Thursday, 29 October 2015

Pulp Fiction

Makes constant reference to earlier films and a key feature of postmodernity is intertextuality. The dance reminds the audience of ‘Saturday night fever’.
Lack of meta-narratives, the irreverent tone such as when they discuss hamburgers with the same seriousness as discussing killing people. This creation of hyper reality is something Baudrillard felt strongly about, arguing it was a prominent aspect of postmodern media.
Assumes both of Jameson’s postmodern characteristics in its visual aesthetic and its worldview. It’s a pastiche of various cinematic modes—film noir, B-movies, samurai films, Blaxploitation.
Tarantino follows Vincent as he slowly surveys the cornucopia of iconography in one long take. To the tune of Ricky Nelson’s “Waitin’ in School,” sung by a Ricky Nelson impersonator, we see what Vincent sees: waiters and waitresses dressed as ’50s icons—Marilyn Monroe, James Dean, Donna Reed—the walls covered with posters of era-specific B-movies—Attack of the 50-ft Woman, High School Confidential, Rock All Night—and finally, the perfect touch that would make Jameson smile with recognition and wince at the same time, a wall of televisions that resemble windows playing old street scenes on a loop, literally forcing the purveyors to look “in” rather than “out.”
The first example of postmodernism in the cult film is Tarantino's disregard for a chronological narrative. Instead he split the film into three stories, "VincentVega and Marcellus Wallace's Wife", "The Gold Watch" and "The Bonnie Situation." This fits in with Lyotard's theory of the declining meta narratives over time, along with the increase of "mini-narratives". This fracturing of time is very postmodern as it throws the audience off slightly, but then the film cleverly ties everything together as the film nears the end, so the audience can understand how everything fits together and it gives them a sense of satisfaction.
1.     The Diner part I
2.     Prelude to “Vincent Vega and Marsellus Wallace’s Wife”
3.     “Vincent Vega and Marsellus Wallace’s Wife”
4.     Prelude to “The Gold Watch”
5.     “The Gold Watch”
6.     “The Bonnie Situation”
7.     The Diner part II
But, chronologically, the scenes would be in this order: 2, 6, 1, 7, 3, 4, 5.

Although the film has some comical elements and situations, its humour isn’t derived from the references to the past therefore it isn’t parody. It is so thick with pastiche though, that it is difficult to place the era in which the film is set. A few examples of pastiche evident in the film: When Marcellus Wallace walks out in front of Butch's car at the traffic lights and turns to face him, this is like the scene in Psycho by Alfred Hitchcock when Marion's boss crosses the street in front of her car.

Ex Machina

A young coder at the world's largest internet company, wins a competition to spend a week at a private retreat belonging to the reclusive CEO of the company. One arrival he learns that he must participate in a bizarre experiment which involves interacting with the world's first true artificial intelligence, which comes in the form of a beautiful female robot.
January 21, 2015
Alex Garland

What makes it postmodern:
Artificial Intelligence – very postmodern idea, of robots or technologically advanced machines that can ‘take over’.

Location – shot all in one location only using 3 characters. Film focuses on character development and tricking the audience so they are as confused as the characters and the only thing that knows everything in the film is Eva, yet she is an AI.
Intertextuality – references many other sci-fi/AI films and ideas.
Good vs evil – tries to break this down by confusing people with who is good and who is evil, tries to make man the enemy and machine the good one. Challenges binary opposites of life and what it means to be human (eg the testing like the Turing test).

Futuristic – it is not set in the future, but the location props and AI suggest advancements that are incomprehensible for humans and imply a futuristic for-knowledge. 

Thursday, 1 October 2015

Post-modernism - YouTube Video

Just a social construct.
There is no set definition.
It is a way of analysing things or frameworks. It is a critique of modernism and structures (post structuralism). There is no absolute truth. Some of these constructs that we build all of society on are gender, power, class, we assume these are real and postmodernism deconstructs this saying they are not necessarily true, they are things we have created as a society and we believe them to be true.
Want to break down good vs evil and male vs female. No one can agree on whether we are in the postmodern era, believed to start in late 19th century as reaction to hyper rationalism of people at the time, people who argue different theories to explain everything. Postmodernism argued nothing is purely objective, no true objective truth.

Any view that is post the modern period that challenges the norm of ideas of structure, binaries, rational thought. Best way is look at art and architecture and music. 

Friday, 25 September 2015

Modernism vs Postmodernism

Modernism:
Modernism is what happened to art and philosophy in the early 20th century.  It was a reaction to technology and science, against the cultural norms that had come before. The Intentional movement in the arts, culture, philosophy, and politics that uses various strategies to subvert what is seen as dominant in modernism or modernity.

