Postmodern

Postmodernism theories and texts

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Are we living in a postmodern world?

We frequently hear it said that ‘we are living in a postmodern world.’ Are we? How do we know? And how is postmodernism as a theoretical perspective applicable to Media Studies?

Where do we start? How about some definitions? George Ritzer (1996) suggested that postmodernism usually refers to a cultural movement – postmodernist cultural products such as architecture, art, music, films, TV, adverts etc.

 Ritzer also suggested that postmodern culture is signified by the following:

• The breakdown of the distinction between high culture and mass culture. Think: drama about Dame Margot Fonteyn, a famous prima ballerina, on BBC4.

• The breakdown of barriers between genres and styles. Think: Shaun of the Dead a rom-com-zom.

• Mixing up of time, space and narrative. Think Pulp Fiction or The Mighty Boosh.

• Emphasis on style rather than content. Think: Girls Aloud.

• The blurring of the distinction between representation and reality. Think, Katie Price or Celebrity Big Brother.

The French theorist Baudrillard argues that contemporary society increasingly reflects the media; that the surface image becomes increasingly difficult to distinguish from the reality. Think about all the times you have heard an actor on a soap-opera say, that when they are out and about, people refer to them by their character’s name. Look at The Sun’s website and search stories on Nicholas Hoult when he was in Skins: he is predominantly written about as though he is ‘Tony’, his character in Skins.

Key terms

Among all the theoretical writing on postmodernism (and you might like to look up George Ritzer, Jean Baudrillard, Jean-Francois Lyotard, Frederic Jameson and Dominic Strinati), there are a few key terms that you’ll find it useful to know. These terms can form the basis of analysis when looking at a text from a postmodern perspective:

• intertextuality – one media text referring to another

• parody – mocking something in an original way

• pastiche – a stylistic mask, a form of self-conscious imitation

• homage – imitation from a respectful standpoint

• bricolage – mixing up and using different genres and styles

• simulacra – simulations or copies that are replacing ‘real’ artefacts

• hyperreality – a situation where images cease to be rooted in reality

• fragmentation – used frequently to describe most aspects of society, often in relation to identity
 
This article first appeared in MediaMagazine 32, April 2010.

 

Bricolage: The 2 Bears-Church

The video for The 2 Bears track Church utilises clips from the Care Bears cartoons. The Care Bears were a 1980s phenomenon, particularly popular with young girls. The 2 Bears are a London-based musical duo formed in 2009 composed of Joe Goddard (of electronic band Hot Chip) and Raf Rundell. The duo produces original material amalgamating various styles including 2-step, house, hip-hop and soul and also host a radio show on Ministry of Sound Radio entitled "Follow the Bears

Moe talks about postmodernism

 

Mitchell & Webb Nazis

 

Family Guy - Hitler and Eva

 

Shaft is a 1971 American blaxploitation film directed by Gordon Parks, released by Metro-Goldwyn-Mayer. An action film with elements of film noir, Shaft tells the story of a black private detective, John Shaft, who travels through Harlem and to the Italian mob neighborhoods in order to find the missing daughter of a black mobster. It stars Richard Roundtree as Shaft, Moses Gunn as Bumpy Jonas, Charles Cioffi as Lt. Vic Androzzi, Christopher St. John as Ben Buford, and Gwenn Mitchell and Lawrence Pressman in smaller roles. The movie was adapted by Ernest Tidyman and John D. F. Black from Tidyman's 1971 novel of the same name.

The Shaft soundtrack album, recorded by Isaac Hayes, was also a success, winning a Grammy Award for Best Original Score; the "Theme from Shaft" won the Academy Award for Best Original Song and has appeared on multiple Top 100 lists, including AFI's 100 Years…100 Songs.

In 2000, Shaft, widely considered a prime example of the blaxploitation genre, was selected for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."

 

The Good The Bad And The Ugly (1966) finale

Click on image for the final scene from Sergio Leone's Classic Spaghetti Western from 1966.

The Good, the Bad and the Ugly (Italian: Il buono, il brutto, il cattivo) is a 1966 Italian/Spanish epic spaghetti western film directed by Sergio Leone, starring Clint Eastwood, Lee Van Cleef, and Eli Wallach in the title roles. The screenplay was written by Age & Scarpelli, Luciano Vincenzoni and Leone, based on a story by Vincenzoni and Leone. Director of photography Tonino Delli Colli, was responsible for the film's sweeping widescreen cinematography and Ennio Morricone composed the famous film score, including its main theme. It is the third and final film in the Dollars Trilogy following A Fistful of Dollars (1964) and For a Few Dollars More (1965). The plot revolves around three gunslingers competing to find a fortune in buried Confederate gold amid the violent chaos of gunfights, hangings, American Civil War battles and prison camps.

