking: ‘Welcome to the real world’. Highlights a scare to the audience upon what will happen through time to our Earth – ‘hidden world’
• Graphic match of rusty plate embedded in Neo’s head to a rusty door: reflects the audience’s reality to his perspective of what is now reality for him
• Morpheus in cloak similar to one in George Lucas’ ‘Star Wars’ movies – related storylines?
• White “construct” (their unloading of things through a white canvas/room). Reveals blank minds of viewers as of their feelings, as well as Neo’s feelings upon new area? Also, a replication/interpretation of a computer programme. Allows the audience to develop their own theories/ideas upon this area. Large chairs shown here show synergy of room beforehand, therefore relating to things being similar within society without realisation. A television here reveals what he knows, as well as an ‘actual world’, which could be an omen. Use of A.I. and war reference – more omens. (Also ‘A.I.’ later developed into a film – more storytelling from ‘The Matrix’?)
• Idea of newborns eating the dead – more foreboding references for our future? A threat to mankind, as well as highlighting the young being superior eventually, being aimed at a scare for the adults
• Use of Morpheus’ glasses adds to an ambiguous state, in relation to the plot, due to his lenses covering up his feelings (unreliable?)
• Colour highlights interpretation e.g. lighter/bright in dreams, dark and dreary in ‘reality’, although later on in plot both distort through editing and becomes difficult to distinguish a difference between both
• Prison light in secluded buildings – responsibility of human kind? Or security of the future?
• Multi-cultural and gender in the team opposing ‘The Matrix’ – adds to equality being representative? Whether in future or hidden desires of all
• Corresponding music and image – focuses on distorting of editing per frame – alerts audience from plot, through its concept of style
• Ambiguous levels of communication: no endings, multiple answers
• Use of modern music juxtaposes with previous old-fashioned tones used beforehand
• Freeze frame – visibility being constructed within film – storyline told whilst everyone has to wait – adds to tension through technology (relation to waiting for production of technology/development of that time?)
• Repetition of digits used through computer; refers to opening image. May be a motif/theme of the film?
• Designing humans (woman in red dress) ideas of DNA replica of that time? Can be achieved in future?
• Old newspaper articles throughout (distorting of mise-en-scene) but present pornography
• One use of interruption of plot – bald guy meets up with a member of the opposing team for dinner, which corresponds with his conversation at time with Neo of not enjoying his time against ‘The Matrix’. Hints of bad times to come, as he goes against their system. Use of a flashback compliments the linear-editing achieved so far in filming.
• Relation to the audience – mind machines capture the dreams/thought process of the individuals taking part, likewise to audience. A more personal, subliminal interpretation
• Helicopters (present through air travel)
• The idea of time travel is a form of storytelling and sci-fi imagination
• High modern security base with the guns, adds to a developing present tense
• Violence within society is highlighted throughout, especially in key scenes of the gun battle. Mass amount of guns revealed/bullets, therefore glamorizing it through slow motion/their action packed mood/ music/ outfits, adding to the media being associated with recent high crime rates. Could be a major influence for individuals, adding to problems in future of release?
• Special effects – fire and zooming through elevator. Opens postmodern films – new interpretation for audiences at that time, hinting at space/time
• Heterotopology – use of slow motion is a reminder of space and at the time we live in, drawing us out of our selves
• Train scene – repetition from other films? Fighting on tracks/ getting hit by train, danger from media headlines, etc...
• Typical abandoned grotty, grimy apartment of flats
• Recognition found through hypertexualization, with the opening of up close of computer digits occurring in a cycle by almost ending on these once again – concludes technology will rule, take over? Or is already starting to during that period, with the introduction/development of them exciting IT specialists that they aim to make more models? However, in relation to the plot, the digits are bundled and make no sense, in reference to the story of the film. Therefore, no actual eventful conclusion comes from ‘The Matrix’, concluding a postmodernist view upon certain films. Layers of communication are needed in reference to an individual making an interpretation upon the meaning of the story, as it is free and open. However, over-interpretation should be avoided, as shown with sequels aiming to conclude some unanswered questions.

