Define postmodern media.docx

7/30/2019 Define postmodern media.docx

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Define postmodern media, with examples.Post-modernism, as a theory, is most easily described as weird for the sake of weird; it encompasses the

ideas of doing something different in a comic or controversial, and sophisticated way through the use of a new

or recycled ideas. The postmodernist movement became influential within media from around the 1960s,

overtaking the Modernist movement; following the shift from an industrial society to an information society.The elements within a media text that allow for it to fall into the post-modern category are particularly hard to

define, and cause for arguments against postmodernist theory, as these are mostly vague ideas that are in no

way specific. Generally speaking, a post-modern media text can be anything that uses hyperreality, self-

reflexivity, subverts or rejects modernist grand narratives (love, death, war, religion etc), opposes hierarchy,

questions scientific reason, features intertextual references, embraces paradox, and/or employs a range of

techniques and theories such as bricolage and pastiche.

Hyperreality could be argued as one of the main features of postmodernism across various media texts and

platforms; it is an entirely post-modern idea that suggests that some sense of a false reality has been created,

and although it may appear real within media, it is in fact not. An example of this would be the 2010 film Scott

Pilgrim vs. The World, directed by Edgar Wright. This film creates an entirely hyperreal atmosphere by placingthe characters within a setting that reflects more of the gaming world than reality; this is an obvious element

within the film that stands out as a different feature that is not conventional to film, making it easily defined

as post-modern. This sort of hyperreality is a key element within the film, and it therefore stands out as a

postmodern element supporting the idea that hyperreality is a key feature of postmodernism. Theorist Ritzer

suggested that one of the ways post-modern culture can be signified is through the blurring of distinctions

between representation and reality, this would also support the idea of hyperreality and its importance within

media texts. However, hyperreality is used over a widespread amount of media texts other than film; it can

easily feature in everyday life through branding and advertising, especially within internationally successful

companies such as McDonalds and CocaCola, who create the illusion that their products will look, taste, and be

the same anywhere and everywhere in the world. This view on hyperreality, as an everyday occurrence, could

question the idea that it is a key feature of postmodernist texts; some people may believe this defeats the

point of postmodernism being the label for different and innovative media texts aimed at literate audiences,

as these sorts of hyperreal texts are designed to appeal to the mass audiences. Self-reflexivity is another

element used within media texts that could be argued as a key feature that signifies postmodernism. Self-

reflexivity is a term that can be applied to any element in a media text where the text refers to itself as a text;

within film this could be anything from breaking the fourth wall or directly addressing the audience to showing

elements of the studio set or cameras within a shot. An example of this within an existing post-modern text

could be Quentin Tarantinos war film Inglorious Basterds, which features shots that pan across the studio set

to reveal the set structures; this is a self-reflexive element that works effectively within the film as it provides a

subtle reminder to the audience that the outlandish storyline is not a correct account of historical events but

instead a false idea or interpretation. This sort of self-reflexive element is uncommon, making it easier todefine as a definite post-modern element, in comparison to hyperreality which more commonly occurs.

Tarantino is a director renowned for self-reflexivity within his films, Inglorious Basterds is a prime example of

this, and his recognisable postmodern style, made clear within the very roots of this film as a fictional

representation of war. The films opening credits are an immediate reminder of the fictional basis of the film

through the use of a chapter structure a common feature within Tarantinos films which suggests a fairy

tale structure that emphasises the fantasy and fictional elements of the film. The mixture of fairytale genre

conventions within a war film is an example of postmodernism as it combines the expected historical

references from within the time period with fantasy fairytale elements and a fictional narrative. However, this

also emphasises self-reflexivity within the film, as it allows the text to refer to itself as the text. Yet, being a

Tarantino film, this is not done in a simplistic way, as the use of a chapter structure draws upon conventional

elements more generically found within literature, as opposed to film; Tarantinos use of this convention

within the film, again mixes conventions, but also blurs the boundaries and distinctions between different


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types of media texts. A more specific example of self-reflexivity in Tarantinos Inglorious Basterds is a scene

towards the end that shows Shoshanna getting ready before the film premiere in her cinema; at the end of the

scene she leaves the room and walks downstairs, as she does this we are shown a birds-eye view shot of the

set, which clearly demonstrates the idea of self-reflexivity. However, there are also other elements within this

scene that show self-reflexivity, as well as other postmodern features, and allow it to be defined as

postmodern, which in turn allows it to stand out as a key scene within the film. Throughout the scene, themusic is a key element; the song played in the background is a 1982 track, from the film Cat People, by David

Bowie called Cat People (Putting out Fire). As this song was released several years after the time in which the

film is set, this creates a subtle self-reflexive element to remind the audience of the films fictional basis; this

also means that the music stands out, in this case emphasising the importance of the scene and helping to

build up the tension for the final scene. This music would also not conventionally be associated with war films,

showing, again, Tarantinos ability to blur boundaries between genres, an idea associated with postmodernism

as supported by Ritzers theory that postmodern culture can is signified by the breakdown of barriers between

genres and styles.

