Postmodernism in Film(the super-basic version)

JC Clapp, North Seattle College

ModernismModernism (about 1885-1945 or so) was interested in the new master narratives and that would provided truth and unity. Social, political, cultural progress was seen as inevitable and important (no stopping progress!). Cultural unity and hierarchies of values of class supported the divide between “low” and “high” art/culture. There was a clear understanding of human’s place in the world (at the top).

Postmodernism: OverviewPostmodernism subverts and resists modernism and does not have faith in master narratives or true/real interpretations. It looks at the contradiction, fragmentation, and instability and attempts to destroy hierarchy and boundaries. It takes a deeply subjective and fractured view of the world and identity, claiming that an endless process of signification and signs is where any "meaning" lies. It values style over substance.

Postmodern Film: Characteristics Overview

• Pastiche (mixture of many genres and styles) – no distinction between “high” and “low” styles

• Extreme self-reflexivity of techniques that highlights its production and incorporates references to other media/cultural texts, which can include the use of irony, parody, and “retro”

• Deconstruction and fragmentation of chronological time (non-linear narratives) or manipulation of time on screen to draw attention to the constructed nature of the film

Intertexuality• Self-referentiality, parody, pastiche, and a nod to various

past forms, genres, and styles are the most common characteristics of postmodernism. These features may be found in a film's form, story, technical vocabulary, sound/music, casting, mise-en-scène, or some combination.

Intertexuality

• Quoting, plagiarizing, or alluding to other films or cultural artifacts – making reference in one cultural text to another.

Intertexuality: Pastiche• Mixture of both "high" art and

"low" popular culture from various time periods and cultures.

Intertexuality: Parody

• Parody uses various styles, genres, or texts for a critical purpose. Pastiche copies past forms without an underlying critical perspective. Whether a film engages in parody or pastiche with its intertextuality is largely a matter of interpretation.

Style over Substance• Images (signs) are consumed for their own sake rather

than for their deeper meaning or values. We consume images/signs precisely because they are images/signs, and disregard their questions of usefulness and value.

• Style is more important than substance.

Postmodern Nature of Film Industry• Hollywood’s Golden Age (Modern): Films shot on celluloid by

big studios with actors/crew under exclusive contract. Limited prints were made; the experience of viewing the film was similar for all viewers (under theatre conditions)

• Current System (Postmodern): Films are often shot on a digital format by the major studios (subsidiaries of multinational corporations), independent studios/filmmakers, or amateurs. Stars/crew don’t have long-term contracts with studios (agents are used to broker deals and publicists generate press and prestige). Huge numbers of prints are made, and audiences may view the film via theatre, DVD/TV, cell phone, on an airplane, or online. Films now have ads and product placement in them which connects the connect to the world outside of the film.