tag:blogger.com,1999:blog-41163029423455162112024-03-05T03:10:09.444-08:00Postmodern MediaRhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.comBlogger16125tag:blogger.com,1999:blog-4116302942345516211.post-14877208257577892682012-05-27T03:25:00.002-07:002012-05-27T11:11:08.429-07:00Pans Labyrinth Case Study<a href="http://content8.flixster.com/movie/10/86/20/10862042_det.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://content8.flixster.com/movie/10/86/20/10862042_det.jpg" width="213" /></a><br />
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<b style="font-weight: bold;"><u>Eclecticism:</u></b> The idea for Pans Labyrinth came to Guillermo Del Toro, through various sources such as his own notebooks but the film was influenced by his own work, "The Devils Backbone, Lewis Carroll's books-Alice in Wonderland, Jorge Luis Borges Ficciones, Arthur Machens "The Great God Pan" and he was influenced by Arthur Racham's illustrations and he gained the idea of the character of the faun from childhood experiences with lucid dreaming. In the film, Pans Labyrinth Guillermo Del Toro used some computer generated imagery in the effects but mostly used make-up and animatronics. </div>
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<b style="text-decoration: underline;">Parody:</b> This can be applied to Pan's Labyrinth for instance we see Captain Vidal criticising the resistance and their political ideologies for a democratic Spain.</div>
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<u style="font-weight: bold;">Bricolage: </u>It could be argued that there is bricolage in the film as Del Toro uses a combination of warfare associated with The Devils Backbone and both narratives are identical and Del Toro uses Roman and Greek mythology and combines them with Alice in Wonderland, this shows that Del Toro is able to use other pieces of influences but he uses it in away that's essential to characterization of the character and context of the narrative which Ofelia's story is constructed which results in the audience who are familar with his characters and narratives, if they have seen Del Toro's films already.</div>
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<u style="font-weight: bold;">Acts against modernism: </u>I would say that Pans Labyrinth acts against modernism when we see Ofelia put something underneath her mothers bed to help her get better but before this we see the doctor giving Carmen getting more ill even when given medicine it doesn't work but when Ofelia puts something under her bed she becomes better but when the the thing underneath Carmen's bed is found and killed after this Carmen eventually dies. Another example would be that of the book which helps Ofelia learn the future.</div>
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<b style="text-decoration: underline;">Nostalgic: </b>Pans Labyrinth could be considered to be nostalgic as it celebrates the defeat of fascism by the resistance forces in the Spanish Civil war. In Pan's Labyrinth, Othelia's story operates within the framework of the Spanish civil war aftermath in which rebels fight against the fascists and gain back the Spain they were so loyal to. Othelia's personal experience mirrors this as she longs for the happy childhood she once knew before having to adjust to her paranoid and sadistic stepfather and the surrounding chaos. To cope with her personal experience under fascism in Spain, she imagines herself as a protagonist who imagines herself in her own fairy tale despite being told by her mother not to believe in them any more. In the film, Othelia constructs an alternate reality which also her brother confines in another reality without knowing about the reality of warfare in the Spanish civil war. I would also say that it celebrates Ofelia coming back to her kingdom such as when we see the King and queen of the underworld we see it as a reference to Alice in Wonderland. </div>
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<b><u>Narcissistic:</u></b> I would say that the postmodern characteristic of narcissism is conveyed in Pans Labyrinth when we see the scene where the various characters are seen sitting around the table which involves the characters of Carmen (Ofelia's mother) and Captain Vidal, one of the characters ask Carmen and Captain Vidal how they met, Carmen then mentions how they met and she puts her hand on Captain Vidal's hand, he then pulls his hand away showing how self indulgent he is and how he only cares for himself and not for Carmen's or Ofelia's life. Vanity is also shown by Ofelia when she's doing a task where she has to open a door but eats a bit of forbidden fruit which a fairy tries to stop her but she pushes her away and causes the monster to wake up, which puts herself in danger and two of the faries get eaten which conveys how narcissistic she is.</div>
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<b><u>An active audience</u></b>: This can be applied to Pans Labyrinth because at the start of the film, we find out that Ofelia is a princess of the underworld but didn't know this before because she lost memory of her identity. What I found those was that when viewing the last scene from the film, that when she is killed by her step father we're wondering whether she be able to gain the identity and freedom she lost from her mortal existence but as an audience we're thinking what will happen in the Spanish civil war etc, this mode of address is used as the director is expecting the audience to know about the Spanish civil war.</div>
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<b><u>Hyper-conscious:</u></b> I would say that Pan's Labyrinth, is aware of itself because when we first hear a narrator telling the audience about Ofelia/princess Moanna who escaped her bodyguards and fell into humanity in which she forgets about her previous identity but its only when she gets told by the Faun that she was a princess but I would say that it only becomes self aware when Ofelia actually comes to the kingdom that she's able to embrace her own identity.</div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com0tag:blogger.com,1999:blog-4116302942345516211.post-87862031684422000052012-05-15T13:07:00.001-07:002012-05-27T01:39:25.395-07:00Postmodernist Film<a href="http://digitalpolyphony.webs.com/2001_Space_Odyssey.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://digitalpolyphony.webs.com/2001_Space_Odyssey.jpg" width="231" /></a><br />
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Postmodernist film attempts to articulate postmodernism (its ideas and themes and methods) through film. Postmodernist film tries to subvert the mainstream conventions of narrative structure, characterization and destroys or toys with the audiences suspension of belief. Typically these type of films also break down the cultural divide between high and low art and often upend typical portrayals of race, gender, class and time with the goal of creating something different from traditional narrative expression. </div>
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Postmodernist film is a reaction to modernist cinema and its tendencies. Modernist cinema is known to explore and expose the formal concerns of the medium by placing them at the forefront of consciousness. Modernist cinema is known to question and make visible the meaning production practices of film. Auteur theory and the authors/directors idea of producing work from a singular vision guided the concerns of modernist cinema. "To investigate the transparency of the image is modernist but undermines the references to reality, to engage with the aesthetics of postmodernism. Although modernist film is known to have more faith in the author, individual and accessibility of reality itself than the postmodernist film. </div>
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Postmodernist films are known to have three characteristics, which separate it from modernist film/cinema or traditional narrative film, these include characteristics like:</div>
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<li style="text-align: justify;">The pastiche of many genres and styles. Which means postmodernist films are comfortable with mixing together many disparate kinds film/styles etc and ways of film-making together in the same movie. </li>
<li style="text-align: justify;">Self reflexivity of technique that highlights the construction and relation of the image to other images and not to any kind of external reality. Which is done through highlighting the constructed nature of the image in ways that directly reference its production and also by explicit intertexuality that incorporates or references other media and texts. The deconstruction and fragmentation of linear time as well also commonly employed to highlight the constructed nature which appears on screen. </li>
