Postmodernism is characterized by a complex fusion of “reality” and “unreality.” Today, consumer goods, and mass media, have created a uniquely complex cultural world where signs routinely take on multiple meanings or have no stable meaning at all. A great example of postmodernism would be the film by Quentin Tarantino, Pulp Fiction. The film is about three storylines told out of chronological order, which tells the story of a robbery couple, a boxer who is running way from the mob, and two gangsters protecting a briefcase. Throughout the film, people can see Jean-Francois Lyotard and Jean Baudrillard theories on postmodernism. I will be using the works of Lyotard and Baudrillard to react to the film.
Jean-Francois Lyotard concept of metanarratives or grand narratives is seen throughout the film, Pulp Fiction. According to Lyotard, metanarratives are
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According to Baudrillard hyperreality is the “reality” that has always already been reproduced (Edles and Appelrouth 2016:488). An example of Baudrillard’s concept of hyperreality is shown in the scene where the characters Vincent and Mia go to dinner at a restaurant called Jack Rabbit Slim’s. In this restaurant, the people working there portray a celebrity who are either living or deceased. The restaurant, Jack Rabbit Slim’s, provides a clear understanding of what Baudrillard meant when he argues that Disneyland is a perfect model of simulation. He states that “in contrast to the simulated malls and theme restaurants of everyday ‘real life,’ Disneyland is more authentic than ‘reality’ because it does not purport to be ‘real’” (Edles and Appelrouth 2016:491). Another example where the film uses hyperreality is in the scene where the characters Vincent and Jules shoot the character Marvin in the face. In this part of the scene the concept of violence is used as humor. Usually, the act of violence would not be something
Macey, David. “Postmodernity.” The Penguin Dictionary of Critical Theory. London: Penguin Books, 2001. 307-309. Print.
Jameson, Frederick. "Postmodernism, or The Cultural Logic of Late Capitalism" New Left Review. 146 (July-August 1984) Rpt in Storming the Reality Studio. Larry McCaffrey, ed. Durham, NC: Duke UP, 1992.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Postmodernism is perhaps the most difficult thing to define at this point in time. That is in large part due to the fact that we are currently still in the movement, political view, or economy (to classify postmodernism as only one of the above is to have already defeated your definition). One of the few things that have been empirically proven is that it indeed focuses on culture. Jameson once argued that postmodernism was a more of a cultural dominant than anything else (Storey, p. 184). This would tend to classify postmodernism as an assimilation of all cultures, with a survival of the fittest effect. Take for example the effects of one culture, regardless of that culture's size, on mass culture ISA's. A battle occurs between the established ISA's and the new subculture ISA's until finally a victor has been declared. Which ever has gained more favor drowns the weaker, and all ISA's of the weaker genre will be discredited. Postmodernism is seen as the cultural dominant of our era, however this has not always been the case. One particular group attempted to attach cultural dominance, or rather cultural understanding, to their already established political body: the Marxists. While the cultural studies that were performed by the Frankfurt School were probably the first studies that ever addressed culture, their findings have not stood the test of time. One of the most important things to understand is that Marxism is generally a political body, while postmodernism is similar to a movement. Marxism has it's own views of culture that were developed through the Frankfurt School, but the movement of postmodernism disregards the Frankfurt school's theories. Postmodernism has in fact taken the...
REFERENCESJean Baudrillard Simulations--1983 Semiotext[e]. America--1988 (English Edition) Verso. Seduction--1990 (English Edition) St. Martin’s Press. The Illusion of the End--1994 (English Edition) Stanford University Press. Simulacra and Simualtion--1994 (English Edition) University of Michigan Press. Jean-Francois Lyotard The Postmodern Condition: A Report on Knowledge--1984 (English Edition) University of Minnesota Press. The Postmodern Exaplained--1993 (English Edition) University of Minnesota Press. Michel Foucault Madness and Civilization--1973 Vintage Books. Discipline and Punish: The Birth of the Prison--1977 Vintage Books. The History of Sexuality--1980 Vintage Books. Linda Hutcheon A Poetics of Postmodernism: History, Thoery Fiction--1988 Routledge. The Politics or Postmodernism--1989 Routledge.
Postmodern literature contains an authoritative point of view as it expresses the “real” and the “unreal”. The authoritative viewpoint hides within the representation of words and the form of the text. Jean Baudrillard speaks of the masking of view in his essay, “Postmodernism and Consumer Society”, when he says, “This, feigning or dissimilating leaves the reality principle inta...
