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Postmodernist film

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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]

Specific elements

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Modernist film came to maturity in the era between WWI and WWII with characteristics such as montage and symbolic imagery, and often took the form of expressionist cinema and surrealist cinema (as seen in the works of Fritz Lang and Luis Buñuel)[5] while postmodernist film – similar to postmodernism as a whole – is a reaction to the modernist works and to their tendencies (such as nostalgia and angst).[6] Modernist cinema has been said to have "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."[7] The auteur theory and idea of an author creating a work from their singular vision was a cultural advancement that coincided with the further maturation of modernist cinema. It has been said that "To investigate the transparency of the image is modernist but to undermine its reference to reality is to engage with the aesthetics of postmodernism."[8][9] The modernist film has more faith in the author, the individual, and the accessibility of reality itself than the postmodernist film, and is generally more sincere in tone.[10]

Postmodernism is in many ways interested in the liminal space that would be typically ignored by more modernist or traditionally narrative offerings. 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."[11]

Postmodernist film is often separated from modernist cinema and traditional narrative film[6] by three key characteristics. One of them is an extensive use of homage or pastiche.[7] 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.[7] A self-referential film calls the viewer's attention – either through characters' knowledge of their own fictional nature, or through visuals – that the film itself is only a film. 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 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][7] 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. The use of homage and pastiche can, in and of itself, result in a fusion of high and low art. Lastly, contradictions of all sorts – whether it be in visual technique, characters' morals, etc. – are crucial to postmodernism.[2][12]

Specific postmodern examples

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Once Upon a Time in the West

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Sergio Leone's Once Upon a Time in the West has often been referred to by critics as an example of a postmodern Western.[13][14] 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 classic American Westerns, and the final product 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, both directed by John Ford.[15][16][17]

Blade Runner

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Ridley Scott's Blade Runner might be the best-known postmodernist film.[7] 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, a common trope in postmodernist cinema.[2][7] The fusion of noir and science-fiction is another example of the film deconstructing cinema and genre.[10] This embodies the postmodern tendency to destroy boundaries and genres into a self-reflexive product. The 2017 Academy Award-winning sequel Blade Runner 2049 also tackled postmodern anxieties.[18]

Pulp Fiction

[edit]

Quentin Tarantino's Pulp Fiction is another example of a postmodernist film.[19][20][21][10] The Palme d'Or-winning 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

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

20th Century

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21st Century

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List of notable postmodernist filmmakers

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Postmodernist television

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Postmodern television is a category or period of modern television related to the art and philosophy of postmodernism, often making use of postmodern principles such as satire, irony, and deconstruction.