<li style="text-align: justify;">An undoing or a collapse of the distinction between high and low art styles, techniques and texts. Which is also an extension of the tendency towards pastiche and combining. It also extends to the combination or mixing of techniques which traditionally come with value judgments as to their worth and place in culture and the creative and artistic spheres. </li>
<li style="text-align: justify;"> Lastly contradictions among values, styles, technique, methods and are important to postmodernism and are many cases irreconcilable Any theory of postmodernist film would have to be comfortable with the possible paradox of certain ideas and articulation.</li>
</ol>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com0tag:blogger.com,1999:blog-4116302942345516211.post-44487583972862866882012-05-10T05:26:00.000-07:002012-05-15T12:08:50.936-07:00Relativism, Death of the Author,Modernism and Marxist film theory etc<div style="text-align: justify;">
<u><b>Relativism:</b></u> This is the concept of their being no validity or truth, and having no relative, subjective value according to differences in perception and consideration. The term is often used to refer to the context of moral principle and ethics are regarded as applicable in only limited context. The term often refers to truth relativism, which is concept of there being no absolute truth.</div>
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<b><u>Death of the author</u>-</b>This is a essay produced by Roland Barthes in 1967. Barthes's essay argues against the traditional literacy criticisms practice of incorporating the intentions and biographical context of an author and an interpretation of a text, and instead argues that writing and creating are unrelated.</div>
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In this essay, Barthes argues against the method of reading an criticism which lies on the aspects of the authors identity, like their ethnicity, political views etc which are used to distill meaning from the author's work. In this type of criticism he experiences and biases of the author serve as an definitive explanation of the text. For Barthes, this method is flawed as "to give a text and author, and assign a single, corresponding interpretation to it" is to impose a limit on the text.</div>
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<u style="font-weight: bold;">Modernism: </u>A modern thought, character or practice. The term is also used to describe the modernist movement in the arts, its set of cultural tendencies and associated cultural movements, which arises from the wide scale and far reaching changes of Western society in the late nineteenth and early twentieth centuries. The development of the modern industrial societies and the rapid growth of cities, followed then by the horror of World War 1 where among the factors which developed modernism.</div>
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<b><u>What are the differences between modernism and postmodernism?</u></b></div>
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Modernism is an encompassing label for a wide variety of cultural movements. Postmodernism is an centralized movement that named itself based on socio-political theory, although the term is used now to describe or refer to activities in the from the 20th century onwards which exhibit awareness of an reinterpret the modern. Postmodern theory asserts the attempt to canonize modernism after the fact that its doomed to major contradictions. </div>
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<b><u>Marxist Film Theory:</u></b> Sergei Eisenstein and many other Soviet filmmakers in the 1920's expressed ideas/ideologies of Marxism through their films. The Hegelian dialectic was considered best displayed in film editing through the Kuleshov experiment and the development of montage.</div>
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This approach towards Marxism and film-making was used to shun the use of the typical narrative structure which was associated with Hollywood film-making. Eisenstein chose to shun the narrative structure by get rod of the typical modernist individual protagonist central to films and he told stories where the action is moved by the group and the narrative or story is told through a clash of one image against the next(whether in composition, motion or idea) so that the audience is lulled into believing that they are watching something that has been constructed in the typical manner attributed with Hollywood, e.g. Jean Luc Goddard would employ radical editing and choice of subject matter, as well as subversive parody to heighten class consciousness and promote Marxist hegemony or dominant ideologies. <br />
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<b><u>Fourth Wall technique:</u></b> The fourth wall technique is the imaginary wall, at the front of the stage in a traditional three walled box set in a proscenium theater, through which the audience see's the action in the world of the play and was made explicit by Denis Diderot, which extended the idea to the imaginary boundary between any fictional work and its audience. Speaking directly,acknowledging the audience through camera in film, TV or through the imaginary wall in a play is referred to as the "breaking the fourth wall" and is considered a technique of metafiction. As it deconstructs the boundaries which is normally set by the works of fiction.<br />
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<b><u>Metaference:</u></b> A metafiction technique which is situated in a work of fiction where characters display an awareness that they are in such a work, such as in film, books etc. This technique of metafiction is used in the Simpsons, when the characters are often seen mockingly referring to the show, the writers, Fox Network, known continuity errors or popular memes pertaining to the show as the show as a form of self parody. Another example is the one we see in the South Park episode, "More Crap", a trophy appears at the bottom of the screen to announce that South Park won an Emmy for "Make Love Not Warcraft". At the end of the episode "More Crap" Randy is awarded said trophy.<br />
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<b><u>Aside:</u></b> A dramatic device in which a character speaks to its audience. By convention, the audience is to realize that the character's speech is unheard by the other characters on stage. It may be addressed to the audience expressly (in character or not) or represent an unspoken thought.<br />
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<b><u>Nihilism:</u></b> Is the philosophical doctrine suggesting the negation of one or more putatively meaningful aspects of life. When nihilism is presented in the form of existential nihilism, argues that life is is without objective meaning, purpose or intrinsic value. Nihilism is also a characteristic that has been ascribed to time periods, for example Baudrillard and others have called post-modernity an nihilistic epoch.<br />
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<u style="font-weight: bold;">The Postmodern condition:</u> Used to describe the economic or cultural state or condition of society which is said to exist after modernity. Some scholars/academics would claim that modernity ended in the late 20th century, 1980's or the early 1990's replaced by post-modernity, while others extend modernity to cover the developments denoted by post-modernity, while some believe that modernity ended after world war 2. Post-modernity can also connote a personal response to a postmodern society, the conditions in a society which make it postmodern or the state of being which is associated with a postmodern society.<br />
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<u style="font-weight: bold;">The Death of Postmodern and Beyond:</u> The Death of Postmodern and Beyond is an essay by the British cultural critic Alan Kirby. The essay argues that postmodernism as a cultural period is over and is given way to a new paradigm based on digital technology which he calls "psuedomodernism, (changed to "digimodernism" in the book). The essay has been criticized for its vague reference to the banality of current texts. Kirby defines "pusedomodernism" as a text which is created by the audience, for the audience but then places a range of wide range of texts under this category that seem not to belong like The Blair Witch Project. Kirby says these texts lack the self aware irony that is associated with postmodernism. </div>
<br />Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com0tag:blogger.com,1999:blog-4116302942345516211.post-9277048084543677562012-05-03T15:22:00.001-07:002012-05-15T12:14:59.237-07:00Postmodernism<div style="text-align: justify;">