John Fiske - Genre - "Like Something Out Of A Movie"

.: Fiske - Genre - "Like Something Out Of A Movie"

 

René Magritte-Ceci n'est pas une pipe

Magritte's work frequently displays a juxtaposition of ordinary objects in an unusual context, giving new meanings to familiar things. The representational use of objects as other than what they seem is typified in his painting, The Treachery of Images (La trahison des images), which shows a pipe that looks as though it is a model for a tobacco store advertisement. Magritte painted below the pipe "This is not a pipe" (Ceci n'est pas une pipe), which seems a contradiction, but is actually true: the painting is not a pipe, it is an image of a pipe. It does not "satisfy emotionally"—when Magritte once was asked about this image, he replied that of course it was not a pipe, just try to fill it with tobacco.

 

Postmodern film

Postmodernist film describes the articulation of ideas of postmodernism through the cinematic medium. Postmodernist film upsets the mainstream conventions of narrative structure and characterization and destroys (or, at least, toys with) the audience's suspension of disbelief to create a work in which a less-recognizable internal logic forms the film's means of expression.

 

Postmodernism-another definition

"A general explanation is that postmodernism is a contradiction in terms, as post means after and modern means now, it is impossible for anything to be after now. The term itself is supposed to be deliberately unexplainable.

In terms of literature and media it is generally considered to be anything which makes little attempt to hide the fact that it is not real, it wants you to know that its been created and it wants you to recognise elements from elsewhere (i.e. that they have 'stolen' ideas from other sources), that there are no new or original ideas and that everything is in someway connected. Importantly it doesn’t want you to view it as being any more or less valid or important than a text which pretends to be real, postmodernists want everything to be equal, they want to remove binary opposites and start again. Students are often criticised for being post modern as they tend to like 'naff' things and think they are cool precisely because they aren't cool (thus removing binary opposites)"

Michael Smith (2009)

 

Postmodernism-a definition

Postmodern texts deliberately play with meaning. They are designed to be read by a literate (ie experienced in other texts) audience and will exhibit many traits of intertextuality. Many texts openly acknowledge that, given the diversity in today's audiences, they can have no preferred reading (check out your Reception Theory) and present a whole range of oppositional readings simultaneously. Many of the sophisticated visual puns used by advertising can be described as postmodern. Postmodern texts will employ a range of referential techniques such as bricolage, and will use images and ideas in a way that is entirely alien to their original function (eg using footage of Nazi war crimes in a pop video).

 

Hyperreality examples

1.A magazine photo of a model that has been touched up with a computer.

2.Films in which characters and settings are either digitally enhanced or created entirely from CGI (e.g.: 300, where the entire film was shot in front of a blue/green screen, with all settings super-imposed).


3.A well manicured garden (nature as hyperreal).

4.Any massively promoted versions of historical or present "facts" (e.g. "General Ignorance" from QI, where the questions have seemingly obvious answers, which are actually wrong).


5.Professional sports athletes as super, invincible versions of the human beings.

6.Many world cities and places which did not evolve as functional places with some basis in reality, as if they were creatio ex nihilo (literally 'creation out of nothing'): Disney World; Dubai; Celebration, Florida; and Las Vegas.


7.TV and film in general (especially "reality" TV), due to its creation of a world of fantasy and its dependence that the viewer will engage with these fantasy worlds. The current trend is to glamorize the mundane using histrionics.

8.A retail store that looks completely stocked and perfect due to facing, creating a world of endless identical products.


9.A life which cannot be (e.g. the perfect facsimile of a celebrity's invented persona).

10.A high end sex doll used as a simulacrum of a bodily or psychologically unattainable partner.


11.A newly made building or item designed to look old, or to recreate or reproduce an older artifact, by simulating the feel of age or aging.

12.Constructed languages (such as E-Prime) or "reconstructed" extinct dialects.


13.Second Life The distinction becomes blurred when it becomes the platform for RL (Real Life) courses and conferences, Alcoholics Anonymous meetings or leads to real world interactions behind the scenes.

14.Weak virtual reality which is greater than any possible simulation of physical reality.

Taken from Wikipedia.