Postmodernism: 'Blade Runner'

The Ridely Scott picture was also another film I reviewed in also to notice the Postmodern effect it could have. I noticed the following:


• Opens with a retelling of a story – intertexuality - instantly opens up the plot to the viewer and reveals past events. It hints of a parody upon ‘Star Wars’, with the opening credits following a brief summary plot, alongside the letters slowly moving upwards out of sight of the screen. This area also hints at a future tense, with DNA and cloning being achieved through ‘Replicants’, which is a future-inspired idea. This opening tells of this being in the past, so therefore the present of this telling must be delved immensely into the future – combining futuristic ideas/elements in the first area of the film. Therefore, upsetting the mainstream themes and conventions of cinema, through its distorted narrative structure.
• Through the opening, ideas are allowed to be expressed. The use of block white letters on black background may reveal the past events – with what is going to happen in the film – but no images (the cinema’s main aim of producing a story) are revealed, therefore the viewer is allowed time to interpret what these ‘replicants’ and ‘blade runners’ appear like, and what they may do. Also, the time of the story when set is not revealed, adding to an ambiguous state from the viewer. They are, therefore, forced to represent their own elements of the film – more freedom, therefore.
• Two last sentences appear to linger, aiming to force feed this main area of the film into the audience’s mind.
• Whilst a brief moment passes as the audience can interpret their own views – shown through a black background – the date is then revealed: ‘LOS ANGELES NOVEMBER, 2019’ – introducing when the story will start. Automatically, we are thrown into the future
• A master shot reveals the city of LA, with typical dark bleak weather of November at that time, although fire and small bursts of explosions cover the city. This could hint that destruction will happen within the future, or it could relate to the ‘retirement’ of the replicants beforehand. Light covers most of the image, almost blocking out the sky, highlighting postmodern technology with electricity taking over and light being our source, corresponding with the progression of technology of life in the opening. An air craft comes towards the camera and dodges it, relating to people’s desires of flying casually through air in preference of land vehicles such as cars. This film reflects the progression of technology and equipment through the years. Large buildings – covering up over half of the shot vertically – also dominate the shot, adding to capitalism and urban areas dominating
• Use of individual’s eye watching flames could signify how small a human is at that time, in correlation to the progression of technology and these machines – futuristic element in the change of a human’s role?
• Enter large, dominating building – significant. Although blasts with lights and phenomenal in size, correlates present themes, with one building standing out in a city, being an importance to the state/ government, hospitals, etc...
• Present use of individual talking over microphone to indicate instructions, although use of technology in ‘test’ seems phenomena and OTT.
• Label on man’s chair ‘TYRELL CORP’ – highlights his importance. This correlates his costume and superiority in shot. He dresses like a business man/detective, relating to film noir classics. Quite stylish in presence.
• Hospital like, with man in present like robe – thrown into a ‘test’. Dominated by man – typical superiority from state man. An emotional test
• Mise-en-scene – the baroque is metal-like, with boarded metal panels for the walls and dimmed windows, showing enclosure. Like a police interview with large fan-like light above large table, interrupting them
• Man shocks with gun – typical present violence, highlighting it will occur in that day still. Man is allowed gun, which is unusual being allowed to trespass with it. Hints at laws or allowance in that time, although doesn’t correspond with previous tightly-fit laws
