Postmodernist film

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

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:[11]

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.

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

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.[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][14][16]

Blade Runner

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.[17]

Pulp Fiction

Quentin Tarantino's Pulp Fiction is another example of a postmodernist film.[18][19][20][10][21] 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

Aside from the aforementioned works, postmodern cinema includes films such as:

20th century

21st century

Postmodern documentary and essay film

Postmodernist techniques have also influenced non-fiction cinema. For example, Errol Morris’s The Thin Blue Line (1988) is often regarded as the first postmodern documentary due to its ironic use of stylized re-enactments that detach the viewer from any pretense of objective truth.[381] Such works demonstrate that even documentary film can embrace subjectivity, self-reference, and genre-blending in a postmodern way.

List of notable postmodernist filmmakers

Postmodernist television

Postmodern television is a category or period of modern television related to the art and philosophy of postmodernism,[417] often making use of postmodern principles such as satire, irony, and deconstruction.

List of postmodernist television shows

See also

References

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  184. 1 2 3 Осиновый кол в могилу постмодернизма
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  194. 1 2 3 4 5 6 7 8 9 10 Кино как ритуал сокрытия в эпоху постмодерновой конспирологии|HYAP-NOIR|Дзен
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  196. ↑ 'The Nightmare Before Christmas' (PG) - The Washington Post
  197. 1 2 3 4 5 Roddis, Zach (4 April 2016). "20 Great Postmodern Films You Should Watch".
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  201. 1 2 3 4 Kevin Smith: 'I'm a Sellout!' - Observer
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  203. ↑ The Brady Bunch Movie Review|Empire
  204. ↑ 'The Brady Bunch Movie'|Decider
  205. ↑ 'Jay Kelly' Review: A Schmaltzy Tribute to Movie Stars – Slant Magazine
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  208. 1 2 3 4 5 6 7 8 9 "10 Savvy Postmodern Horror Films That Helped Reinvent The Genre". October 24, 2015.
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  218. 1 2 Black, A. J. (Jul 7, 2020). "SCARY MOVIE: a post-modern horror spoof without any post-modern wit (2000 in Film #26)". We Made This. Retrieved Feb 2, 2023.
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  222. ↑ Dark City 1997, directed by Alex Proyas|Time Out
  223. ↑ The barber of Siberia – Znamia
  224. ↑ Chang, Kai-man (2008). "Gender Hierarchy and Environmental Crisis in Tsai Ming-liang's "The Hole"". Film Criticism. 33 (1): 25–44. JSTOR 24777368.
  225. ↑ Lavoie, Dusty (2011). "Escaping the Panopticon". Utopian Studies. 22 (1): 52–73. doi:10.5325/utopianstudies.22.1.0052. JSTOR 10.5325/utopianstudies.22.1.0052.
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  227. ↑ Of Freaks and Men : Aleksei Balabanov's critique of degenerate post-Soviet society
  228. 1 2 Postmodernism and Film
  229. ↑ EYES WIDE SHUT
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  231. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 Culture War: How the '90s Made Us Who We Are Today (Whether We Like It Or Not) - Google Books (ch. "Indie-Pendent's Day")
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  233. 1 2 3 Григорий Константинопольский: «Я говорю, что девяностые не закончились — но они и не закончились»
  234. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Влияние постмодернизма на язык современной анимации на HSE Desigh
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  236. ↑ 'Psycho Beach Party' Turns 25: A Surf-Girl, ’50s Pastiche Cult Classic Readies for a New Generation – IndieWire
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  238. ↑ Dancer in the Dark (2000): Von Trier's Cannes Fest Top Prize-Winning Film Starring Bjork|Emanuel Levy
  239. ↑ "The Postcolonial Self and the Other in Béla Tarr's Werckmeister Harmonies".
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  242. ↑ It's Such a Beautiful Day — Brattle Theatre Film Notes
  243. ↑ A Cultural Evolution of 'Shrek', from Blockbuster Hit to Historic Meme - VICE
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  248. ↑ "Views of Modern and Postmodern Tokyo: Dehumanization, Urban and Body Changes". ResearchGate.
  249. ↑ O'Hehir, Andrew (November 9, 2002). ""Far From Heaven"". Salon.
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  254. ↑ Duplicitous Diegesis: "Don Quijote" and Charlie Kaufman's "Adaptation"
  255. ↑ Быть Чарли Кауфманом
  256. 1 2 3 Narratives, Dead Women, and Their Meaning in a Changing World
  257. 1 2 3 4 5 6 Cinema Studies: The Key Concepts - Google Books (pg.289)
  258. ↑ How Lars von Trier Sees the World: Postmodernism and Globalization in The Five Obstructions
  259. ↑ Between Comedy and Kitsch: Kitano's Zatoichi and Kurosawa's Traditions of "Jidaigeki" Comedies by Rie Karatsu, Massey University, New Zealand
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  262. ↑ 'Team America: World Police' : NPR
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  266. 1 2 3 4 Gallagher, Richard (20 July 2016). "10 Great Postmodern Documentaries That Are Worth Your Time".
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  273. ↑ "The ultimate postmodern novel is a film". TheGuardian.com. 13 May 2009. Retrieved 2018-07-30.
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  279. ↑ 49. A SERIOUS MAN (2009)|366 Weird Movies
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  285. ↑ Gittins, Sean (2012). "Film Socialisme". Philosophy Now.