Postmodern, can be defined as a style and concepts in the arts characterized by a distrust of theories and ideologies and by the drawing of attention to conventions.</div>
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Postmodernists claim that in a media saturated world, where we are constantly immersed in media,24/7 and on the move, at work etc- the distinction between reality and media representation of it becomes blurred or even entirely invisible to us. In other words, we no longer have a sense of the difference between real things and images of them, or real life experiences and simulations of them. Media reality is the new reality. Others say postmodernism is just a a new way of thinking about the media, when really it has always been the way. Mass media where once thought of holding up a mirror to and thereby reflecting a wider social reality. Now that reality is only definable in terms of the surface reflections of the mirror. Its no longer a question of distortion between since the term implies there's a reality outside the surface simulations of the media, which can be distorted and this is whats basically the issue. Postmodern also reject idea that any media product or text is of any greater value than another. All judgments are merely taste. Anything can be art, anything can deserve to reach an audience and culture 'eats itself' as there's no longer anything new to produce or distribute.</div>
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Distinction between media and reality has collapsed and we now live in a reality defined by images and representations-a state of simulacrum. Images refer to each other as reality rather then some pure reality that exists before the image represents it- this is the state of hyper reality. All ideas of truth are just completing claims or discourses and what we believe to be the truth at any point is merely the winning discourse. Baudrillard and Lyotard argue the belief the idea that the idea of truth needs to be deconstructed so that we can challenge the dominant ideas that that people claim as the truth, which Lyotard described as a grand narratives. In postmodern world, media texts make visible and challenge ideas of truth and reality removing the illusion that stories, texts or images can eventually reproduce reality or truth. So we get the idea that there always competing versions of the truth and reality, and postmodern media products will engage with this idea.</div>
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<u><b>Critics of these theories and beliefs:</b></u></div>
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People have criticized Baudrillards and Lyotards theories on postmodernism as being been too offensive and hard to reconcile with their belief systems. It can be seen as whimsical luxury to question and play with the idea of truth and something that people live in countries like Tibet etc, they have to contest on a daily basis the existence of truth, justice and human rights. Some people also find idea that idea of rejecting their grand narrative goes against their whole religious beliefs and moral principles. </div>
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For Baudrillard there's only the surface meaning, there is longer any original thing for a sign is the meaning. We inhabit a society made up wholly of simulacra-simulations of reality which replace pure reality.</div>
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McDougall-Pure reality is replaced by the hyper real where any boundary between real and the imaginary is eroded. Baudrillards work is an attempt to expose the open secret that this is how we live and make sense of the world in postmodern times.</div>
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Simulacra and simulation is known for its discussion of images, signs and how they relate to the present day. Baudrillard claims modern society has replaced all reality and meaning with symbols and and signs and that the human experience is off reality rather then reality itself. Simulacra which Baudrillard refers to are signs of culture and media which create the percieved reality. Baudrillard believed society has become so reliant on simulacra that its lost contact with the real world on which simulacra is based on. Baudrillard referred to hyper reality, where real objects have been effected or suspended. This is criticized for his fatal strategy of attempting to push his theories of society beyond themselves.</div>
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Susan Sontag in her book on photography, that the notion of reality has been complicated by the profusion that of images it; Baudrillard asserts that reality no longer exists. Postmodern texts: There are many examples of postmodern examples of texts and products which set out to explore and play with this state of hyper-reality. These texts are said to be intertextual and self referential they break the rules of realism to explore that nature of their own status as constructed texts. They seek not to represent reality, but to present media reality.</div>
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Postmodernist films can be seen to voice ideas of postmodernism through the cinematic medium. Postmodernist film upsets the mainstream conventions of narrative structure and characterization and destroys or toys with audience suspension of disbelief to create a work in which a less recognizable internal logic form of the film forms meanings of expression. By making some changes to the conventions of cinema, artificiality of the experience and the world presented are emphasized in the audiences mind in order to remove them from the conventional emotional link they give to the subject matter, and to give them a new view of it.</div>
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Noam Chomsky suggests postmodernism is meaningless as it doesn't add nothing analytical or empirical knowledge. A Marxist point of view, from Fredrick Jameson attacks postmodernism as he states what he claims, its "the cultural logic of late capitalism for its refusal to engage with meta-narratives critically of capitalization and globalization. He says its refusal renders post modernity complicit with the prevailing relations of domination and exploitation. A moral relativist perspective of postmodernism would be that many critics of postmodernism have attacked the tendency to the abandonment of objective truth as the unacceptable feature of the postmodern condition and have often aimed to offer a meta-narrative that provides this truth.</div>
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<b><u>Why is the Matrix considered postmodernist:</u></b></div>
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" 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" /></a>
<li style="text-align: justify;">The narrative structure </li>
<li style="text-align: justify;">Idea of changing established conventions</li>
<li style="text-align: justify;">Drawing the viewers attention to the construction of film, 'bullet time ' sequences. </li>
<li style="text-align: justify;">Taking existing ideas from earlier films and using them in a different way-paying homage.</li>
<li style="text-align: justify;">Suggestion which it makes about society and its troubles.</li>
<li style="text-align: justify;">The Matrix is an allegory for contempoary experience in a heavily commercialized media driven society, especially of the developed countries. </li>
<li style="text-align: justify;">The Matrix makes many connections to Simulacra and simulation. In an scene, Simulacra and simulation is the book in which Neo hides this illicit software.</li>
<li style="text-align: justify;">Morpheus also refers to real world of outside of the Matrix as the 'desert of the real' which was directly reference to Slavoj Zizek </li>
<li style="text-align: justify;">Reeves was asked to read books by the directors to read the book, as well, as Out of Control and Evolution Psychology, before casting as Neo.</li>
