Postmodernism Film / Photo Credit: Film Theory
WHAT IS POSTMODERNIST IN FILM? (In the Entertainment industry.)
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What is Postmodernist in Film?
Postmodernist in Film
Like television, postmodern movies and films are a mainstay of mass-market American culture. The range of independent films to big budget Hollywood blockbusters all exhibit (and build off of) many of the Postmodern motifs shared by other art forms.
Postmodernism defines as defiance and as a form of refusal to conform the ideas and theories of the modernist approach in films. It stands to revolt against the traditions and views and cultures offered by modernist theories and aims to replace the existent innovation with a fresh new one that is more revolutionary and refined and an extra-ordinary version of the old; bolder and larger than it is, on par the of the cutting edge.
Postmodernism combines various approaches in one single molded approach as in a collection of various patchworks of graphic, literary, scenic and visual arts creating a brand-new masterpiece from all medium of arts as a deliberation from its original roots in the aim of dazzling the beholders, driving them into contemplation of the revolutionary art’s re-definitions and representations and revisions as it works on eradicating any variations as a whole.
Postmodernist film is a classification for works that articulate the themes and ideas of postmodernism through the medium of cinema. Postmodernist film attempts to subvert the mainstream conventions of narrative structure and characterization, and tests the audience's suspension of disbelief. 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.
Postmodernism is a complex paradigm of different philosophies and artistic styles. The movement emerged as a reaction to high modernism. 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. Proponents of modernism suggested that sociopolitical and cultural progress was inevitable and important for society and art. 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. In particular, modernism insisted upon a divide between "low" forms of art and "high" forms of art (creating more value judgments and hierarchies). This dichotomy is particularly focused on the divide between official culture and popular culture. 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.
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. Unlike modernism, postmodernism does not have faith in master narratives of history or culture or even the self as an autonomous subject. Rather postmodernism is interested in contradiction, fragmentation, and instability. 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. This practice is referred to as pastiche. 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. Consequently, postmodernism demonstrates what it perceives as a fractured world, time, and art.
Postmodernist film – similar to postmodernism as a whole – is a reaction to the modernist works of its field, and to their tendencies. 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." 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." The modernist film has more faith in the author, the individual, and the accessibility of reality itself than the postmodernist film.
Examples, postmodern cinema includes films such as:
- Blade Runner (1982)
- Pulp Fiction (1994)
- Monty Python and the Holy Grail (1975)
- Taxi Driver (1976)
- Blue Velvet (1986)
- Om-Dar-B-Dar (1988)
- sex, lies and videotape (1989)
- Thelma and Louise (1991)
- Barton Fink (1991)
- Chungking Express (1994)
- Dead Man (1995)
- The Big Lebowski (1998)
- Run Lola Run (1998)
- The Matrix (1999)
- Mulholland Drive (2001)
- Donnie Darko (2001)
- The Royal Tenenbaums (2001)
- Eternal Sunshine of the Spotless Mind (2004)
- Synecdoche, New York (2008)
- Inception (2010)
- Midnight in Paris (2011)
- Suicide Room (2011)
- Holy Motors (2012)
- Her (2013)
- Under the Silver Lake (2018)
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Postmodernism Film / Photo Credit: Film Theory
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