• OTT use of technology, with lights covering up shot and huge television. Man talking of speech – shows images/media control along with state? As well as technology and electricity being a high importance
• In street scene, usual weather of rain is shown with umbrellas (no change) and clothing similar to this day, highlight fashion has little change. Shown in Japan, following their customs through food and dress. Main character represented as a average guy in a jacket, reading a newspaper (media inflict largely still to that day, with typical day-to-day parts shown)
• Policeman not typical dressed – more stylish and relies on appearance – could highlight state control all over. Also change in way of arresting, as quite casual
• Police car dominates rest of setting, as futuristic and stylish. Shows force dominate all over – take over money? With civilians left in past as they carry on in our present. Use of gadgets in car is extreme, with monitors and coloured buttons – highlights change. Ford looking around almost uncomfortable shows civilians not used to change.
• Police station varies – huge and waste of space (not being used) so adds to state controlling, although typical present messy police man’s office, with food and junk everywhere – stereotypical.
• Policeman deceives man, forcing him into job, emphasizing force onto him to get what he wants
• Typical film noir representation through viewing room, with bleak, filtered, low-key lighting, typical cigarette/smoke, use of projector screening video, two men having conversation upon a case, etc...
• Futuristic combined in scene above, with information upon each client with their face in detail – in depth information upon each replicants.
• Ironic with use of high-tech futuristic and importance, although a ‘Coca-Cola’ advertisement is still inserted, adding to intertexuality- hint of ‘Flanerio’, of tourism through time (from Friedberg)
• Power relations overall suggest the state (mainly the police) control overall, whilst civilians hide underneath their flying equipment and electricity and aim to live the norm underneath.
• Men dominate, with one woman on ‘blade runner’ side – patriarchal, although hints of dominant females
• Little knowledge of animals – ‘do you like our owl?’ ARTIFICIAL, so reference to extinct animals and produced as replicants instead. Not natural and less normal – may relate to the deforestation and abuse humans were beginning to inflict upon the planet at the time of the film’s release, therefore acting as a warning through power relations.
• Correlated in next scene of how human’s disrupting planet, through the use of constant rain – weather affected dramatically in future?
• Repetition of ‘Coca Cola’ advertisement, highlighting little resources in future from humans, with possible dependency upon certain drinks/foods. Also adds to their layers of communication, with the media being the main way of attracting the consumer
• Film noir references repeated throughout with low key lighting, outfits of hats/formal coats, detective like cases (e.g. torch), the blinds blocking out light, but ironic how contrasts with outside with dominant bright lights – could be a layer of pretend from outside. Woman could represent the dominant femme fatale character
• Blonde man follows eighties style, near release, with peroxide air and leather-like cape – follows style of the present of its release
• Contrast in imagery, with present bicycles with innocent children riding together, with a hint of crime with burning flames over writing. May represent graffiti and vandalism of the period, whilst individuals just carry on without looking, hinting of some references to this present day
• Change of setting with ice room – like an Inuit – although indoors. Experiments in doors with reliance on weather hint at a sci-fi theme, adding further genres to film
• Multi-cultural, with Americans/English individuals corresponding together within a Japanese society, although struggles upon their language, adding to barriers still inflicted culturally in the future.