There are movies that make you laugh, that make you cry, that blow you away with jaw-dropping, ever-so-satisfying action sequences. And there is Pulp Fiction, Quentin Tarantino’s masterpiece, an homage to the old Pulp Magazines and crime novels popular in the 1950s. Known for their incredibly dense and complex dialogue and excessive violence, Tarantino adds his trademark nonlinear chronology and thorough character development to create a movie that celebrates the fact that chance governs all of our lives. The film consists of multiple stories that tell of the criminals, gangsters and outliers of Los Angeles, the underbelly of society. It follows Vincent Vega and Jules Winnfield as they embark on their mission to recovering a briefcase that
The main theme of Werther's[1] essay on cultural theory is a subpatriarchial reality. But if capitalist
Haralambos & Holbron (2004:84) determined that postmodern societies distinguish themselves through four key figures: culturalism, fragmentation, autonomization and resignifcation. Postmodernism theorizes that class is dead due to our consumer culture that allows infinite freedom of choice, taste, lifestyle and fashion; therefore, everyone has the ability to shape themselves and create their own identity. Globalization and media influence has spread the idea of individualism is the key that divides society subsequently provoking no definite class exclusivity—People no longer identify themselves through their social class, occupation or their background, rather they do so through their leisure (realsociology, n.d). Postmodernism encourages the idea that if perceptions are acted upon they can be achieved through a person’s willingness to pursue their personal development and desires (Pakulski & Waters,1996:121:120). Literary critic Frederic Jameson argued from a Marxist perspective that society is divided because despite having a superstructure that is constantly changing (culture and society), there is still an economical base (the relation of productions and exchange) which is what ultimately shapes society (Clark, 2008);
The success of the film Amelie, also known in France as Le Fabuleux desin d'Amélie Poulain directed by Jean Pierre-Jeunet, can be attributed to both the vision of the director and brilliant writing of the screenplay. This is a film which takes place around the year 1997 a day after the incident of Princess Diana's death is televised all around the world. We are then guided through the life of Amelie Poulin (Audrey Tautou) who is trying to find meaning in her life by doing good deeds for others around her. Amelie is a film which was made in the modern society of France, but one of the elements that makes this a postmodern film is its tendency to look back at past times, be retrospective of modernism in our society and build an image of it. Postmodernism is to be understood as a movement beyond modernism which is nonetheless able to make use of modernism techniques and conventions as one set of stylistic choices amongst others. By analyzing Jean-Pierre Jeunet’s 2001 ward-winning film Amelie, we will identify the presence of many underlying motifs in both the narrative and the characterization of the film when using influential theorists such as Frederic Jameson and Jean Baudrillard’s concepts on postmodernism.
Post modernism is a very difficult concept to define. A French philosopher once defined post modernism as an "incredulity toward all meta narratives," which basically means a skeptical attitude toward all claims of absolute truth. Post modern writers use elements and techniques that provoke the reader to question their reading experience and scrutinize their own personal understanding of life and the values of their society. There are excellent examples of post modern writers using elements of post modern writing, such as irony, magic realism and fragmentation in the short stories read in Ms. Reynolds's English 4U class. The use of post modern elements in these short stories forces the reader to further their reading experience by going more in depth into the writing and figuring out how the story is significant to them and their view on the world.
Postmodernism first appeared around the 1980’s, following a hectic and messy period of time. The postmodernist theory that defines a new era describing the world as society is fragmenting, while authority is de-centering, and real truth does not exist; there are only representations of it. Believers of the postmodernist theory, believe that postmodernism is a mixture of present, past, and future, more specifically, the cultural and spatial elements of these different times (Lemert, 2010). The postmodern age is considered the information age, or even, the technological age. Both of these are evident through the changes that have occurred within the typical marriage and family. One of the main emphases of postmodernism is that no real truth exists, demonstrating the grand narrative. The grand narrative states that the “truth” is invented for the sole purpose of selling things. This is clearly shown, in a different manner, in marriages and families in today’s society. No real truth being in existence creates change in the typical marriage and family.
In the 1950s, authors tended to follow common themes, these themes were summed up in an art called postmodernism. Postmodernism took place after the Cold War, themes changed drastically, and boundaries were broken down. Postmodern authors defined themselves by “avoiding traditional closure of themes or situations” (Postmodernism). Postmodernism tends to play with the mind, and give a new meaning to things, “Postmodern art often makes it a point of demonstrating in an obvious way the instability of meaning (Clayton)”. What makes postmodernism most unique is its unpredictable nature and “think o...
In conclusion it is clear that Tarantino’s film is postmodern, and Jameson’s insightful essay stands in relation to Pulp Fiction much in the same way as a prophecy stands in relation to its fulfilment. The postmodernist Tarantino expresses in a full and technicolour form what Jameson the modernist had only partially understood in the more static arts of painting and architecture.
Postmodernism attempts to call into question or challenge the notion of a single absolute unified master narrative without simply replacing it with another. It is a paradoxical, recursive, and problematic method of critique.