List of postmodernist television shows

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See also

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References

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  210. ^ "'Get Out' Is The Type Of Movie The Oscars Should Pay Attention To". HuffPost. March 5, 2017.
  211. ^ a b 'I, Tonya' and the Postmodern Protagonist - Age of the Nerd
  212. ^ "The Square Pokes Fun at the Postmodern Art World". dobbernationLOVES. September 9, 2017.
  213. ^ "Only I Know the Secrets: Breaking Down 'Under the Silver Lake' | BW/DR". July 10, 2019.
  214. ^ Silence & Sound: Wonderstruck and the Post-Modern Gaze – Riot Material
  215. ^ Oscars: Can Anyone Break Disney & Pixar's Animated Feature Streak In 2019? - Deadline
  216. ^ Anatomy of a superhero: Miles Morales in Across the Spider-Verse is the true postmodern Spider-Man|Telegraph India
  217. ^ New 'Spider-Man' an oh-so-postmodern take on Marvel franchise|HeraldNet.com
  218. ^ Spider-Man: Across the Spider-Verse review - plenty of postmodern pizzazz - The Times
  219. ^ (PDF) The House that Lars Built - academia.edu
  220. ^ "Falling asleep at the Movies: Long Day's Journey Into Night by Jamie Limond – The Drouth".
  221. ^ Rian Johnson trades in lightsabers for postmodern whodunnit Knives Out|Ars Technica
  222. ^ Alm, David. "Review: Pedro Almodóvar's 'Pain And Glory'". Forbes.
  223. ^ 'Last Night in Soho' review: Anya Taylor-Joy shakes up horror - Los Angeles Times
  224. ^ "Bad Luck Banging or Loony Porn review – playful Romanian sex tape satire". the Guardian. November 28, 2021.
  225. ^ BELLE draws on Western stories to tell a postmodern fable about healing - Moviejawn
  226. ^ "Movie Review: "Bergman Island" a Playful Riff on Creativity". October 20, 2021.
  227. ^ Why Oscar contender 'Babylon' could take a page from Tolkien - Angelus News
  228. ^ How Everything Everywhere All At Once Bridges the Gap Between Summer Blockbusters and Arthouse Cinema - MovieWeb
  229. ^ a b PHILM AND PHILOSOPHY|'Barbie', 'Everything Everywhere All at Once' and the Problem of Postmodern Endings
  230. ^ Gittell, Noah (Jul 20, 2022). "Jordan Peele's Nope Fails to Dazzle When the Aliens Are Revealed - WCP". Washington City Paper. Retrieved Feb 2, 2023.
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  232. ^ 'Razzennest' review - ScreenAnarchy
  233. ^ White Noise is 'thrillingly original' - BBC Culture
  234. ^ 'Barbie' Review: Doll in Plastic Gets a Greta Gerwig Grounding in Kentastic Postmodern Campy Romp - Rendy Reviews
  235. ^ Why the Postmodern Structure of Ari Aster's 'Beau is Afraid' Works Masterfully - No Film School
  236. ^ Jim Hemphill's Best Blu-rays of 2016|Filmmaker Magazine
  237. ^ There Was Once a Certain Kind of Cinema — Kitbashed
  238. ^ Fallen Angels|Cornell Cinema
  239. ^ Read More: Don Hertzfeldt's Stick Figures at 20 | Austin Film Society
  240. ^ Encyclopedia of Literature and Criticism - Google Books (pg.133)
  241. ^ Postmodern Chick Flicks - Google Books (pg.43)
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  243. ^ a b c d Boggs, Carl; Pollard, Tom (March 1, 2001). "Postmodern Cinema and Hollywood Culture in an Age of Corporate Colonization". Democracy & Nature. 7 (1): 159–181. doi:10.1080/10855660020028818 – via Taylor and Francis+NEJM.
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  245. ^ a b c d Haider, Asad (October 2018). "Me and You and Everyone We Know: The Postmodern Happiness of the Contemporary Art Film – Senses of Cinema".
  246. ^ Joe Dante's Purgatory|Jonathan Rosenbaum
  247. ^ Hassannia, Tina (December 11, 2013). "The Nature of Truth: Errol Morris's The Thin Blue Line". Slant Magazine.
  248. ^ Dilley, Whitney Crothers (August 23, 2017). The Cinema of Wes Anderson: Bringing Nostalgia to Life. Wallflower Press. ISBN 978-0-231-54320-0 – via Columbia University Press.
  249. ^ Brereton, Pat (2012). "Postmodernism, Parody and Smart Cinema: Case Studies of Lynch, Tarantino and Soderbergh". Smart Cinema, DVD Add-Ons and New Audience Pleasures. pp. 20–42. doi:10.1057/9781137027085_2. ISBN 978-1-349-32856-7.