• Contrast from present tunnel to decaying, urban area – highlights the present deteriorating
• Unusual idea of a flat/apartment – Egyptian-like stone walls in criss-cross shapes; with low key un-homely characteristics, although Mise-en-scene is typical, with draws, books and chair/TV hinting at a home.
• Use of metalepse , with multi-voiced storyline, as we cross from Harrison Ford to two ‘baddy’ males who appear to be corrupting violence/disruption
• Memories from character through photographs combine with reliance of memory to follow bizarre storyline from viewer
• Woman shown with punk-like clothes, indicating those from the 80’s era – a present feature from that time. Could reflect individuals are quite open with clothing during then, still taking pieces from the past.
• Bin man has progressed although conventions still follow, with grubby clothes/bin bags/slow yellow van cleaning streets. However, car is modernised and he has a rubber hat, hinting at jobs progressing through the eras
• Midget-like servants with bizarre voices – ‘they’re my friends I made them’ – in a casual tone, thought as the norm during that time. Casual/taking advantage of life, but highlights progression/development within the future
• Use of Ford’s dream eccentric/bizarre, as appears like the present with a forest like setting, although a mystical character – Unicorn – runs through. Highlights his exasperated imagination during the entrapped period, with how he can’t separate reality from the bizarre. Could show his inspirations/dreams, or just how he remembers the past
• Technology progressed as he talks to a machine to instruct it, rather than relying/inspecting a scene/computer himself. Shows amazing development of technology. Combination of communication with photography, a computer and a printer
• Animal has code – structured and precise, although organised and demanding
• Women dancing in window in underwear – typical seductive, porn-like. However, they are wearing masks, adding to a robotic, unusual portrayal
• Dress at party bizarre, with eccentric but formal dress, with fancy dress costumes. A combination of fashion through time has been achieved through combining both pieces
• Communication progressed, with the constant use of calls to others through video calls,, adding to postmodern ‘cyber’ technology
• Contrast in only animals represented – from owls to snakes – both positive in appearance but repel in nature. Hint of fake snake again – ‘can’t afford a real snake’ – animals precious and rare then, as hinted with the owl beforehand, so therefore fakes are produced
• At this time, the indoors are mystical, as represented with the Indian music and decor. Contrasts from outside and other settings
• Man versus female – Ford chasing her, almost dominant as she gets away and punches him, etc... Man over rules in finale, however, by shooting and killing her.
• Snow weather – contrasts from sunny morning/rain – people’s clothing doesn’t suit for a harsh winter. Adds to pathetic fallacy, but also the punishment upon earth
• Menacing/extreme criminals found in robotic people of the future – highlights a scare or possible phenomena to come, acting as a warning to prevent such things.
• Guns still most used weapon
• Use of piano – historical element passed down generations in films to being played. Also later on with the use of chess
• Sexual elements, with camera focusing on woman for long periods of time, with Harrison taking advantage and forcing himself on her. Although romantic, a bit forceful, with man dominating through sex
• Bizarre make-up thought of as the norm, with extremes. Shows further progressions with fashion. Adds to bizarre scene, with strange ornaments inside a metal room, with the unusual servants
• Hint of abandonment if ‘can’t pass the medical’ – therefore, have to fit into a certain set within society, to then fit in overall and become one with society – unfair and secluded
• People categorized with codes and numbers
• Man affected by outside world, with cells ageing too early – corruption of world inflicts this
• Scientific experiments/discoveries still occurring – therefore scientists still aiming for answers and needs from life
• Horror element in ‘replicant’ attacking man and killing him, with the combination of dramatic choir like music combined with abuse/blood, making this death seem unholy
• Grime-like streets, with little combined with rain adding to a ‘social decay’. Adds to small people throwing abuse and objects around, with attacking Ford’s car – compliments each other
• Huge, epic building left for the gutter – waste of space, although could be ideal. Adds to the waste society throws behind, combining with the space, people, food, etc... Relates to outside, with the ‘social decay’ theme. Forgotten
• Horror/sci-fi elements combined with the robotic replicant screaming and bleeding/crying, adding to scare but shock, in an impressive technological sense
• Highlights the damage of making the replicates, as they here become violent, as well as the hint beforehand of them developing emotions, as shown with the male crying over the death of the female – which adds to their human characteristics, which could inflict Ford abusing murder. However, he has been assigned, showing his occupation is more important and overtakes the deed. The replicant is obviously emotionally fragile, as uses hand to block its emotions and actions – as shown beforehand through a flash back of a clenched hand. Shows the danger of replicating a human, as they cannot control themselves
• Criminal action like, as Ford climbs building through escape, while argue headlights repeatedly follow his movements. Replicant is scary, as uses rhymes – similar to ‘Nightmare on Elm Street’, hinting at intertextuality – as well as appearing crazed, like a mad-man murderer, adding to further plot twists. Has a game of cat and mouse, as they follow each other to catch each person
• Dramatic as Ford almost falls off building – intertexutality/similarities found from ‘Vertigo’
• Single bird adds to lonesome animals, corresponding with the lonesome, suicidal replicant.
• Communication found between viewer and character, as he points gun at camera – almost self-referential, but lures the viewer into interpretations and an interruption. Ambiguous as the main character almost communicates with the viewer
• Leaves the viewer guessing at the end, as they have to rely on remembrance from a small shot previously found in the film for the narrative to set in place. However, key characters continue to move on through their missions, adding to the need of cognitive reliance, focusing on the details and the freedom with interpretation through the use of possible multiple endings.