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Our consumption of the films, merchandise and the world and myth of the Waschowski's sells us, and our collective orgasm over the effects and phones, guns, shades and leather represent our integration into the virtuality it promotes. The Matrix became a viral meme spreading through and being mimetic-ally (mimicked or copied) and absorbed into the modern culture, extending our virtualistation.Just as the film, offered choice of being inside or outside the Matrix, so you were either inside or outside the zietgeist. Baudrillard makes clear that fans and public are caught in a similarly invisible Matrix and is fare greater then depicted in the film and the film itself is part of and extends. The Matrix describes a future in which reality perceived by humans is actually the Matrix; a simulated reality created by sentiment machines in order to pacify and subdue the human population, while their bodies heat and electrical activity are used as energy sources. Neo is drawn into rebellion against the machines when coming across this. The film contains many references to the cyberpunk and hacker subcultures: philosophical and religious ideas and homages to Alices adventures in Wonderland, Hong Kong action cinema and spaghetti Westerns.</div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com0tag:blogger.com,1999:blog-4116302942345516211.post-49959013200644629012012-04-25T02:50:00.000-07:002012-05-15T12:13:56.891-07:00Postmodern theory<div style="text-align: justify;">
<b><u>Jean Baudrillard:</u></b> He was a French sociologist, who lived between 27th July 1929-6th March 2007 and the majority of his work is based on the theory of postmodernism in the 1980's.</div>
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<a href="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcTURRNOxsVv_9UF01Cu8kpFgy4nR2KWRZ-I7maYITF8UcXDxenbaA" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcTURRNOxsVv_9UF01Cu8kpFgy4nR2KWRZ-I7maYITF8UcXDxenbaA" width="178" /></a>Jean Baudrillard invented the terms simulacra and simulation. Simulacra is the condition of involving a negation of the concept of reality, as for when he uses the word, simulacra he often uses it to address how their is no such thing as reality. Whereas Baudrillard claims that simulation is the current stage of the simulacrum. All is composed is composed of references with no referents, a hyperreality. Progressing gradually through the period of the Renaissance in which the dominant simulacrum was in the form of the counterfeit, as mostly objects or even people appearing to stand for royalty etc. In the present tense, in dissumiliating others that a person or a things doesn't really have it. Such as in the industrial period, the dominant simulacrum is the product, the product or commodity which can be maufactured on a endless production line and to current times the current simulacrum model is which by its nature already stands for endless reproducibility and itself is already produced.Baudrillard references the development of nuclear weapons as a deterrent, as this is only useful in the hyperreal sense, since they are always meant to be reproducible but never intended to be used. Second the twin towers is a reproduction, a singular model for all concievable model for all conceivable development. Thirdly, a manage a trois with identical twins where the fantasy comprises having perfection produced in front of your eyes, through the reality behind the reproduction isn't real and impossible to comprehend. Baudrillard those insists that in the tactical sense, we already assume the reproducablility of everything since it isn't the reality of the simulations we imagine. We do not imagine them repreoduced for us since the original image of the self is a reproduction but we percieve the model as a simulation.</div>
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Here is a link I found on simulation and simulacra:</div>
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<a href="http://en.wikipedia.org/wiki/Simulacra_and_Simulation">http://en.wikipedia.org/wiki/Simulacra_and_Simulation</a></div>
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<strong><u>The Importance of simulacra and simulation:</u></strong></div>
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<a href="https://encrypted-tbn1.google.com/images?q=tbn:ANd9GcQHIOjZOOMxxRssOUl3BVEc2njsvlnETtyHPd7n0GmwNFEkuYKh" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://encrypted-tbn1.google.com/images?q=tbn:ANd9GcQHIOjZOOMxxRssOUl3BVEc2njsvlnETtyHPd7n0GmwNFEkuYKh" width="261" /></a>They are important as they present to people, a world were we aren't able to grasp our own reality and the theory points to the concept of whether we are trapped in a simulated version of life. These terms are used by various theorists to question our reality and the state of it. According to Baudrillard simulations are produced in order to hide the fact their is no real or original copy of that product. He states how we are removed from the binary, which sets up copies of the original and there is only copies andcopies of the original. He also states that imitation can precede the original, which results in a world without depth, a place where reality is only an endless interplay of surfaces. Baurillards attempt is not to expose the falseness of the simulated reality but to lament the passing of the actual real and he finds the world of images and signs to be oppressive. </div>
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<strong><u>Quotes:</u></strong> “We live in a world where there is more and more information, and less and less meaning.” </div>
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“We will live in this world, which for us has all the disquieting strangeness of the desert and of the simulacrum, with all the veracity of living phantoms, of wandering and simulating animals that capital, that <em>the death of capital</em> has made of us—because the desert of cities is equal to the desert of sand—the jungle of signs is equal to that of the forests—the vertigo of simulacra is equal to that of nature—only the vertiginous seduction of a dying system remains, in which work buries work, in which value buries value—leaving a virgin, sacred space without pathways, continuous as Bataille wished it, where only the wind lifts the sand, where only the wind watches over the sand.” </div>
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"The simulacrum is never that which conceals the truth--it is the truth which conceals that there is none. The simulacrum is true.<sup><span style="font-size: x-small;">"</span></sup></div>
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<strong><u>Cricisms:</u></strong>Merrin argues Baudrillards work places him against himself. He argues Baudrillards position on semitoic analysis of meaning defines himself as in his own position on political change and some theorists have be known to reject his theory. Ignores contradictive evidence as he rejects mediums etc. Even if truths existence is taken for granted as Baudrillards doesn't portray convincively how meaning can be overpowering. Baudrillard also fails to offer a means of fighting the collapse of reason. The theory of postmodernism contradicts itself as it tries to disapprove the existence of all theories as in its own right it is a theory.The present age can be characterized as that of an hyperreality, where the real objects have been effaced or superseded by their signs of existence. Baudrillards theory of simulation and simulacrums can be criticized as in his work,Baudrillard attempts to push his theories of society beyond themselves. </div>
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<img height="226" id="il_fi" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0awBxqlemSIDtwZt6Xh3Xb_iNnBKcY271F867sdHeDxRQUub2j7SM7DpvXiQ-fM0ISlCTWP3rAHwr_ULRofqs3VJ4dmYmke3KL21C5uFWcnjnSTQr-aJcKG38fx05Yp_KepwdeqJA70oZ/s320/PIPE.jpg" style="padding-bottom: 8px; padding-right: 8px; padding-top: 8px;" width="320" /></div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com1tag:blogger.com,1999:blog-4116302942345516211.post-90271462393191172782012-04-21T05:35:00.001-07:002012-05-15T12:19:12.267-07:00Arguments for and against Postmodernism<b><u>What is postmodernism?</u></b><br />
<a href="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcTeuoE1cvDSfUY6SJ-bFzLmsCwcjbHWDiXbTSHK432QGy_TZG8P" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcTeuoE1cvDSfUY6SJ-bFzLmsCwcjbHWDiXbTSHK432QGy_TZG8P" width="227" /></a><br />
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Postmodernism is a theory which means literally after modernity. The theory of postmodernism refers to the incipient or actual dissolution of those social forms associated with modernity. Sarup in 1993 sated "There is a sense in which if one see's modernism as the culture of modernity, postmodernism is the culture of post modernity. According to Baudrillard in 1984 he defined postmodernism as how we should come to terms with the second revolution which is that of the 20th century of postmodernity which is the immense process of destruction of the meaning equal to the earlier destruction of appearances. Whoever lives by meaning dies by meaning (Ashley 1990). Whereas Ryan Bishop in his essay, Encyclopedia of Cultural Anthropology in 1996 defined postmodernism, as an electic movement which originated in aesthetics, architecture and philosophy. postmodernism also espouses a systematic skepticism of grounded theoretical perspectives. When applied to anthropology, this skepticism is focused on the observation of a particular society to the observation of the (anthropological) observer. Postmodernism is also known to concentrate on the tensions of differences and similarity which erupts from the process of globalization, which is the circulation of people, which is increasingly dense and frequent cross cultural interactions and the unavoidable intersections of global and local knowledge.</div>
