Postmodernist film

From Wikipedia, the free encyclopedia

Postmodernist film is a classification for works that articulate the themes and ideas of postmodernism through the medium of cinema. Some of the goals of postmodernist film are to subvert the mainstream conventions of narrative structure and characterization, and to test the audience's suspension of disbelief.[1][2][3] Typically, such films also break down the cultural divide between high and low art and often upend typical portrayals of gender, race, class, genre, and time with the goal of creating something that does not abide by traditional narrative expression.[4]

Overview of postmodernism[]

Postmodernism is a complex paradigm of different philosophies and artistic styles. The movement emerged as a reaction to high modernism.[5] Modernism is a paradigm of thought and viewing the world characterized in specific ways that postmodernism reacted against. Modernism was interested in master and meta narratives of history of a teleological nature.[6] Proponents of modernism suggested that sociopolitical and cultural progress was inevitable and important for society and art.[6][7] Ideas of cultural unity (i.e. the narrative of the West or something similar) and the hierarchies of values of class that go along with such a conception of the world is another marker of modernism.[5] In particular, modernism insisted upon a divide between "low" forms of art and "high" forms of art (creating more value judgments and hierarchies).[5][7] This dichotomy is particularly focused on the divide between official culture and popular culture.[5] Lastly, but by no means comprehensively, there was a faith in the "real" and the future and knowledge and the competence of expertise that pervades modernism. At heart, it contained a confidence about the world and humankind's place in it.[5]

Postmodernism attempts to subvert, resist and differ from the preoccupations of modernism across many fields (music, history, art, cinema, etc.). Postmodernism emerged in a time not defined by war or revolution but rather by media culture.[1] Unlike modernism, postmodernism does not have faith in master narratives of history or culture or even the self as an autonomous subject.[1][5][7] Rather postmodernism is interested in contradiction, fragmentation, and instability.[1] Postmodernism is often focused on the destruction of hierarchies and boundaries. The mixing of different times and periods or styles of art that might be viewed as "high" or "low" is a common practice in postmodern work.[1][2][3] This practice is referred to as pastiche.[1] Postmodernism takes a deeply subjective view of the world and identity and art, positing that an endless process of signification and signs is where any "meaning" lies.[8][9] Consequently, postmodernism demonstrates what it perceives as a fractured world, time, and art.

Specific elements[]

Modernist film came to maturity in the eras between WWI and WWII with characteristics such as montage, symbolic imagery, expressionism and surrealism (featured in the works of Luis Buñuel, Fritz Lang and Alfred Hitchcock)[10] while Postmodernist film – similar to postmodernism as a whole – is a reaction to the modernist works of its field, and to their tendencies (such as nostalgia and angst).[11] Modernist cinema, "explored and exposed the formal concerns of the medium by placing them at the forefront of consciousness. Modernist cinema questions and made visible the meaning-production practices of film."[12] The auteur theory and idea of an author producing a work from his singular vision guided the concerns of modernist film. "To investigate the transparency of the image is modernist but to undermine its reference to reality is to engage with the aesthetics of postmodernism."[7][13] The modernist film has more faith in the author, the individual, and the accessibility of reality itself (and more sincere in tone) than the postmodernist film.

Postmodernism is in many ways interested in the liminal space that would be typically ignored by more modernist or traditionally narrative offerings. The idea is that the meaning is often generated most productively through the spaces and transitions and collisions between words and moments and images. Henri Bergson writes in his book Creative Evolution, "The obscurity is cleared up, the contradiction vanishes, as soon as we place ourselves along the transition, in order to distinguish states in it by making cross cuts therein in thoughts. The reason is that there is more in the transition than the series of states, that is to say, the possible cuts--more in the movement than the series of position, that is to say, the possible stops."[14] The thrust of this argument is that the spaces between the words or the cuts in a film create just as much meaning as the words or scenes themselves.