Modernist thought had its origins in the Enlightenment period. This era was a celebration of the liberating potentials of the social sciences, the materialistic gains of capitalism, new forms of rational thought, due process safeguards, abstract rights applicable to all, and the individual it was a time of great optimism (Milovanovic, 1992a, 1994a; Dews, 1987; Sarup, 1989; Lyotard, 1984; Baker, 1993). Postmodernists are fundamentally opposed to modernist thought. Sensitized by the insights of some of the classic thinkers, ranging from Marx, to Weber, to Durkheim, Freud, and the critical thought of the Frankfurt School, postmodernist thought emerged with a new intensity in the late 1980s and early 1990s. "Let us wage a war on totality" states one of its key exponents (Lyotard, 1984: 82). Most of the key concepts of modernist thought were critically examined and found to be wanting. In fact, the notion of the individual free, self-determining, reflective, and the center of activity was seen as an ideological construction, nowhere more apparent than in the notion of the juridic subject, the so-called reasonable man in law. Rather than the notion of the individual, the centered subject, the postmodernists were to advocate the notion of the decentered subject.

It's most clear in art, which introduced non-realistic forms of painting like impressionism.  Art draws attention to itself as medium or artifice. Art should not tell stories because that is the job of literature. The camera was doing the job of capturing an image, so painters began to experiment with ways that they could capture subjective senses and express emotion.  That same sensibility translated into other fields: poetry, art, psychology, music, and so on, freed from the structures that had become rigid in the 19th century.

Modernism: order, normality, transcendence, functionalism.

Reason will lead to universal truths all cultures will embrace.

Modernist thought. Great weight is placed on the dominance of the "me," that part of the self that dresses itself up with the persona demanded by the situation, struts upon the stage, and plays its part with various degrees of success to various audiences. A person is relegated to role-taking.

Postmodernism:
Postmodernism is simply "what came after modernism".  It can be thought of as modernism taken to its logical conclusion, from an Old Master's "this is what there is to see" to Picasso's modernist "this is the way I see it" to Jackson Pollock's postmodern "here's a blotch, see whatever the hell you want to see, now get me another drink or go the hell away".  It's the reaction of people reacting to modernism, once it had been around for a few decades to become something to be reacted to.

Postmodernity is associated with an awareness of societal and cultural transitions after World War II and the rise of mass-mediated consumerist popular culture in the 1960s-1970s. In culture and the arts, interpreters of this era describe the kinds of cultural hybrids that emerge from mixing (or rendering inoperative) the categories of "high" and "low" cultures, and hybrids in cultural forms that have developed in regions where local identities seek definition against, or in dialog with, Western "hegemonic" cultures (the mixing of "official" cultures and those defined as "other" in modernist ideologies). Postmodern views of history and national identity typically cancel a commitment to modern "master narratives" or "metanarratives" like progress and goal-directed history, and disrupt myths of national and ethnic identities as "natural" foundations of "unity."

A painting or book or literally anything can be thought of as meaning different things to different people, possibly without limit.  This had a nihilistic effect on culture and art, and that nihilism is what people most commonly associate with "postmodernism" today.  Postmodernity as a phase of knowing and practice, abandoning the assumptions, prejudices, and constraints of modernism to embrace the contradictions, irony, and profusion of pop and mass culture. "High" and "low" culture/art categories made useless and irrelevant, art from outsider and non-Western cultures embraced, consumer society turned inside out. The grand linear narrative of art history and Western cultural history is exposed as ideological and constructed for class interests.

Postmodernism: irony, constant change, orderly disorder, diversity, intertextuality, tolerance for the incommensurable, no permanent stable order is possible or even desirable.

Postmodernist Thought. Although still emerging, and which initially found its basis in its critique of modernism, has found grounding in the insights of chaos theory, Godel's theorem, catastrophe theory, quantum mechanics, emerging cosmological insights, topology theory, and Lacanian thought to name a few. Postmodernists begin their analysis with privileging disorder rather than order. Chaos theory is increasingly becoming a key element in postmodern analysis.

I associate "postmodernism" most closely with its philosophical expressions, trying to puzzle out the nature of "meaning" and discovering that in many ways meaning is more arbitrary than had previously been thought.

Contrary to many modernist critics, postmodernism is not fatalistic, cynical, and nonvisionary; rather, what the new paradigm offers is a more intense critique of what is, and transformative visions of what could be.

My Opinion:
I think I align more with postmodernism because I think orderly disorder and the concept of irony and interpreting something that way you see it, everything has a slightly different meaning to fit that of the individual. I disagree, however, that reason and science are Ideologies in the Marxist sense; myths created by man, as I think this is a slightly absurd viewpoint to obtain. Although I do agree that truth may exist independent of human consciousness but there is no objective means of nailing it down, unlike postmodernism who believe we can find the truth using reason, I don’t think it is that simple, and I like how postmodernism challenges the rigid view of modernism and creates a more abstract view of the world, art, literature etc. The idea that postmodernism is always trying to discover the meaning behind something, is what I feel we do and we critique what exists.