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Baudrillard breaks down modernity and postmodernity in an effort to explain the world as a set of models. He identifies modernity as a period between the renaisance and the industrial revolution and postmodernity as the period of mass media e.g. cinema and photography. Baudrillard states we live in a world of images but images which are only simulations. He also implies that many people fail to understand this concept in which we have moved into an epoch where truth is entirely a product of common values and where science itself is just the name weattach to certain modes of explanantions.</div>
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<b><u>Arguments for Postmodernism:</u></b></div>
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<b><u>The main arguments for Postmodernism are:</u></b></div>
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<li style="text-align: justify;">There is no unity, even the unity of chaos is not.</li>
<li style="text-align: justify;">There is no individual.</li>
<li style="text-align: justify;">There's a individual representative of absolute truth and unity of knowledge.</li>
<li style="text-align: justify;">The only way of understanding humanity and collective action is by first understanding that it isn't a uniform. Second, one must continue with rather pedestrian understanding by figuring in the complex nexus of power engendering forms of Foucauldian genealogies coupled with a discursive shift of the modular nation state qua sexual (inter) sexual from inherent to the (post) hegemonic fabric of the intrinsic and rather self evident tears within the Bourdiean poly-habititic stream etc. A swift punch to the groin is life affirming. </li>
<li style="text-align: justify;">A text has no logic following of words.</li>
<li style="text-align: justify;">All truths are constructed and have to be abolished.</li>
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<b><u>Arguments against Postmodernism:</u></b></div>
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<a href="http://anthropology.ua.edu/cultures/cultures.php?culture=Postmodernism%20and%20Its%20Critics">http://anthropology.ua.edu/cultures/cultures.php?culture=Postmodernism%20and%20Its%20Critics</a> </div>
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Postmodernists are also known to be suspicious of authorative definitions and singular narratives of any trajectory of events (Bishop, 1993). Postmodernism also attacks on ethnography are based on the belief that their is no true objectivity. The authentic implementation of the scientific method is possible.</div>
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According to Rosenau, postmodernism can be divided into two camps, Skeptics and Affirmatives.</div>
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<li style="text-align: justify;">Skeptical Postmodernists-They are critical of the modern subject. They consider the subject to be linguistic convention( Rosenau, 1992). They also reject any understanding of time because of for them in the modern understanding of time is oppressive in which it controls and measures individuals. They also reject theory because theories are abundant and no theory is considered more correct then any other theory. They feel as if theories actually conceal, distorts and alienated, disparate, dissonant which means to exclude order and control rival powers (1992, Rosenau). </li>
<li style="text-align: justify;">Affirmative Postmodernists-These postmodernists reject theory by denying claims of truth. They however feel that theory needs to be abolished but merely transformed. They support movements organized around peace, environment and feminism (1993, Rosenau). </li>
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Roy Andrade in one of his articles criticizes postmodernism definition of objectivity and subjectivity by examining the moral nature of their models. He argues these models are subjective. He argues despite the fact that utterly value free objectivity is impossible as its the goal of the anthropologists to get as a possible to the ideal. He argues there is a seperation between moral and and objective models because they are counterproductive in discovering how the world works. He states that postmodernism stand on objectivity isn't dehumanizing or nor is it objectively impossible. He states science works as it produces unbiased accounts because they are objective enough to be proved or disapproved no matter what anyone wants to be true. Patricia Greenfield believes postmodernism's complete lack of objectivity and its tendency to push political agendas, makes it virtually useless in any scientific investigation. She also states using resources in the field of psychology help anthropologists gain a better grasp on cultural relativism while still maintaining their objectivity.</div>
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<b><u>Rosenau identified six contradictions in postmodernism theory:</u></b></div>
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<li style="text-align: justify;">Its anti theoretical position is essentially a theoretical stand. </li>
<li style="text-align: justify;">Postmodernism stresses the irrational instruments of of reason are freely employed to advance to its perspective.</li>
<li style="text-align: justify;">The postmodernist prescription to focus on the marginal itself an evaluative emphasis of precisely of the sort that it attacks. </li>
<li style="text-align: justify;">It stresses intertexuality but often treats texts in isolation.</li>
<li style="text-align: justify;">By rejecting modern criteria for assessing theory, they cannot argue there is no valid criteria for judgement.</li>
<li style="text-align: justify;">They also criticize the inconsistency of modernism but refuse to be held to norms of consistency itself. </li>
<li style="text-align: justify;">They also contradict themselves by relinquishing truth claims in their own writings. </li>
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<b><u>Melford Spiro addresses six propositions from John Searle's 1993 work, Rationality and Realism:</u></b></div>
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<li style="text-align: justify;">Reality exists independtly of human representations. If this is true, this postulate, supports the existence of mind indendent external reality this is called metaphysical realism. </li>
<li style="text-align: justify;">Language communicates meaning but refers to objects and situations in the world which is exist independently of language. This postulate supports the concept of language as have communicative and referential functions. </li>
<li style="text-align: justify;">Statements are true or false depending on whether the objects and situations to which they correspond to a greater or lesser degree to the statements. This correspondence theory of truth is to some extent the theory of truth for postmodernists but this concept is rejected by postmodernists as essentialists. </li>
<li style="text-align: justify;">Knowledge is objective. This signifies the truth of a knowledge independent of the motive, culture or gender of the person who makes the claim. As knowledge depends on empirical support.</li>
<li style="text-align: justify;">Logic and rationality provides a set of methods and procedures which enable the researcher to assess competing knowledge claims through, reason, validity and proof.</li>
<li style="text-align: justify;">Objective and intersubjective criteria judge the merit of statements, theories etc.</li>
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<li style="text-align: justify;">Melford Spiro agrees with postmodernists that the social sciences require different techniques for the study of humanity than do the natural sciences but while insight and empathy are critical of mind and culture, intellectual responsibility requires objective scientific methods in the social sciences. Without objective procedures ethnography is dubious and irresponsible.</li>
<li style="text-align: justify;">Postmodernist genre of ethnography has been criticized for fostering a self indulgent subjectivity and exagerates the esoteric and unique aspects of a certain culture at the expense of more prosiac but significant questions(Bishop, 1996). </li>