Postmodernist film is often separated from modernist cinema and traditional narrative film[11] by three key characteristics. One of them is an extensive use of homage or pastiche,[12] resulting from the fact that postmodern filmmakers are open to blending many disparate genres and tones within the same film. The second element is meta-reference or self-reflexivity, highlighting the construction and relation of the image to other images in media and not to any kind of external reality.[12] A self-referential film calls the viewer's attention – either through characters' knowledge of their own fictional nature, or through visuals – that the movie itself is only a movie. This is sometimes achieved by emphasizing the unnatural look of an image which seems contrived. Another technique used to achieve meta-reference is the use of intertextuality, in which the film's characters reference or discuss other works of fiction. Additionally, many postmodern films tell stories that unfold out of chronological order, deconstructing or fragmenting time so as to, once again, highlight the fact that what is appearing on screen is constructed. A third common element is a bridging of the gap between highbrow and lowbrow activities and artistic styles[2][3][12] – e.g., a parody of Michelangelo's Sistine Chapel ceiling in which Adam is reaching for a McDonald's burger rather than the hand of God. This would exemplify the fusion of high and low because Michelangelo is widely regarded as one of the greatest of all painters, whereas fast food is commonly named among the lowbrow elements of modern society.

The use of homage and pastiche can, in and of itself, result in a fusion of high and low. For this reason, homage is sometimes accompanied by characters' value judgments as to the worth and cultural value of the works being parodied, ensuring the viewer understands whether the thing being referenced is considered highbrow or lowbrow.

Lastly, contradictions of all sorts – whether it be in visual technique, characters' morals, or other things – are crucial to postmodernism, and the two are in many cases irreconcilable. Any theory of postmodern film would have to be comfortable with paradoxes or contradictions of ideas and their articulation.[2][9]

Specific postmodern examples[]

Once Upon a Time in the West[]

Sergio Leone's Once Upon a Time in the West has often been referred to by critics as an example of a postmodern Western.[15][16] The 1968 spaghetti Western revolves around a beautiful widow, a mysterious gunslinger playing a harmonica, a ruthless villain, and a lovable but hard-nosed bandit who just escaped from jail. The story was developed by Leone, Bernardo Bertolucci, and Dario Argento by watching countless classic American Westerns, and the final movie is a deliberate attempt to both pay homage to and subvert Western genre conventions and audience expectations. Among the most notable examples of intertextuality are the plot similarities to Johnny Guitar, the visual reference to High Noon of a clock stopped at high noon in the middle of a gunfight, and the casting of Henry Fonda as the story's sadistic antagonist which was a deliberate subversion of Fonda's image as a hero established in such films as My Darling Clementine and Fort Apache directed by John Ford.[17][18][19]

Blade Runner[]

Ridley Scott's Blade Runner might be the best known postmodernist film.[12] Scott's 1982 film is about a future dystopia where "replicants" (human cyborgs) have been invented and are deemed dangerous enough to hunt down when they escape. There is tremendous effacement of boundaries between genres and cultures and styles that are generally more separate, along with the fusion of disparate styles and times that is a trope in postmodernist cinema. "The futuristic set and action mingle with drab 1940s clothes and offices, punk rock hairstyles, pop Egyptian style and oriental culture. The population is singularly multicultural and the language they speak is an agglomeration of English, Japanese, German and Spanish. The film alludes to the private eye genre of Raymond Chandler and the characteristics of film noir as well as Biblical motifs and images."[2][12] Here is a demonstration of the mixing of cultures and boundaries and styles of art. The film is playing with time (the various types of clothes) and culture and genre by mixing them all together to create the world of the film. The fusion of noir and science-fiction is another example of the film deconstructing cinema and genre. This is an embodiment of the postmodern tendency to destroy boundaries and genres into a self-reflexive product.