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  251. ^ "The Postmodern Films Of Guy Maddin". NPR.
  252. ^ "An Interview with Guy Maddin". offscreen.com.
  253. ^ Comics in Context #100: Centennial Cartoon Concert - IGN
  254. ^ Neurosis Hotel: An introduction to Abel Ferrara - Adrian Martin.pdf
  255. ^ Time Machines: After Kubrick: A Filmmaker's Legacy, edited by Jeremi Szaniawski · Senses of Cinema
  256. ^ New Working-Class Studies - Google Books (pg. 162)
  257. ^ The Perils of Michael Moore - Dissent Magazine
  258. ^ Can I Live? Contemporary Black Satire and the State of Postmodern Double Consciousness on JSTOR
  259. ^ Jordan Peele on 'Get Out' and writing for the Black audience
  260. ^ Peter Greenaway's Postmodern / Poststructuralist Cinema - Google Books
  261. ^ Peter Greenaway's "Eisenstein in Guanajuato" at the Istanbul Film Festival - HuffPost
  262. ^ Kevin Smith: 'I'm a Sellout!' - Observer
  263. ^ TV Finales FAQ – Google Books
  264. ^ 'Arrested Development' finds new life in the land of Netflix – Baltimore Sun
  265. ^ a b c d e f g h How Always Sunny Surpassed Seinfeld – Den of Geek
  266. ^ a b c IN PRAISE OF REALITY TV AS 'POSTMODERN ART PAR EXCELLENCE' – Brooklyn Magazine
  267. ^ a b c d e Postmodernism in Television — The Factory Times
  268. ^ a b c Dr. Toon: The Animation Critic's Art – Defining Our Terms|Animation World Network
  269. ^ These Reality TV Shows Are the Pinnacle of Trashy Fun – MovieWeb
  270. ^ a b Satire TV – Google Books (pg.135)
  271. ^ Is the US ready for a fictional president?|Celebrity|The Guardian
  272. ^ The Post-Modern Sitcom|Toronto Standard
  273. ^ Comfort Viewing: 3 Reasons I Love 'Community' – The New York Times
  274. ^ a b 'You Should See Yourself': Jewish Identity in Postmodern American Culture on JSTOR
  275. ^ Fallout and the Post-Modern Television Post-Apocalypse - Paste Magazine
  276. ^ The 30 Best International TV Shows of the Decade – The New York Times
  277. ^ Control Nathan Rabin 4.0 #260 Freakazoid! "Five Day Forecast/The Dance of Doom/Handman" and "Candle Jack/Toby Danger in Doomsday Bet/The Lobe" - Nathan Rabin's Happy Place
  278. ^ 'HELL ON WHEELS' IS BOTH A TACTICAL HOMAGE TO THE WESTERN GENRE AND A POSTMODERN PASTICHE|PopMatters
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  280. ^ The Politics of Humor – Google Books
  281. ^ 'Magpie Murders' Review: A Postmodern Mystery on PBS – WSJ
  282. ^ The Postmodern Presence – Google Books (pgs.35–36)
  283. ^ How Monty Python's Mix of Postmodern Absurdity and Political Satire Influenced Shows Like 'Rick and Morty' – Laughing Squid
  284. ^ Cable's 'Mystery Science Theater 3000'|EW.com
  285. ^ On Evas and Angels: Postmodern Fantasy Devotion to Neon Genesis Evangelion|PopMatters
  286. ^ 'The Office': a postmodern success wraps up – Orange County Register
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  289. ^ Rick and Morty Almost Swallows Itself in a Too Meta Midseason Premiere – Paste Magazine
  290. ^ In Defense of Riverdale|The Smart Set
  291. ^ The Perfectly Postmodern Reality TV of 'RuPaul's Drag Race – The Ringer
  292. ^ The world according to 'Seinfeld' No hugging, no learning. No aging, commitment or obligation. We've laughed at such postmodern sentiments for nine years. Is there anything wrong with that? – Baltimore Sun
  293. ^ a b c American TV Detective Dramas – Google Books (pg.36)
  294. ^ a b Eckart Voigts-Virchow (GieBen) "Goodbye suspense goodbye"? Postmodern TV Crime in The Singing Detective (1986) and Twin Peaks (1990–91) – cinetext
  295. ^ Postmodern laughs from the mob – The Boston Globe
  296. ^ Weirdest Space Ghost Guest Stars, Ranked – MovieWeb
  297. ^ Making sense of the bloodiest postmodern show on television, Spartacus - Slate Magazine
  298. ^ Kids' TV Grow Up – Google Books (pg.182)
  299. ^ Why Netflix's Teen Dramas Feel So Retro – The Atlantic
  300. ^ Best TV Shows Ever: Top 100 Television Programs – The Hollywood Reporter
  301. ^ A Sitcom Through the Ages: A Postmodern Review of Marvel's 'WandaVision'|LiveWire
  302. ^ The X-Files and the Aesthetics and Politics of Postmodern Pop on JSTOR
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