Postmodernism: 'Pulp Fiction'

After viewing the Quentin Tarinto picture, I noted several points towards how 'Pulp Fiction' could be a postmodern picture:

• Interpretation of conversation at start – ponder on why the average couple decide to rob a cafe – stereotypes inflicted upon. Levels of reality are not always known
• Multi-cultural race – two police officers. Shows a variation within the police force – no discrimination between them. However, stereotypes upon their conversation – focuses on food (‘burger’) rather than their jobs, not keeping eyes on the road, etc... They also get personal/provoke their victims, which may be an exaggeration through the media of the poor crime rate, resolved from the police force’s poor job style.
• Hypertextualization highlighted here – constantly jumps from one storyline to the next, skipping back to previously viewed ones and answering questions as they coincide. From this postmodern film, the audience have to rely on their memory to follow the storyline, highlighting several layers of communication. This film is ‘carnivalized’ cinema, due to the worlds/narratives being fragmented. Lays upon postmodernism’s obsession with memory
• Multiculturalism – different interpretations from this narrative style
• A heteroptic film – unexplained events render and characters morph: unsolved problems through transference of memory/personality
• Multi-voiced texts/voices throughout
• Combination of text to highlight story with images – text ‘metalepses’ to give a pace between previous scene and set in viewers mind. A blank image presents this.
• One of characters looks at camera, which hints at the future of technology, in reference to film. Although this has been achieved to appear from a character’s perspective (as shown with their hand appearing to delve out of camera, showing this is from them) it is still somewhat ambiguous and questioning, considering the postmodern title correlating the confusement of the character during the particular scene.
• Typical big, black, gangster guy – has control in scene. Typical (as labelled in film) “Big man” image
• Girls reflected as ‘punks’, with various tattoos and piercings, to which they discuss. May be sex appeal of 80’s, distorting the time to the present? However, highlights a social topic as they ask policeman his opinion upon piercing and he answers in a disgusted/confused manner, therefore inflicting a man versus woman, gender perspective or both that time, or the past, and still to this day, hinting at a patriarchal society
• Irony highlighted in policeman buying drugs, being casual and acting friendly with a drug dealer, hinting he’s done this frequently. This goes against norms of society, as police are made to battle crime – not to get involved within it. Although he learns the twist of the trade, he still goes along with it, adding to his deviant attitude. Even a hint at sleeping with a prostitute follows, which he allows to pass. Adds to possible look on the police system – Tarinto’s personal opinion, highlighted through baroque? We follow him driving afterwards, adding to further crime
• The following driving scene is shown in a non-linear, shot reverse shot format, adding to rebellion against film conventions
• Policeman then goes on to visit prostitute/lover and takes drugs/she takes drugs
• Multiple interpretations from characters as we witness their worlds e.g. Uma Thurman in surveillance room watching John Travolta whilst he ponders around. Highlights how individuals all view things differently
• Ironic with non-diegetic music in background – ‘Preacher’ lyrics whilst they commit felonies of drug taking and prostitution
• Old-fashioned look of man (earring, long hair, contrasting with his posh suit) hippies
• Use of animation (a box shape when she refers to a square) –contrasts from 80’s use of computers, good for its time – graphics are the future? An introduction as they walk into the historical/future elements of the ambiguous diner in the next scene
• The diner – in relation to baroque, it is bizarre but very postmodern. Old fashioned music combined with futuristic elements, which hints at multiple endings e.g. large phallic sculptured furniture, technological gadgets/game for fun, a car booth to eat food inside, etc... Adds a confusement over the theme of the setting: an oxymoron as illustrates both the past, present and future
• Fictional elements with use of Marilyn Monroe and reference to Buddy Holly – the references to famous people shows a storytelling way
• Problem of drug use in public bathrooms – a possible arising problem then and still happens in clubs now
• Stereotypes of homosexuals over ‘foot massage’: conversation in beginning and policeman refers to it again here, therefore adding to an irritation in his mind, showing his embarrassment from this accusation. Possible sub-consciously gay, or frightened of label within aggressive terms of the status in society.
• Parallel editing shows different perspectives – focus on memory
• Black again to show a gap in time (hypertextulization to show interruption)
• Characters voice heard – shows/tells storyline
• Policeman involved in speeding, drug overdose: ironic, as he then depends on drug dealer, showing contrast in whose in control here. Almost a parody, as they are made to take revenge upon outcome of what they do to victims.

Postmodernism: 'Un Chien Andalou'

This surrealist picture is known as the best developed avant-garde film of the 1920’s (referring to people who work experimentally towards art, culture and politics in a respectful manner), which represents a ‘pushing of the boundaries’ against the expectations of the conventions, norms and status quo. It is 16 minutes surrealistic silent film, released in France in 1929. Spanish director Luis Bureal and artist Salvador Dali produced the film. ‘Un Chien Andalou’ was banned for eight months in Paris due to its graphic imagery, although it is now well respected. It is in respect regarded as modernism, with distinct values of postmodernism.
I noted some postmodern aspects throughout the film, being extreme from this time as it was in the early developments of film, adding to its dramatic acknowledgment of its day – and to this day, too. After watching it, I made various notes upon the film:







• Silent film – forces watcher to imagine – aim to interpret own meanings through sound – freedom in imagination
• The use of ‘Once upon a time…’ in the opening, adds to storytelling
• Film noir – important man, black and white shaded. Noir before its time
• Man alone – singled out – a theme?
• Shot goes to moon – aims for viewer to highlight what’s happened so far – man looks at moon, which parallels this
• Close-up of woman’s eye. Shows it being slit. Moon interrupts as shot-reverse-shot to provoke shock and meaning/thought upon this – now a clouded moon – adds to things being unclear? Both at time/in story
• Follows on with ‘Eight years later…’ which continues the story and adds to thought process
• More modern – stylish buildings and cyclist – day time/contrast in colour, which represents mood? Light could mean change, within the time and from dark places?
• Shaky camera – perspective uneasy. Follows man cycling from front, as he is shaky and uneasy as he rides. An omen for the story. Cut to him from behind, adding to varied perspectives
• Now see modern buildings, a contrast?
• Effects of bugs on hand – covering him. A dirty motif, adding to his soon personality and feelings. Grotesque person or surroundings?
• Graphic match from this to a bruised armpit, which would be noticed at this time due to the noticeable effect of that time. Can acknowledge the technology functions – postmodern? Also an unusual inserted image, which adds to questions? Could be nostalgic, as a flashback. Forces a recognition between shots, too
• Individuals playing with a bloody hand in the street. Highlights people’s relationship with crime at that time – not a big deal or a scare so they neglect it? Or could reflect people’s future perspectives on crime, and how people show no affection towards crime? Historical element?
• The use of fast-paced, quick edits shows a speeded pace of time. Transfer of time before eyes – made to make the audience interpret how fast reality goes – time travels by past? To saviour their lives. However, could also be drastic for what is to come – a skip in time to a large change then means audience have to value what has happened, and take in own account of what has happened within time gap
• Unknowing what they say through speech – adds to imagination – focuses on facial emotions/physical movement and actions
• Ambiguous storyline – no answers as to what’s happening/why – ponders
• Man attempts rape – male gaze stressed. This adds to male dominance with a patriarchal society, although ads to assumptions that all men perform rape, or will over time become sexually dominant (as time gap has progressed). Man tackles to control woman – through ropes – ads to self-conscious attitudes of men. Psychological issues, as they have physical needs versus own reaction.
• His determination shown as he draws closer, pulling objects as well as bizarrely other man. Could reflect assumptions of all men being sexual predators, although the main core of their facial reactions hint otherwise, as they seem perplexed and scared – highlights to not make assumptions
• Lack of protection – no police around. May relate to lack of security over society
• Image of dead animal adds to the baroque of the scene. A sign/corruption of animal cruelty
• Women trapped in corner – highlights they’re trapped within society? Also use of girl being blurred shows their inferior position.
• Man ill in bed – outcome of attack. Highlights mental diseases – paranoia?
• Comparison of classes highlighted as feeble, lower man in bed appears scared in reflection to a business man. Added as man shakes him and appears annoyed, possibly capitalism’s need for more workers – higher status?
• Male looks at camera- his interpretation to the audience. Lures out audience to this being a film, and back into reality, although as film continues they draw back into the distorted storyline
• Unreliable and ambiguous storyline, due to the constant skips in time – again ’16 years ago…’ shows a storytelling, retrospect touch
• Shows help in communication as the camera follows the falling man to the ground – adds an understanding to the story
• Woman is reminded through flashbacks of harsh past (e.g. repetition of bruised armpit, concludes the meaning) – this allows the audience to put together their own interpretation, although the film doesn’t go into extreme details. Hypertextualization from this, as jumps around in story line.
• An answer is given in finale, although not fully. The woman is shown to be happy, with a new man. This differs from postmodernism as answers are fully given, although a massive gap of the story has been distorted due to the man being left out. There are no answers behind his life line nowadays. Therefore, once the film finishes, it aims to leave the audience pondering over what has happened. They can establish their own ending for the man’s outcome. This stems from Freud’s associate – Josef Brewer’s – theory, which states ‘no censor of thoughts, just an allowance for the patient to unconsciously learn.’

Terms in relation to postmodernism

As follows are a range of words with their definitions following, to which should be useful for my postmodernism work I will be involved with later on throughout the year.

Ironic – This word comes from the Ancient Greek, meaning hypocrisy, deception or fake ignorance. It is used through words or actions, usually in a literacy technique or rhetorical device, going against the most obvious of phrases. It is usually used as an intentional emphasis upon the truth, through a deliberate action of a direct opposite meaning within language (through a simile or sarcasm, for example). It is usually emphasized drastically and on purpose.