Hyperreality

Hyperreality is used in semiotics and postmodern philosophy to describe a hypothetical inability of consciousness to distinguish reality from fantasy, especially in technologically advanced postmodern cultures. Hyperreality is a means to characterize the way consciousness defines what is actually "real" in a world where a multitude of media can radically shape and filter an original event or experience. Some famous theorists of hyperreality include Jean Baudrillard, Albert Borgmann, Daniel Boorstin, and Umberto Eco.

Most aspects of hyperreality can be thought of as "reality by proxy." Some examples are simpler: the McDonald's "M" arches create a world with the promise of endless amounts of identical food, when in "reality" the "M" represents nothing, and the food produced is neither identical nor infinite.[1]

Baudrillard in particular suggests that the world we live in has been replaced by a copy world, where we seek simulated stimuli and nothing more. Baudrillard borrows, from Jorge Luis Borges (who already borrowed from Lewis Carroll), the example of a society whose cartographers create a map so detailed that it covers the very things it was designed to represent. When the empire declines, the map fades into the landscape and there is neither the representation nor the real remaining – just the hyperreal. Baudrillard's idea of hyperreality was heavily influenced by phenomenology, semiotics, and Marshall McLuhan.

 

Postmodern Theories

Jacques Derrida proposed that a text cannot belong to no genre, it cannot be without... a genre. Every text participates in one or several genres, there is no genreless text


(Derrida 1981, 61).

Levi Strauss and his theory of 'binary opposites', he also however developed the theory of 'bricolage'.

Baudrillard's idea of hyperreality was heavily influenced by phenomenology, semiotics, and Marshall McLuhan who coined the phrase 'the medium is the message'. By this he means that the manner in which the message is shown becomes more important than the meaning of the message itself.
Some examples are simpler: the McDonald's "M" arches create a world with the promise of endless amounts of identical food, when in "reality" the "M" represents nothing, and the food produced is neither identical nor infinite.

Frederic Jameson sees postmodernism as vacuous and trapped in circular references. Nothing more that a series of self referential 'jokes' which have no deeper meaning or purpose.

Jean-François Lyotard

rejected what he called the “grand narratives” or universal “meta-narratives.”

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 exploitation are suppressed for the sake of public decency.

Lyotard favours ‘micronarratives’ that can go in any direction, that reflect diversity, that are unpredictable.

Rosenau (1993)
1. Its anti-theoretical position is essentially a theoretical stand.
2. While Postmodernism stresses the irrational, instruments of reason are freely employed to advance its perspective.
3. The Postmodern prescription to focus on the marginal is itself an evaluative emphasis of precisely the sort that it otherwise attacks.
4. Postmodernism stress intertextuality but often treats text in isolation.
5. By adamently rejecting modern criteria for assessing theory, Postmodernists cannot argue that there are no valid criteria for judgment.
6. Postmodernism criticizes the inconsistency of modernism, but refuses to be held to norms of consistency itself.
7. Postmodernists contradict themselves by relinquishing truth claims in their own writings.

 

Postmodernism-a definition

"Postmodernism is cultural movement that came after modernism, also it follows our shift from being a industrial society to that of an information society, through globalization of capital. Markers of the postmodern culture include opposing hierarchy, diversifying and recycling culture, questioning scientific reasoning, and embracing paradox. Postmodernism is a term applied to a wide-ranging set of developments in critical theory, philosophy, architecture, art, literature, and culture, which are generally characterized as either emerging from, in reaction to, or superseding modernism"

"Postmodern style is often characterized by eclecticism, digression, collage, pastiche, and irony. Postmodern theorists see postmodern art as a conflation or reversal of well-established modernist systems, such as the roles of artist versus audience, seriousness versus play, or high culture versus kitsch."

By R. Lee from Media Studies 180 Hunter College, Sections 102, 103

Of course, intertextual references are often found in postmodern texts.

 

Postmodernism: a definition

Label given to Cultural forms since the 1960s that display the following qualities:

Self reflexivity: this involves the seemingly paradoxical combination of self-consciousness and some sort of historical grounding

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

Constructs: Post modernism is actively involved in examining the constructs society creates including, but not exclusively, the following:

• Nation: Post modernism examines the construction of nations/nationality and questions such constructions
• Gender: Post modernism reassesses gender, the construction of gender, and the role of gender in cultural formations
• Race: Post modernism questions and reassesses constructs of race
• Sexuality: Post modernism questions and reassesses constructs of sexuality