postmodernism and film

Postmodernist film like postmodernism itself is a reaction to modernist cinema and its 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.
Postmodernism is in many ways interested in the liminal space that would be typically ignored by more modernist or traditionally narrative offerings. The idea is that the meaning is often generated most productively through the spaces and transitions and collisions between words and moments and images. 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." The thrust of this argument is that the spaces between the words or the cuts in a film create just as much meaning as the words or scenes themselves.
Postmodernist film typically has three key characteristics that separate it from modernist cinema or traditional narrative film. 1) The pastiche of many genres and styles. Essentially, this means that postmodern films are comfortable with mixing together many disparate kinds of film(styles, etc.) and ways of film-making together into the same movie. 2) A self-reflexivity of technique that highlights the construction and relation of the image to other images in media and not to any kind of external reality.  This is done by highlighting the constructed nature of the image in ways that directly reference its production and also by explicit intertextuality that incorporates or references other media and texts. The deconstruction and fragmentation of linear time as well is also commonly employed to highlight the constructed nature of what appears on screen. 3) An undoing and collapse of the distinction between high and low art styles and techniques and texts. This is also an extension of the tendency towards pastiche and mixing. It typically extends to a mixing of techniques that traditionally come with value judgments as to their worth and place in culture and the creative and artistic spheres.
Lastly, contradictions among technique, values, styles, methods, and so on are important to postmodernism and are many cases irreconcilable. Any theory of postmodern film would have to be comfortable with the possible paradox of such ideas and their articulation.^[

Postmodernism from anniapple

Post-Modernism In One Minute

Theorists

 

Jean Baudrillard

 

 

“The secret of theory is that truth doesn’t exist.”

‘A condition in which “reality” has been replaced by simulacra’

 

Simulacra…

When a sign loses its relation to reality, it then begins to simulate a simulation

 

Simulation:

The process in which a representation of something comes to replace the thing which is actually being represented.

The representation then becomes more important than ‘the real thing’

 

Hyperreality:

Division between “real” and simulation has collapsed, therefore an illusion of an object is no longer possible because the real object is no longer there. E.g. celebrities who reach a point at which every aspect of their lives is taken care of by someone else are said to live in a hyperreal world. They lose the ability to interact with people on a normal level and are cocooned in Hyperreality. Normal people often try to copy this. This is a common case in which someone has become more engaged in the hyperreal world than the actual real world. Play station games which have a lot of violence in them often have a lot of bad press, the media believe that people will copy the actions which they see in the video game.

 

 

He described media culture as consumed by what he called ‘an effect of frantic self-referentiality’ and stated that the implication of this is that as the media doesn’t have to make any necessary reference to reality, we now face a situation in which the image ‘bears no relation to any reality whatsoever’.In other words, there is no such thing as reality, known as simulacra.

 

 

He said that due to our apparent obsession with images, for instance parents filming their children and the fact that there are images everywhere we look, we can only experience the world through a form of filter of preconceptions and expectations created in advance by culture.

 

 

Jean-François Lyotard

 

 

“Simplifying to the extreme, I define postmodernism as incredutity towards the metanarratives.”

 

 

He said that the older and larger scientific explanations may no longer apply due to changes in culture and society, so therefore newer theories need ti be developed that have more relevance to the present.

 

 

His main focus was knowledge and therefore looks at the scientific theories.

 

 

He said that postmodern science:

 

Ø Is no longer coherent

 

Ø Its contribution can no longer be valued for its contribution towards human progress

 

Ø No longer follows the idea that the sum of all knowledge will give us a perfect set of information

 

Ø Has becomes a mass of incompatible theories that has no goal other than to further research

 

 

He said there is no certainty of ideas, instead there are better or worse ways to interpret things. This is because of the limited amount of knowledge that humans can understand, so humans will never know this objective truth.

 

 

Fredric Jameson

 

 

“I would like…to characterize the postmodernic experience of form with what will seem, I hope, a paradoxical slogan namely the proposition that difference relates.”

 

Best known for his analysis of contemporary cultural trends-he once described postmodernism as spatialisation of culture under the pressure of organised capitalism.

 

Believes that postmodernism provides pastiche, humorously referencing itself and other tests in an empty and meaningless circle. Pastiche is distinct from parody, which uses irony, humour and intertexual reference to make an underlying and purposeful point.  

 

He categorized postmodernism into two parts: pastiche and parody.

 

 

Pastiche mixes different past styles together, but shows no understanding of history and the need to move forward, as it cannot think of anything better to do. This reflects a society that has abandoned any possibility of change. Jameson’s belief is that pastiche is taking over as postmodernisms most dominant trait.