Nostalgic – This term is in relation to the past, yearning for it in an idealized form. From Greek compounds, it refers to ‘returning home’, ‘pain’ or ‘ache’. A general interest is found from it through past eras, personalities and events, usually triggered through memory, a remembrance or childhood. It is formed from the Early Modern period through medical conditions, and has been translated into Romantic topics.

Narrative Style – This forms from the narrator of any literacy work, play, verbal account, etceteras, and how they interpret and produce their work. They develop their viewpoint through their ‘style’, which may be recognisable through a series of their work e.g. a certain camera shot being frequently used within different movies from the same director. They are responsible for the storytelling of the plot, from their own inhabitation of the real world, which the reader will refer to and interpret in their own form, as theirs too is different.

Intertextuality – This is the shaping of a texts meaning through or by other texts: storytelling. The author may borrow or transform a previous text, and refer to it within their own, or perhaps develop this previous text into their own personal interpretation or possibly through a parody. The term has been borrowed and coined various times since its introduction in 1966 by poststructuralist Julia Kristeva, although now – as William Irwin states – it has ‘many meanings to the user’, simply from those ‘faithful’ to the introduction of the term to those who now acknowledge the definition in a ‘stylish way’.

Parody – This is also known as a ‘send-up’, ‘lampoons’ or ‘spoof’. It is in aim to mock, comment on or makes fun of an original work, as well as the subject, author or the style of the work that they display. It is usually portrayed in a humorous, satiric or ironic way, which can be implied in seeing others making a mistake of the original, genuine article.

Self-referentiality – When a sentence or a formula refers to itself – either directly, through an immediate formula or through encoding, sometimes through paradoxical behaviour. In relation to philosophy, an individual may refer or speak to themselves, expressing the story through first person. It is studied in various forms, such as within mathematics, philosophy, computer programming and linguistics.

Postmodernism in film

Postmodernist film follows the idea of using postmodernism as a process through the cinematic medium. This type of film is aimed to upset the mainstream conventions, with their narrative structure and characteristics. They dispute against the audience’s ‘suspension of belief’, therefore through the use of non-realistic elements; the viewer would not make assumptions or judge the picture upon stereotypical genre’s of the film. Its main aims are of stirring questions, interpretations, remembrance and representation.

I read the book above - 'Postmodernism in Cinema' - which helped with my understanding towards this whole topic. It helped me to understand the theory in depth, as well as allow myself to relate postmodernism to films, therefore helping contribute towards my understanding of the topic for the eventful year.

Jean Baudrillard

• Jean Baudrillard was born on the 27th July 1929 in Reims on the northeastern coast of France, developing into a French sociologist, philosopher, cultural theorist, political commentator and a photographer. This work gave him a high status, due to it being widely developed and acknowledged within the medium of postmodernism and post-structuralism
• During high school, he became absorbed within pataphysics, which is a combination of metaphysicis (nature and being of the world), referring to nonsensical language, meaning a written text that is written or spoken in human language but lacks any coherent meaning. It is thought that these early studies relate to his later thoughts.
• He later went on to become a teacher of the German language and literature, which was transferred into sociology, referring to his most known book, ‘Le Système des objets’, meaning ‘The System of Objects’.
• His theories may relate to his travels, which include many to the USA, and in 1973, to Japan (Kyoto). Whilst here, he was gave his first camera, which led to his famous photography.
• In 1986, he moved to IRIS (Institut de Recherche et d'Information Socio-Économique) at the Université de Paris-IX Dauphine, where he spent the majority of his teaching career. Through this, he moved away from sociology, in order to discipline himself – in a ‘classical’ form. He then went on to teach full time.
• He continued to write books during the 1980s and 90s – published in both French and English - which gained a wider audience, contributing to his popularity, almost earning the status of ‘intellectual celebrity’ in his final years.
• His best work was known for analyzing mediation and technological communication, as he was a social theorist. He covered a variety of topics through his writing, such as the effects of social changes, consumerism, gender relations, social understanding towards history, journalistic commentaries (AIDS and cloning, for example), and world-wide disasters, such as the Gulf War and the attack upon the World Trade Center - for example, he thought these global phenomenons did not happen, even calling the World Trade Centre a 'dark fantasy'. From this, we can relate this to film, with the use of editing being exposed into the media to reflect what we are 'told' what happened, in comparison to actually experiencing the problem. Therefore, these events could not have actually happened unless we experienced them personally.