Pulp Fiction[]

Quentin Tarantino's Pulp Fiction is another example of a postmodernist film.[20][21][22] The film tells the interweaving stories of gangsters, a boxer, and robbers. The 1994 film breaks down chronological time and demonstrates a particular fascination with intertextuality: bringing in texts from both traditionally "high" and "low" realms of art.[1][2] This foregrounding of media places the self as "a loose, transitory combination of media consumption choices."[1][3] Pulp Fiction fractures time (by the use of asynchronous time lines) and by using styles of prior decades and combining them together in the movie.[1] By focusing on intertextuality and the subjectivity of time, Pulp Fiction demonstrates the postmodern obsession with signs and subjective perspective as the exclusive location of anything resembling meaning.

Other selected examples[]

Aside from the aforementioned Once Upon a Time in the West, Blade Runner and Pulp Fiction, postmodern cinema includes films such as:

List of notable postmodernist filmmakers[]

See also[]

References[]

  1. ^ a b c d e f g h i Susan Hopkins (Spring 1995). "Generation Pulp". Youth Studies Australia. 14 (3): 14–19.
  2. ^ a b c d e f g h Laurent Kretzschmar (July 2002). "Is Cinema Renewing Itself?". Film-Philosophy. 6 (15).
  3. ^ a b c d Linda Hutcheon (January 19, 1998). "Irony, Nostalgia, and the Postmodern". University of Toronto English Library.
  4. ^ Representing Postmodern Marginality in Three Documentary Films. - Free Online Library
  5. ^ a b c d e f Frederic Jameson, Postmodernism and Consumer Society (PDF), George Mason University, archived from the original (PDF) on 2011-12-16, retrieved 2012-04-18
  6. ^ a b Martin Irvine. "The Postmodern, Postmodernism, Postmodernity: Approached to Po-Mo". Georgetown University.
  7. ^ a b c d Dragan Milovanovic (15 March 2009). "Dueling Paradigms: Modernist v. Postmodern Thought". American Society of Criminology.
  8. ^ "Postmodern Allegory and David Lynch's Wild at Heart" Critical Art: A South-North Journal of Cultural and Media Studies; 1995, Vol. 9 Issue 1 by Cyndy Hendershot
  9. ^ a b Mary Alemany-Galway (2002). A Postmodern Cinema. Kent, England: Scarecrow Press.
  10. ^ Characteristics of a Modernist Film|Our Pastimes
  11. ^ a b Beyond the subtitle: remapping European art cinema: Betz, Mark - Internet Archive (pg.34)
  12. ^ a b c d e f Beginning Postmodernism, Manchester University Press: 1999 by Tim Woods
  13. ^ "Reading the Postmodern Image: A Cognitive Mapping," Screen: 31, 4 (Winter 1990) by Tony Wilson
  14. ^ Creative Evolution
  15. ^ "ONCE UPON A TIME IN THE WEST (1968) • Frame Rated". Frame Rated. 2018-11-26. Retrieved 2021-01-11.
  16. ^ "50 years, 50 films: Once Upon a Time in the West (1968) | Screenwriter". www.irishtimes.com. Retrieved 2021-01-11.
  17. ^ Once Upon a Time in the West (1968) — Deep Focus Review
  18. ^ 50 years, 50 films: Once Upon a Time in the West (1968)|Screenwriter
  19. ^ Once Upon a Time in the West - Library of Congress
  20. ^ Tincknell, Estella (2006). "The Soundtrack Movie, Nostalgia and Consumption", in Film's Musical Moments, ed. Ian Conrich and Estella Tincknell (Edinburgh: Edinburgh University Press). ISBN 0-7486-2344-2
  21. ^ King, Geoff (2002). Film Comedy (London: Wallflower Press). ISBN 1-903364-35-3