 

 

He said that parody is more common to modernism and copies from old styles, but unlike pastiche takes a critical view of it. So therefore it asks questions about it, rather than simply duplicating it.

Theorists

Jean Baudrillard

 

“The secret of theory is that truth doesn’t exist.”

 

He described media culture as consumed by what he called ‘an effect of frantic self-referentiality’ and stated that the implication of this is that as the media doesn’t have to make any necessary reference to reality, we now face a situation in which the image ‘bears no relation to any reality whatsoever’. In other words, there is no such thing as reality, known as simulacra.

 

He said that due to our apparent obsession with images, for instance parents filming their children and the fact that there are images everywhere we look, we can only experience the world through a form of filter of preconceptions and expectations created in advance by culture.

 

Jean-François Lyotard

 

“Simplifying to the extreme, I define postmodernism as incredutity towards the metanarratives.”

 

He said that the older and larger scientific explanations may no longer apply due to changes in culture and society, so therefore newer theories need ti be developed that have more relevance to the present.

 

His main focus was knowledge and therefore looks at the scientific theories.

 

He said that postmodern science:

Ø  Is no longer coherent

Ø  Its contribution can no longer be valued for its contribution towards human progress

Ø  No longer follows the idea that the sum of all knowledge will give us a perfect set of information

Ø  Has becomes a mass of incompatible theories that has no goal other than to further research

 

He said there is no certainty of ideas, instead there are better or worse ways to interpret things. This is because of the limited amount of knowledge that humans can understand, so humans will never know this objective truth.

 

Fredric Jameson

 

I would like…to characterize the postmodernic experience of form with what will seem, I hope, a paradoxical slogan namely the proposition that difference relates.”

He categorized postmodernism into two parts: pastiche and parody.

 

Pastiche mixes different past styles together, but shows no understanding of history and the need to move forward, as it cannot think of anything better to do. This reflects a society that has abandoned any possibility of change. Jameson’s belief is that pastiche is taking over as postmodernisms most dominant trait.

 

He said that parody is more common to modernism and copies from old styles, but unlike pastiche takes a critical view of it. So therefore it asks questions about it, rather than simply duplicating it.

The Lego Movie

Unlike modernism and postmodernism, the first principles of metamodernism are fairly easy to understand. The basic premise is that we’re constantly caught between opposing concepts like “knowledge” and “doubt,” “reality” and “unreality,” and “Art” and“Life”; learning to move quickly between these concepts may be our best hope yet of regaining a sense of self in the Internet Age. The core message here is simple enough, in fact so simple that not only could a child pick it up quickly, it’s arguably children who understand the metamodern “cultural paradigm” better than anyone. Children, unlike their parents, move more or less seamlessly from the realm of fantasy to the aggressive insistence of reality. In fact, they daily face the prospect of having the things they think they know undermined by their elders. And while we don’t often associate childhood with High Art, certainly the most popular child’s toy in human history—Lego building blocks—is designed to let children forget their often restrictive lives for a while and bask, instead, in their own limitless ingenuity. Legos may or may not constitute building blocks for art, but if you’ve ever seen a child (or even an “AFOL,” an Adult Fan of Lego) mucking about with them, it’s hard to tell the difference between transient play and committed artistry. Which is exactly the point The Lego Movie wants to make to kids and adults alike: It’s okay not to know where to put things, or to put things in a place they don’t seem to belong, or to let your imagination outstrip your common sense. It’s equal parts a simple message of empowerment for kids and one sophisticated enough to deserve the adjective “metamodern,” making The Lego Movie the first unabashedly metamodern children’s film in Hollywood history.

In The Lego Movie—a film that combines actual Lego models, stop-motion animation, and (to a much greater extent) high-quality CG animation—an ordinary Lego minifigure of no great distinction, Emmet, learns that he alone has the means to stop the evil Lord Business from gluing together all the building blocks that comprise his universe. The metaphor is, at first blush, a pretty obvious one: Lord Business (Will Ferrell) wants to end dynamism of all kinds, including creativity, in order to better control all aspects of Lego (and, metaphorically, human) existence. As instruments for his nefarious scheme, Lord Business uses“micromanagers,” giant robotic Lego constructions whose literal purpose mirrors the emotional work so many human adults engage in every day: meticulously arranging existential elements whose native state is wild, unruly, and wonderful. Certainly, it’s no secret that much of what makes living worthwhile—the many forms of love; the many forms of courage; the boundlessness of creativity—makes little sense when we subject it to the petty prescriptions of micromanagement.

 

http://blogs.indiewire.com/pressplay/metamericana-the-lego-movie-metamodernism-for-kids