<li style="text-align: justify;">Bob McKinley believes postmodernism is more of a religion than a science. He argues the origin of postmodernism is the western emphasis on individualism, which makes postmodernists reluctant to acknowledge the existence of distinct multi-individual cultures. </li>
<li style="text-align: justify;">Christopher Norris believes postmodernist theorists such as Lyotard, Baudrillard and Foucault are too caught up in the idea of the primacy of moral judgements. Also in reaction to the postmodernist movement, Marshall Sahlins addressed several issues which includes the definition of power."The current Focauldian-Gramascian- Nietzschean obsession with power is the latest incarnation of of anthropology's incurable functionalism, "Now power is the intellectual black hole into which all kinds of cultural contents get sucked, if before it was social solidarity of material advantage. </li>
<li style="text-align: justify;">Intuitive interpretation is a postmodernist interpretation which is introspective and anti objectivist which is a form of individualized understanding, as it is more of a vision then data observation. For postmodernists there are an endless number of interpretations. Foucault argues everything is an interpretation (Dreyfus and Rainbow, 1993). There is no final meaning for any particular sign, or no notion of unitary sense of text, no interpretation can be argued as superior to any other (Latour, 1988). Anti postmodernists defend their notion that every interpretation is false. Interpretative anthropology is a covering label for a diverse set of reflections upon the practice of ethnography and the concept of culture (Marcus and Fisher, 1986). </li>
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<b><u>Stanley Kubrick's filming techniques, Social realism:</u></b></div>
<a href="http://filmdirectors.co/wp-content/plugins/image-shadow/cache/0ac6dc22698994cfb4883579d443df53.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img alt="Faces_of_Stanley_Kubrick_Woody_Lindsey_jpg" border="0" height="221" src="http://filmdirectors.co/wp-content/plugins/image-shadow/cache/0ac6dc22698994cfb4883579d443df53.jpg" width="320" /></a><br />
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Below this picture of Stanley Kubrick is a link to a website of how Stanley Kubrick uses film making techniques on social realism and how his uses these techniques which are considered to be elements of postmodern cinema. Which I plan to analyse and use in my revision and apply to my study of which I could refer to these cinematic techniques used by Kubrick within his films, to show my understanding of postmodern media. After analyzing these filmmaking techniques I will also try to apply them to other postmodernist films.</div>
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<a href="http://filmdirectors.co/stanley-kubrick-filmmaking-techniques/">http://filmdirectors.co/stanley-kubrick-filmmaking-techniques/</a> </div>
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<b><u>Examples of postmodern Film directors:</u></b></div>
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<li style="text-align: justify;"><b>Francois Truffaut</b></li>
<li style="text-align: justify;"><b>The Coen brothers</b></li>
<li style="text-align: justify;"><b>Stanley Kubrick</b></li>
<li style="text-align: justify;"><b>David Lynch</b></li>
<li style="text-align: justify;"><b>Jean-Luc Goddatd</b></li>
<li style="text-align: justify;"><b>Ridley Scott</b></li>
<li style="text-align: justify;"><b>Martin Scorsese</b></li>
<li style="text-align: justify;"><b>Tim Burton</b></li>
<li style="text-align: justify;"><b>David Fincher</b></li>
<li style="text-align: justify;"><b>Guillmero Del Toro</b></li>
<li style="text-align: justify;"><b>Hayo Myazaki</b></li>
<li style="text-align: justify;"><b>Christopher Nolan etc.</b></li>
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<b><u>Here are links to other postmodern media formats:</u></b><br />
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<a href="http://lcalvert.wordpress.com/2009/12/13/postmodernism/">http://lcalvert.wordpress.com/2009/12/13/postmodernism/</a> </div>
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<a href="http://www.opendemocracy.net/article/the-dark-k-night-of-a-postmodern-world">http://www.opendemocracy.net/article/the-dark-k-night-of-a-postmodern-world</a> </div>
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<a href="http://www.ejumpcut.org/currentissue/RosenfeldAvatar/index.html">http://www.ejumpcut.org/currentissue/RosenfeldAvatar/index.html</a> <br />
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<a href="http://prezi.com/aq_0lxkcccph/postmodernism-and-the-sims/">http://prezi.com/aq_0lxkcccph/postmodernism-and-the-sims/</a></div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com0tag:blogger.com,1999:blog-4116302942345516211.post-29958378212416017322012-04-18T08:49:00.000-07:002012-05-27T10:54:31.712-07:00Other Postmodern Media Formats<div style="text-align: justify;">
<b><u>Postmodern Music Videos:</u></b></div>
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<b><u>1.</u></b><b><u>Foster the People-"Call what you want"(Released in 2011, Producers-Mark Foster and Paul Epworth, label Columbia Pictures)</u></b>-This Music video was released in December 2011, which appears in their debut album "Torches" and appears on the soundtrack of the video game, FIFA 12. The female fans and the mansion, is used by the director to represent the bands new found fame. I would say that the fists used in the video is a symbol of solidarity and support. I would also say that the fists are also used to express unity, strength, defiance or the resistance of the group.The gold fists are also used to symbolize the bands power, their strength and the band seeking perfection within the music industry. Whereas the fireworks towards the end of the video are used to represent the bands success. I would say the music video is postmodern as in the music video, depicted on the side of the head is a clock, which has been used to symbolize the how the pace of time can't be controlled and how their are different types of realities.I would also say the objects used in the video are bricolage as they take on different meanings within the video but within the video they are given different contexts and meanings. I would also say that its postmodern in the way that their is no conventional linear narrative structure as their is just a few scenes which are placed to together to create a certain meaning but its also postmodern as it combines working class culture and high culture together such as in the scene where we see the butler which is an associative of high culture and shows the band which are wearing working class clothes, which shows how they are targeting that particular social group. There is also a simulation of reality throughout the video, which is the frequent permeation between the two world e.g. The copy of one of the band members in the mirror, which is also a simulacra but this could also be considered hyper reality as the guy isn't able distinguish between reality and fiction. In a way those it also indulges people into capitalist culture. You could also say that com modification is used in the video as it assigns economic value to things in the video we wouldn't usually consider to be commodities. You could also say that the quote from the video "Idle minds are the devils workshop", I would say that this quote means how easily the human mind can be distracted or manipulated by the devil.</div>
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<b><u>2.Ah ha-Take on me</u></b></div>
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<b><u> In the Music video-AH HA, "Take On Me", postmodernism metamorphis was used and it has four distinct features(directed by Steve Barron, 1985, producer-Alan Tarney, Label-Warner Bros): </u></b></div>
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<b><u>1. There is the portrayal of two ontologically distinct worlds:</u></b> Such as their is the portrayal of the two worlds of reality and the comic book styled fantasy reality . This is shown when Morten's comic hand comes out of the comic, which refuses to comprehend how their's two realities are both shouldn't be considered more real then the other one, which draws attention to the boundary between the two world stating how the video is self conscious in this manner.<br />
<b><u>2.Frequent premeations of the membrane between these two worlds.</u></b> This is shown at the start of the music video when we see a link between the fictional and real world were we see the women reading a comic book while in a cafe in the real world and when we see Morten's hand inviting the women into the book invoking a connection between the two worlds. She then goes into that world which is an example of a character transgressing the membrane between the two worlds, which is a second characteristic of postmodern metamorphosis.<br />