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  295. ↑ "'ParaNorman' Is a Hilarious, Heartfelt Horror Homage, PopMatters". Aug 13, 2012. Retrieved Feb 2, 2023.
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  300. ↑ A cultural commentary on "Superman" |Denison Forum
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  306. ↑ 'The Lego Movie': Building a postmodern, tongue-in-cheek toy film - Los Angeles Times
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  308. 1 2 Модернизм и постмодернизм в кинематографе: Влияние и Различия
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  311. ↑ World of Tomorrow - cinemayward
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  313. 1 2 «Хардкор»: киномесиво от первого лица
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  317. ↑ Gleiberman, Owen (January 1, 2017). "A Second Look at 'La La Land': Why It's Not Just Good, But Great".
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  322. ↑ "The Square Pokes Fun at the Postmodern Art World". dobbernationLOVES. September 9, 2017.
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  327. ↑ Oscars: Can Anyone Break Disney & Pixar's Animated Feature Streak In 2019? - Deadline
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  329. ↑ New 'Spider-Man' an oh-so-postmodern take on Marvel franchise|HeraldNet.com
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  334. ↑ Перпетуум мобиле — «Гроза» Григория Константинопольского
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  336. ↑ 'Everything Must Go': Joker as a Banner for Postmodernism|CINEJ Cinema Journal
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  351. ↑ Why Oscar contender 'Babylon' could take a page from Toien - Angelus News
  352. ↑ How Everything Everywhere All At Once Bridges the Gap Between Summer Blockbusters and Arthouse Cinema - MovieWeb
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  356. ↑ 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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  363. ↑ Why Postmodern Structure of Ari Aster'sdead 'Beau is Afraid' Works Masterfully - No Film School
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  368. ↑ A Different Man - Film Freak Central
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  377. ↑ God Forbid ‘The Bride!’ Get a Little Motion – The Ringer
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  388. ↑ "The Evolution of Pedro Almodóvar". The New Yorker. November 28, 2016.
  389. 1 2 3 REVIEW: The Love Witch (2016) dir. Anna Biller // BOSTON HASSLE
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  403. ↑ Time Machines: After Kubrick: A Filmmaker's Legacy, edited by Jeremi Szaniawski · Senses of Cinema
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  426. 1 2 3 Danish Postmodern|The New Yorker
  427. 1 2 3 Dr. Toon: The Animation Critic's Art – Defining Our Terms|Animation World Network
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  429. 1 2 Satire TV – Google Books (pg.135)
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  432. ↑ Comfort Viewing: 3 Reasons I Love 'Community' – The New York Times
  433. 1 2 'You Should See Yourself': Jewish Identity in Postmodern American Culture on JSTOR
  434. ↑ Danger Mouse: Natalie Haynes's guide to TV detectives #23|Children's TV|The Guardian
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  436. 1 2 Postmodern Television for the Gen Z Audience: The Appeal of Euphoria and Stranger Things
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  438. ↑ The 30 Best International TV Shows of the Decade – The New York Times
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  444. ↑ 'Magpie Murders' Review: A Postmodern Mystery on PBS – WSJ
  445. ↑ Mary Hartman, Mary Hartman combined soap opera, satire, and nightmare - AV Club
  446. ↑ Масяня смеётся
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  449. ↑ How Monty Python's Mix of Postmodern Absurdity and Political Satire Influenced Shows Like 'Rick and Morty' – Laughing Squid
  450. ↑ Stories of Fighting Fascism – The Peabody Awards
  451. ↑ Cable's 'Mystery Science Theater 3000'|EW.com
  452. ↑ On Evas and Angels: Postmodern Fantasy Devotion to Neon Genesis Evangelion|PopMatters
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  457. ↑ Rick and Morty Almost Swallows Itself in a Too Meta Midseason Premiere – Paste Magazine
  458. ↑ In Defense of Riverdale|The Smart Set
  459. ↑ The Perfectly Postmodern Reality TV of 'RuPaul's Drag Race – The Ringer
  460. ↑ How Saturday Night Live became a TV phenomenon – but then lost its way – BBC
  461. ↑ Saturday Night Live (Classic): "Norman Lear/Boz Scaggs" – AV Club
  462. ↑ (PDF) The Rotoscopic Uncanny: Aku no Hana and the Aesthetic of Japanese Postmodernity
  463. ↑ 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
  464. 1 2 3 American TV Detective Dramas – Google Books (pg.36)
  465. ↑ Did the Simpsons Ruin a Generation?|Desiring God
  466. 1 2 Eckart Voigts-Virchow (GieBen) "Goodbye suspense goodbye"? Postmodern TV Crime in The Singing Detective (1986) and Twin Peaks (1990–91) – cinetext
  467. ↑ Postmodern laughs from the mob – The Boston Globe
  468. ↑ Weirdest Space Ghost Guest Stars, Ranked – MovieWeb
  469. ↑ Making sense of the bloodiest postmodern show on television, Spartacus - Slate Magazine
  470. ↑ Kids' TV Grow Up – Google Books (pg.182)
  471. ↑ Why Netflix's Teen Dramas Feel So Retro – The Atlantic
  472. ↑ Best TV Shows Ever: Top 100 Television Programs – The Hollywood Reporter
  473. ↑ A Sitcom Through the Ages: A Postmodern Review of Marvel's 'WandaVision'|LiveWire
  474. ↑ Post-Human Post-Cinema: The Opening Titles of Westworld · Senses of Cinema
  475. ↑ The X-Files and the Aesthetics and Politics of Postmodern Pop on JSTOR
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