Philosophy:Postmodernist film

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Short description: Film genre

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 (and is generally more sincere in tone[10]) 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. 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

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][16][17]

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.[18]

Pulp Fiction

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

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


List of notable postmodernist filmmakers

See also

References

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  150. "Olivier Assayas' "Irma Vep": A Product and Critique of the French New Wave – Brattle Theatre Film Notes". https://www.brattleblog.brattlefilm.org/2017/12/05/olivier-assayass-irma-vep-a-product-and-critique-of-the-french-new-wave-5985/. 
  151. CINEMA QUARANTINO: The End of Evangelion (1997) dir. Hideaki Anno|BOSTON HASSLE
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  154. Dark City 1997, directed by Alex Proyas|Time Out
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  166. It's Such a Beautiful Day — Brattle Theatre Film Notes
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  173. "Unhappily ever after". March 1, 2003. http://www.theguardian.com/film/2003/mar/01/patterson.johnpatterson. 
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  182. "The Postmodern Eyes of Chinese Cinema". https://www.international.ucla.edu/cnes/article/80981. 
  183. Young, Neil (November 10, 2017). "Critic's Picks: Amy Adams' Top 5 Performances". https://www.hollywoodreporter.com/lists/critics-picks-amy-adams-top-5-performances-1056381/. 
  184. "Todd Haynes, I'm Not There and the Postmodern Biopic". https://offscreen.com/view/todd-haynes-im-not-there-and-the-postmodern-biopic. 
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  186. "The Quietus | Film | Film Features | Life's Incidental Character: The Films Of Agnès Varda". https://thequietus.com/articles/15448-agnes-varda-retrospective. 
  187. "The ultimate postmodern novel is a film". 13 May 2009. https://www.theguardian.com/books/booksblog/2009/may/13/synechdoche-postmodern-novel-film. 
  188. Ebiri, Bilge. "Gaspar Noé on Why Enter the Void Is Avatar for the Art Crowd: Both Are 'Like Taking Drugs'". https://www.vulture.com/2010/09/gaspar_noe_on_why_enter_the_vo.html. 
  189. "Shutter Island". http://www.reverseshot.org/symposiums/entry/1920/shutter_island. 
  190. "The remake of memory: Martin Scorsese's Shutter Island and Pedro Almodovar's The Skin I Live In". https://static1.squarespace.com/static/53d55b4de4b0273d5d1a42a9/t/541784cce4b046f29ec5ec71/1410827468111/The+Remake+of+Memory.pdf. 
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  192. "A perfectly modern Frankenstein: Almodóvar's The Skin I Live In (2011, Sony Pictures Classics)". https://www.researchgate.net/publication/232221668. 
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  194. "The blind spot of history: colonialism in Tabu - CentAUR". https://centaur.reading.ac.uk/93688/8/1812-6112-1-PB.pdf. 
  195. Verma, Shikhar (June 6, 2017). "Holy Motors [2012: The Death & Re-birth of Cinema"]. https://www.highonfilms.com/holy-motors-2012-post-modernism-death-re-birth-cinema/. 
  196. "'ParaNorman' Is a Hilarious, Heartfelt Horror Homage, PopMatters". Aug 13, 2012. https://www.popmatters.com/162036-paranorman-is-a-hilarious-heartfelt-horror-homage-2495824971.html. Retrieved Feb 2, 2023. 
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  198. Why can't grown-up animations catch a break on Oscar night? - Chicago Reader
  199. ""This is the bloody twenty-first century!": The (Post)Modern Vampires of Jim Jarmusch's Only Lovers Left Alive". March 16, 2019. https://bookerhorror.com/only-lovers-left-alive-2013-director-jim-jarmusch/. 
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  201. Review: Insubstantial 'Clouds of Sils Maria'|Indiewire
  202. ‘The Lego Movie’: Building a postmodern, tongue-in-cheek toy film - Los Angeles Times
  203. "Thai film 'Cemetery of Splendor' blends surrealism and fear", The Seattle Globalist
  204. World of Tomorrow - cinemayward
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  209. At Sundance: In Defense of Daniel Radcliffe’s Farting Corpse|Filmmaker Magazine
  210. "'Get Out' Is The Type Of Movie The Oscars Should Pay Attention To". March 5, 2017. https://www.huffpost.com/entry/get-out-oscars_n_58b9742de4b05cf0f3ffbdd2. 