<b><u>3. Resistance to crossing the membrane between the worlds</u></b>. Where we see Morten introducing the women to his black and white world and does this through a term called rotoscoping which features them in a pencil sketch animation/live action combination and then we see the women try it. This is also shown when when we see the mechanics chasing the protagonists. Morton then opens a portal to the real world were the women escapes. The resistance is demonstrated when Morton's character tries to transcend into the real world but has to go through various states to transcend into the real world, which is shown through him him colliding into the walls in an animated state conveying how his trapped between both worlds.<br />
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<a href="http://videos.antville.org/static/videos/images/aha.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="218" src="http://videos.antville.org/static/videos/images/aha.jpg" width="320" /></a><b style="text-decoration: underline;">4. </b><b><u>An instance of metapelis in which someone undergoes a metamorphis, transcending the boundaries of their own ontological world to become part of the other:</u></b> This is shown when when we see the band members playing the instruments. These scenes depict a hierarchical break, a commingly of the live action and animated worlds.The other form of metaphilsis involves a character transcending from from one world to the real world permanently. This is occurs in the video, when Morten after bouncing around in the hallway flickering between the worlds, he finally makes it out of the animated world at the end of the video. Morten's ontological transformation from an animated character to a living human being which is an example of the ultimate culmination of a postmodern metamorphisis. (directed by Steve Barron, 1985, producer-Alan Tarney, Label-Warner Bros).</div>
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<b><u>Postmodern media television shows (</u></b><b><u>Main reasons for why a TV show could be considered postmodernism):</u></b></div>
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<li style="text-align: justify;"><b style="text-decoration: underline;">Pastiche-</b>Tongue in cheek rehashes and tributes to classic pop culture.</li>
<li style="text-align: justify;"><b style="text-decoration: underline;">Spectacle-</b>In the battle for TV viewers, television caters to the basest and shallow impulses to get attention.</li>
<li style="text-align: justify;"><b style="text-decoration: underline;">Faux TV-</b>Self referential mockumentaries, shows about shows and fake news.</li>
<li style="text-align: justify;"><b style="text-decoration: underline;">Mystery-</b>Bizarre, electic searches for the unknown involving spirituality, philosophy and technology.</li>
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<a href="http://images4.fanpop.com/image/photos/14800000/New-wallpapers-the-simpsons-14856519-1024-768.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="http://images4.fanpop.com/image/photos/14800000/New-wallpapers-the-simpsons-14856519-1024-768.jpg" width="320" /></a><b style="text-decoration: underline;">1. </b><u><b>The Simpsons:</b></u>About an American family attempting to live the American dream.The Simpsons can be considered postmodernist as it has a non linear narrative structure, it also creates the confusion over time and space and the narrative ends with a narrative resolution. Its also postmodern as it actually asserts the audience into becoming an actual fictional character. The Simpsons there is also a conscious decision which has been made to not localize them and more so the children from the family also don't progress in school as they are being represented as not representing one particular family but every family in every postmodern era. There is also the recurring theme of the decline of meta narratives and mocks institutions like religion etc for example when Homer exchanges his soul with the devil for a doughnut. There is also an episode where Homer goes to vote for Obama, which highlights rising obesity rates in contemporary America and takes a look at a variety of political issues. The show also refuse to conform to the norms of the accepted American conventional sitcom and also celebrates cultural differences and the mixing of those cultures and brings them to the surface. The Simpsons is also a testament to postmodernism decentering of contemporary mass consciousness, which embraces diversity of gender, sexuality and ethnicity etc.<br />
(Created by Matt Groening 19989, produced by 20th centruy fox, grossed over $527 million.).<br />
The themes included within the TV show, The Simpsons are:<br />
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<li>The show is based around a family and their life in a typical American town serving as a satirical parody of working class American lifestyle.</li>
<li>The town of Springfield in the program acts as a complete universe in which characters can explore the issues faced by modern society such as by having Homer work at a nuclear power plant, the show can comment on the state of the environment.</li>
<li>Lisa and Bart's days at Springfield Elementary School, the show is able to illustrate pressing or controversial issues in the field of education.</li>
<li>The town features a vast array of media channels from kids television programming to local news, which enables the producers to make jokes about themselves and the entertainment industry.</li>
<li>Some commentators say that the show is political in nature and susceptible to left wing bias. The writers are also known to evince an appreciation for liberal ideas but the show makes jokes across the political spectrum.</li>
<li>The show represents government and large corporations as callous entities which take advantage of the common worker.(portrayal of authority figures conveyed in a negative or childish light). Also the politicians in the show are conveyed as corrupt, ministers like Reverend Love Joy are indifferent and the police as useless.</li>
<li>Religion is also a theme as it use to connote how people turn to religion time of a crisis.</li>
<li>The media is also a recurring theme in the show, as the show is known for its satire of American popular culture and television culture but since its inception it has covered a wide range of media formats like journalism, animation and movies etc. An example of this would be that The Simpsons satire focuses on TV. Which is mainly done through characters like Side Show Bob, Krusty the Clown and Troy McClure. Each of these characters have had a career in fictional TV shows associated with the Simpsons. The Itchy and Scratchy show is a show within a show used as a satire of animation and in some cases The Simpsons itself. Topics range from plagiarism, unoriginal writing to spoofs of traditional live action clip shows and documentaries.</li>
<li>Politics is also addressed in the Simpsons these include topics like Gay marriage and homophobia (included in the episodes There's something about marrying and Homer Phobia).</li>
<li>Much of the Simpson series religious humor satirizes aspects of Christianity and religion in general .</li>
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<b><u>2.SouthPark-Insheeption episode:</u></b>Southpark is a low tech animation which provides raunchy parables on the stage of current mass culture. This episode of Southpark is postmodern as it includes self reference to Inception and includes pastiche as it also takes the mickey out of Inception(Faux TV).</div>
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The philosopher Martin Heiddigger describes humor as a way for humans to throwness in the world, which reflects the experience of being thrown away into postmodernity. This kind of humor responds to and references the fixations, frameworks and technologies which underpin our postmodern existence. Southpark is an example of this as it exhibits a carnivelasque postmodern narrative impulse which attacks the meta narrative style explanations of contemporary events, trends and fashion offered in the popular media. South Park carnivelasque humor is a complex critique on a society in which television is primarily instrumental for communication, a center piece to many peoples lives and barometer of contemporary culture, whilst at the same time drawing attention to the fact that the medium being satirized is also used to perform the critique. <br />
<b><u>1.</u></b> Humor is a form of discourse which simultaneously refers to two frames of reference or associative contexts. Therefore human is a bio-associative form of discourse.<br />