  22. ^ Wood, James (November 12, 1994). The Guardian.
  23. ^ What makes Antonioni's L’avventura great|Sight and Sound
  24. ^ 8 1/2 as a Postmodernist Film|Critical Film Theory:The Poetics and Politics of Film
  25. ^ a b c d e f g h i The Case for Douglas Sirk as the First Postmodern Filmmaker|Collider
  26. ^ a b c d e f Christopher Nolan: Postmodern Master - Rough Cut Cinema
  27. ^ Encyclopedia of Lesbian and Gay Histories and Culture - Google Books (pg.84)
  28. ^ Godard's Conflagration of Images | by J. Hoberman | The New York Review of Books
  29. ^ Fragmented Identities: 54 years of Ingmar Bergman masterpiece 'Persona'|Far Out Magazine
  30. ^ Batman (1966) is a Postmodern Masterpiece|Den of Geek
  31. ^ ‘Blow-up’: From Modernism to Postmodernism depicting the transition by astonishing Antonioni - Medium
  32. ^ a b c d e f 20 Great Postmodern Films You Should Watch - Page 2 - Taste of Cinema
  33. ^ a b c The 20 Best Postmodernist Movies of All Time « Taste of Cinema
  34. ^ The greatest postmodern art film ever. - Slate Magazine
  35. ^ a b c Modernism, Postmodernism and Film Criticism - Literary Theory and Criticism
  36. ^ POST-STALKER: NOTES ON POST-INDUSTRIAL ENVIRONMENTS AND AESTHETICS — Strelka Mag
  37. ^ Alexander M Gross - The Postmodern Apocalypse
  38. ^ a b c d A Primer on Postmodernism - Google Books (pg.33)
  39. ^ a b c The Postmodern Presence - Google Books (pg.157)
  40. ^ The Postmodern Presence - Google Books (pg.37)
  41. ^ Did We Ever Stop Being Postmodern?: Design Observer
  42. ^ Criterion Files #387: La Jetee - Film School Rejects
  43. ^ 10 Great Postmodern Sci-fi Movies To Blow Your Mind - Taste of Cinema
  44. ^ Postmodern Hollywood - Google Books (pgs.34-35)
  45. ^ a b c d e 5 FILMS THAT ARE POST MODERN MOVIES ABOUT THE NEW HOLLYWOOD - Chicago Tribune
  46. ^ Brazil: A Great Place to Visit, Wouldn't Want to Live There|The Current|The Criterion Collection
  47. ^ a b c d 10 Great Postmodern Documentaries That Are Worth Your Time - Taste of Cinema
  48. ^ a b c d e f Modernism and Post-Modernism in Pop Culture - Modernism and Post-Modernism in British Literature
  49. ^ Who Framed Roger Rabbit? Review|Movie - Empire
  50. ^ a b A Primer on Postmodernism - Google Books (pg.32)
  51. ^ Coming in from the Culled: A Review of A Postmodern Cinema: The Voice of the Other in Canadian Film by Mary Alemany-Galway - Senses of Cinema
  52. ^ a b 20 Great Postmodern Films You Should Watch - Taste of Cinema
  53. ^ Postmodernism in "Close up"
  54. ^ Postmodern Need Not Mean Post-Human: Abbas Kiarostami and the Paradox of Cinema - The Village Voice
  55. ^ "Barton Fink (Joel and Ethan Coen, 1991) • Senses of Cinema". Retrieved 2018-07-30.
  56. ^ "The Coen Brothers: The Postmodern Films - Barton Fink - Film Closings". Retrieved 2018-07-30.
  57. ^ a b c Conventionalizing the Postmodern|Film-Philosophy
  58. ^ The Double Life of Véronique: The Forced Choice of Freedom|Current|The Criterion Collection
  59. ^ 10 Great Postmodern Sci-fi Movies To Blow Your Mind - Page 2 - Taste of Cinema
  60. ^ 10 Great Postmodern Sci-fi Movies To Blow Your Mind - Page 2 - Taste of Cinema
  61. ^ A FIRST MOVIE WITH PLENTY OF BITE QUENTIN TARANTINO LETS 'RESERVOIR DOGS' DO THE TALKING FOR HIM|Buffalo News