• His work inspired many post-structuralism followers, as his work combines philosophy with sociology. His theories followed similarities alongside theirs, such as the meaning behind something brought systems of signs working together. For example, Baudrillard believed a word – such as ‘dog’ – can be argued to relate to the absence of the word, such as not just what it says, but what it does not say – e.g. ‘cat’ – as objects, images, words and signs are ‘situated in a web of meaning.’ For example, we can only understand one word’s meaning through its relation to the meaning of other objects. Therefore, if things were not seen, they did not happen.
• From this, he could construct broad theories upon human society, with images always relating/searching for other meanings. Therefore, there is not a total understanding of our world, and therefore part of it always remains elusive. ‘Formations of knowledge, therefore, only emerge from the result of its relations to power’. From this, Baudrillard developed theories that searching for total knowledge lead to an inevitable delusion. Therefore, understandings try to be solved, but relations to the understand need to be overcome firstly, therefore producing an unsolved web of desirable yet impossible results.
• He concludes that a complete understanding of human life is impossible. When individuals think otherwise, they become involved in a “simulated” version of reality, relating to “hyper reality” – not an unreal world, but a fast-paced society that force a logical picture, although add to a pressured, insecure society, making reality ‘die out’.
• He notes in the late 20th century, the world is far more petrified, disclosing Marxists and liberal followers, with the smallest event now being emphasized as something dramatic: adding to Marshall McLuhan’s “global village” phrase. As the ‘globe’ now focuses on the exchange or merchandise, blindness highlights symbolic acts such as terrorism, adding to this scare. He believes that consumption – therefore greed – is what drives the capitalist society, differing from Marx’s theory upon production being the thrive. Contributing to this, he notes that – likewise to Francis Fukuyama – history has ended or ‘vanished’ due to the spread of globalization, adding that this could be the collapse of the idea of historical progress.
• Baudrillard died on March 6th 2007, aged 77, in Paris, France. His ideas and expressions have been noted within postmodernism history.

Postmodernism

Postmodernism

• Postmodernism is a trend within culture, which is characterized by rejecting both objective truth (a central category of decisions made by an individual, know as ‘mind-independent’ - unconsciously) and global cultural narrative (a comprehensive explanation upon historical experiences or knowledge, such as telling a story within a story).


• Postmodernism highlights both language and power relations, such as emphasizing topical subjects such as: male versus female; straight versus gay; white versus black and imperial (unequal economic, cultural and territorial relationships between countries, usually between lower class and dominant empires) versus colonial (a colony or group of people/group of people colonizing an area/taking control as a metropolis/upper class taking control over lower class in same area). Postmodernism has influence many, such as literal criticism, sociology and the visual arts. It comes from the rejection of ‘Modern’, with progression towards Enlightment (wisdom/religious/spiritual).
  
• There is far more freedom within postmodern films, as they allow the interpreter to judge the outcome of the film consciously. Usually typical conventions can be found within these films, such as oxymoron’s; retelling stories; levels of reality and unreality, with quantities of info, fictional elements and a combination of actual footage; requires high levels of cognitive concentration; the allowance of open interpretations; own iconic fragmentation; hyper textualization – interruption of one storyline to another; baroque (artistic expression); infinite and multiple endings, and they focus on details and fragments within frames.


• They have several layers of communication; it involves modernist technology versus postmodern ‘cyber technology’; the use of heterotopology – the space we live in is highlighted which draws us out of our self, with unexplained events being highlighted as characters metamorphose; carnavalized cinema, where the worlds are divided and narratives fragmented; the shifting of narratives through ‘metalepses’, highlighting multi-voiced storylines; images become the significant space between frames to highlight the narrative; images double and juxtapose; the outcome ‘Flanerio’, created by Friedberg which is a form of tourism through time; an historical style with futuristic elements; anamnesis – the use of dissociated and partial memories combined; perplexed editing to distort storytelling; metaleptic – multi-layered imaging; historiographical (the retelling of the past) and an obsession with memory, known as the ‘pleasure of repetition’.