Music, as a media text, can often be post-modern itself, with many artists using hyperreality and self-

reflexivity, as well as other post-modern ideas such as intertextuality and bricolage, within their work. Kanye

West is a prime example of a post-modern artist, well-known for his innovative style of producing hip-hop

music; he has become extremely successful and won 21 Grammys for his work on his 6 albums and

compilation work with other artists throughout his music career. Music can be a great example for the blurring

of boundaries between genres, as demonstrated in Wests work as it encompasses many other genre

influences, evident in his music, such as soul, 70s R&B, arena rock, alternative, electronica, synth pop and

classical music. Many of these influences appear within Kanye Wests work through the use of samples,

where snippets and base melodies of songs are taken and manipulated into a new track; this is an example of

bricolage, where old or existing material is recycled and used to create something new. Wests is known for

frequently pushing sampling boundaries, blurring the lines between recycling and copying existing media; one

way in which he has done this is through the use of extremely well-known samples from songs by equally or

more successful artists than himself. One of the most famous examples of a track by West that samples a song

by a successful artist could be his 2007 single Good Life which sampled Michael Jacksons famous single

P.Y.T. (Pretty Young Thing); this is also an example of combining genres, this means that genre cannot be

clearly defined, which could support Kramers theory that postmodern music includes fragmentations and

discontinuities.

Kanye West has also features intertextual references within his work, another key element of postmodernism,

designed to appeal to literate audiences; an example of this could be his music video for Touch the Sky in

which he created the persona of Evel Kanyevel, based on the well-known American daredevil Evel Kinevel;

this was a very controversial move, that caused for West to be sued for impersonation.

The blurring boundaries and distinctions between genres could be described as another key element with

postmodern media texts; this is the sort of feature that commonly occurs within film, as described within

much of Tarantinos Inglorious Basterds. This is also an evident feature within Nicolas Winding Refns film

Drive, as this contains many similar features to Inglorious Basterds within both self-reflexive elements and

the breakdown of genre conventions. Drive has an extremely brutal violence element, that often allows the

audience to decide for themselves the boundaries between defensive and murderous, not to dissimilarly to

Inglorious Basterds. When the violence first appears in the film it is extremely sudden and unexpected from

the character, as up until this point the audience perceives him as a calm, pacifistic character. The most

distinct scene within the film is the lift scene, in which the main character brutally and murderously kicks in a

mans face as the female character Irene watches; this is where the audience sees the complete change

within the characters nature. Up until this point the character remains calm, with only occasional glimpses ofhis brutal side which appear almost like schizophrenic elements within his personality, such as the dinner


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scene when he threatens to kick someones teeth down their throat. The lift scene is the climax of the

characters monstrous and psychopathic edge, the abrupt violent actions of the main character are so

outrageous that it appears unrealistic and reminds the audience of the fictional narrative; this is a clearly self-

reflexive element. The lift scene also has other self-reflexive elements such as the kiss between the main

character and Irene; the whole atmosphere of the film changes within this moment - the action is slowed

down and the lighting changes - these features are clearly unrealistic and remind you that the story is fictional.This slowed down element within the scene also helps to emphasise the sudden brutality of the main

characters actions; as well as this, the change in atmosphere relates to the fictional and fantasy elements of

the film, making reference to the fairytale influences within the film. Refns intentional play on conventions

and use of fairytale elements is very similar to the style of Tarantinos Inglorious Basterds. The main features

from fairytale conventions that have been placed within Drive include the ideaof a hero, villain and princess

who needs rescuing; these features are challenged in some scenes, but appear distinctly throughout the film.

Several other elements within the film provide the audience with subtle reminders of the films fantasy basis,

for example the font within the opening credits, which is reminiscent of the text used within Grand Theft

Auto video games. This reference links to the actions within the film and reflect the fantasy and contrived,

artificial idea of the film; some of the birds eye shots of the city within the film are also similar to those within

the video game. The hyperreality, and fantasy setting and style of Drive are the focus of the film, with very

little dialogue featuring in the film; this could support Strinatis idea about emphasis of style over substance

and context. Lack of dialogue to explain action also creates some kind of enigma code for the audience, as

identified in Barthes 5 narrative codes, allowing the audience to piece together much of the story themselves

through their own interpretation of the text.

Overall, I believe that postmodernism is the combination of post-modern ideas and theories in practice within

media texts, as well as the inclusion of ideologies that reflect the rejection of modernist thinking. A

postmodern media product defies and challenges conventional ideas of both genre and the grand narratives;

drawing the texts recipient into complicated narratives written for literate audiences, whilst also providing

self-reflexive elements as constant reminders of the fictional basis and hyperreality form of the media product.

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Define postmodern media.docx