  62. ^ a b c d e 20 Great Postmodern Films You Should Watch - Taste of Cinema
  63. ^ a b c d e The 20 Best Postmodernist Movies of All Time « Taste of Cinema
  64. ^ Is Narrative Overrated? Finding New Ways to Engage With Cinema|The Artifice
  65. ^ a b c d 10 Savvy Postmodern Horror Films That Helped Reinvent The Genre|Decider
  66. ^ a b c d e f 20 Great Postmodern Films You Should Watch - Page 3 - Taste of Cinema
  67. ^ 10 Great Postmodern Sci-fi Movies To Blow Your Mind - Page 2 - Taste of Cinema
  68. ^ What is Postmodernism? Definition and Examples for Filmmakers|StudioBinder
  69. ^ Gender Hierarchy and Environmental Crisis in Tsai Ming-liang's "The Hole" on JSTOR
  70. ^ a b c d The 20 Best Postmodernist Movies of All Time « Taste of Cinema
  71. ^ "The Matrix and Postmodernism". Retrieved 2012-11-28.
  72. ^ (PDF) The Postcolonial Self and the Other in Béla Tarr's Werckmeister Harmonies
  73. ^ a b c d e f g Postmodern Hollywood: what's new in film and why it makes us feel so strange on WorldCat.org
  74. ^ a b Postmodern Hollywood: What's New in Film and why it Makes Us Feel So Strange - M. Keith Book - Google Books
  75. ^ a b c d The 20 Best Postmodernist Movies of All Time « Taste of Cinema
  76. ^ To Halve and to Hold - The Village Voice
  77. ^ 20 Great Postmodern Films You Should Watch - Page 2 - Taste of Cinema
  78. ^ 10 Great Postmodern Documentaries That Are Worth Your Time - Taste of Cinema
  79. ^ "Marie Antoinette" is a (Post) Modern Revolution - Fandor
  80. ^ Critic's Picks: Amy Adams' Top 5 Performances|Hollywood Reporter
  81. ^ "The ultimate postmodern novel is a film". TheGuardian.com. 13 May 2009. Retrieved 2018-07-30.
  82. ^ Symposiums - Reverse Shot
  83. ^ The remake of memory: Martin Scorsese's Shutter Island and Pedro Almodovar's The Skin I Live In
  84. ^ a b c 10 Great Postmodern Documentaries That Are Worth Your Time - Taste of Cinema
  85. ^ Pure West: Drive, nostalgia for postmodernism — Senses of Cinema
  86. ^ (PDF) A perfectly modern Frankenstein: Almodóvar's The Skin I Live In (2011, Sony Pictures Classics)
  87. ^ 10 Great Postmodern Sci-fi Movies To Blow Your Mind - Taste of Cinema
  88. ^ La La Land: American postmodern musical without a cause|The Australian
  89. ^ La La Land: A Grandiose Dream of the Modern Musical – Gen Z Critics
  90. ^ 'La La Land' Even Better on Second Viewing - Variety
  91. ^ 'Get Out' Is The Type Of Movie The Oscars Should Be Paying Attention To|HuffPost
  92. ^ Only I Know the Secrets: Breaking Down Under the Silver Lake
  93. ^ Review: Pedro Almodovar's 'Pain And Glory' - Forbes
  94. ^ Postmodern Chick Flicks - Google Books (pg.43)
  95. ^ a b c d e f Elements of Mise en Scene in Postmodern Cinema|Cult Critic
  96. ^ a b c d Postmodern Cinema and Hollywood Culture in an Age of Corporate Colonization
  97. ^ a b c d Me and You and Everyone We Know: The Postmodern Happiness of the Contemporary Art Film - Senses of Cinema
  98. ^ The Nature of Truth: Errol Morris's The Thin Blue Line - Slant Magazine
  99. ^ The Cinema of Wes Anderson|Columbia University Press
  100. ^ The Evolution of Pedro Almodovar|The New Yorker
  101. ^ The Postmodern Films Of Guy Maddin : NPR
  102. ^ An Interview with Guy Maddin – Offscreen

External links[]

Retrieved from ""