  211. "The Square Pokes Fun at the Postmodern Art World". September 9, 2017. https://dobbernationloves.com/life-culture/tiff17-the-square-successfully-pokes-fun-at-the-modern-art-world/. 
  212. "Only I Know the Secrets: Breaking Down 'Under the Silver Lake' | BW/DR". July 10, 2019. https://www.brightwalldarkroom.com/2019/07/10/secrets-under-the-silver-lake/. 
  213. Silence & Sound: Wonderstruck and the Post-Modern Gaze – Riot Material
  214. Oscars: Can Anyone Break Disney & Pixar's Animated Feature Streak In 2019? - Deadline
  215. (PDF) The House that Lars Built - academia.edu
  216. "Falling asleep at the Movies: Long Day's Journey Into Night by Jamie Limond – The Drouth". https://www.thedrouth.org/falling-asleep-at-the-movies-long-days-journey-into-night-by-jamie-limond/. 
  217. Rian Johnson trades in lightsabers for postmodern whodunnit Knives Out|Ars Technica
  218. Alm, David. "Review: Pedro Almodóvar's 'Pain And Glory'". https://www.forbes.com/sites/davidalm/2019/09/29/review-pedro-almodvars-pain-and-glory/. 
  219. "Bad Luck Banging or Loony Porn review – playful Romanian sex tape satire". November 28, 2021. https://www.theguardian.com/film/2021/nov/28/bad-luck-banging-or-loony-porn-review-playful-romanian-sex-tape-satire. 
  220. "Movie Review: "Bergman Island" a Playful Riff on Creativity". October 20, 2021. https://www.bocamag.com/movie-review-bergman-island-a-playful-riff-on-creativity/. 
  221. Why Oscar contender ‘Babylon’ could take a page from Tolkien - Angelus News
  222. How Everything Everywhere All At Once Bridges the Gap Between Summer Blockbusters and Arthouse Cinema - MovieWeb
  223. 223.0 223.1 PHILM AND PHILOSOPHY|'Barbie', 'Everything Everywhere All at Once' and the Problem of Postmodern Endings
  224. 'Last Night in Soho' review: Anya Taylor-Joy shakes up horror - Los Angeles Times
  225. Gittell, Noah (Jul 20, 2022). "Jordan Peele's Nope Fails to Dazzle When the Aliens Are Revealed - WCP". http://washingtoncitypaper.com/article/564814/jordan-peeles-nope-fails-to-dazzle-when-the-aliens-are-revealed/. Retrieved Feb 2, 2023. 
  226. White Noise is 'thrillingly original' - BBC Culture
  227. 'Barbie' Review: Doll in Plastic Gets a Greta Gerwig Grounding in Kentastic Postmodern Campy Romp - Rendy Reviews
  228. Why the Postmodern Structure of Ari Aster’s ‘Beau is Afraid’ Works Masterfully - No Film School
  229. Jim Hemphill's Best Blu-rays of 2016|Filmmaker Magazine
  230. There Was Once a Certain Kind of Cinema — Kitbashed
  231. Fallen Angels|Cornell Cinema
  232. Read More: Don Hertzfeldt's Stick Figures at 20 | Austin Film Society
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  234. Postmodern Chick Flicks - Google Books (pg.43)
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  237. 237.0 237.1 237.2 237.3 “New Hollywood” and the 60s Melting Pot|Jonathan Rosenbaum
  238. 238.0 238.1 238.2 238.3 Haider, Asad. "Me and You and Everyone We Know: The Postmodern Happiness of the Contemporary Art Film – Senses of Cinema". https://www.sensesofcinema.com/2006/on-recent-films/me_you_everyone/. 
  239. Joe Dante's Purgatory|Jonathan Rosenbaum
  240. Hassannia, Tina (December 11, 2013). "The Nature of Truth: Errol Morris's The Thin Blue Line". https://www.slantmagazine.com/film/the-nature-of-truth-errol-morriss-the-thin-blue-line/. 
  241. Dilley, Whitney Crothers (August 23, 2017). "The Cinema of Wes Anderson: Bringing Nostalgia to Life". Wallflower Press. https://cup.columbia.edu/book/the-cinema-of-wes-anderson/9780231180696. 
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  245. "An Interview with Guy Maddin". https://offscreen.com/view/branded_brain. 
  246. Comics in Context #100: Centennial Cartoon Concert - IGN
  247. Neurosis Hotel: An introduction to Abel Ferrara - Adrian Martin.pdf
  248. Time Machines: After Kubrick: A Filmmaker's Legacy, edited by Jeremi Szaniawski · Senses of Cinema
  249. New Working-Class Studies - Google Books (pg. 162)
  250. The Perils of Michael Moore - Dissent Magazine
  251. Can I Live? Contemporary Black Satire and the State of Postmodern Double Consciousness on JSTOR
  252. Jordan Peele on 'Get Out' and writing for the Black audience
  253. Peter Greenaway's Postmodern / Poststructuralist Cinema - Google Books
  254. Peter Greenaway's "Eisenstein in Guanajuato" at the Istanbul Film Festival - HuffPost
  255. Kevin Smith: 'I'm a Sellout!' - Observer

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