<b><u>2.</u></b>Seriousness can also be considered a form of discourse which relies on a singular associative context.<br />
<b><u>3.</u></b>Legally and socially instituted rules which also govern everyday life uses serious discourse as a matter of practical necessity.<br />
<b><u>4.</u></b>Ambiguity, transgression and deviancy are problematic to serious discourse but conventions of humorous discourse.<br />
<b><u>5.</u></b> Humorous discourse encourages the singularity and totality of the official discourses which govern everyday life. Humor has been subjected to a variety of controls most notably the policing the body documented in the work of Norbert Elias and Michel Foucault.<br />
<b><u>6.</u></b> Humor also functions in a manner similar similar to Jean Francois Lyotards concept of mini narratives, destabilizes the totality of official meta-narratives.<br />
This proposes strong links between the oppositional practices of the medieval carnival, outlined by Bahtin and the produced for mass consumption humor of Southpark. Although Southpark embodies the oppositional spirit of the carnival and lacks its fundamentally social nature and lacks its politically resistant potency. With South-park's explicit derision of authority as allowed to circulate through the mainstream media as it implies asymmetric conservative action on the part of officialdom. In this sense it could be argued the humor in South-park is allowed to circulate because of the act of watching and consuming the programme which also acts a deterrent to actual radical activity.It is also proposed that South-park is a cultural product reflecting the material, cultural and epistemological conditions of the era.Southpark also acts a substitute to actual political action. It also depicts a world of consumerism and commodification populated by the parents that are idiotic or absent which leads the children to construct their own knowledge base in an unauthorized arrangements of popular culture playground popular knowledge and sound bite information's gained from the media. (Directed by Trey Parker and Matt Stone, 1992, Braniff Productions and Parker Stone studios, grossed $25 million a year in advertising revenue across America and Canada).<br />
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<b><u>Eclecticism</u></b> is used in the media format of postmodern text such as South Park, talks about electicism by having major techniques techniques. This is used in South Park when we see see the South Park eppisode called Insheption, this has a cultural reference to Christopher Nolans film Inception. In other episodes it also has references to many other films and has also been influenced by other media formats such as the Simpsons, futurama etc. SouthPark also takes the mickey out of celebrity culture and popular culture. Such as South park uses stop motion and 2d animation techniques then rather 3d animation. Or when Stan gets stuck in an cybernetic world or makes reference to youtube videos.<br />
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<b><u>Intertextuality:</u></b>South Park is intertextual because it makes references to other media formats such as it makes reference to Inception, Cloverfield and the Simpsons. In an South Park episode it references other popular parts of culture such as it has a reference to Terminator and Pokemeon.<br />
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<b><u>Parody:</u></b>This is a humorous or satirical imitation of a text. SouthPark included ements of parody within itself by imitating and taking the pissout of some issues within society like abortion and stem cell research. It also makes reference to popular culture and famous characters within society as it disapproves all the idea of generic conventions etc and the humour used in it, is used as a form of discourse which simultaneously refers to two frames of reference to associative contexts, therefore humour is a bissociative form of discourse.<br />
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<b><u>Bricolage</u></b> is a term used as a technique where works are constructed from various materials avaliable, in South Prak it includes bricolage as in its episodes it explains how in the world there is no originality, this is used in South Park episode where in the epoisode of where it makes direct reference to Terminator where a product is destroyed but Cartman buys another trapper keeper which shows how there is no originality within the world and how we are all consumed by our consumption of technology and using it to seek perfection(technicism).<br />
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<b><u>Acts against modernism</u></b>, is where the postmodern media format such as that of South Park embodies scepticism towards the ideas and ideas of the modern era such as objectivity, reason personal identity etc. South Park acts against postmodernism by defining grand narrative such as in the majority of episodes, Kenny McCormack one of the characters always dies, this defines the grand narrative as it presents their is no logical narrative within life and South Park acts against modernism as in one of its episodes it disapproves the religious narrative of Mormons.<br />
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<b><u>Nostalgic:</u></b> Where the media text celebrates the past and bathes in its glory. South Park celebrates the past and bathes in its glory by its style of animation and makes reference to childrens shows like Bag puss and the American civil war.<br />
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<b><u>Narcissistic:</u></b> Is the fascination with one self, excessive self love and vanity. South Park is known to include these elements of narcissm through its portrayal of the character of Cartman who is often seen within the episodes to indulge in himself too much. There is also one episode where Cartman is so indulged in himself and in catholicism that even starts up his own catholic church, which he uses to exploit peoples belief in catholicism to gat money and Cartman is punished by Jesus and sent to Mexico.<br />
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<b><u>Active audience:</u></b> Assertion that meaning and experience can only be created by the individual and cannot be made objective by an author or narrator; an assumption of an intelligent and active audience. This is used in South Park when it assumes that people know of the American civil war and political issues of abortion and stem cell research. <br />
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<b><u>Hyper-conscious:</u></b> Is text that is aware of itself. This is used in South Park, in the episode where it mimicks Cloverfield by the filmmaking technique of documentary filmmaking to immerse the audience in the narrative of the episode. This is done when we see Randy using a camcorder to dispprove the logic of realis in mediated saturated texts because through this style or technique Randy uses it to talk directly to the audience or where the Big Brother episode within South Park makes people aware that they are being watched, which takes the mickey out of social realism and through using media formats to show that its aware of itself.<br />
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<b><u>Themes found in South Park:</u></b><br />
<ul>
<li><b>Abortion</b></li>
<li><b>Celebrities</b></li>
<li><b>Censorship</b></li>
<li><b>Drugs</b></li>
<li><b>Environmentalism and global warming</b></li>
<li><b>Homosexuality and gay marriages</b></li>
<li><b>Literature and religion</b></li>
<li><b>Politics</b></li>
<li><b>Saddam Hussein, the war on terror and the Iraq war etc</b></li>
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<a href="http://en.wikipedia.org/wiki/Subject_matter_in_South_Park">http://en.wikipedia.org/wiki/Subject_matter_in_South_Park</a>
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<b><u>Postmodern Films(elements within postmodern film):</u></b></div>
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<li style="text-align: justify;"><b style="text-decoration: underline;">Pastiche-</b>Self referential, tongue and cheek, rehashes of classic pop culture.</li>
<li style="text-align: justify;"><b style="text-decoration: underline;">Flattening of Affect-</b>Violence, technology, drugs and media leading to detached, emotionless, unauthentic lives.</li>
<li style="text-align: justify;"><b><u>Hyper-reality-</u></b>Technologically created realities are often more authentic or desirable then the real world. </li>
<li style="text-align: justify;"><b style="text-decoration: underline;">Time Bending-</b>Time travel represents another way to shape reality and play "what if games with society.</li>
<li style="text-align: justify;"><b style="text-decoration: underline;">Altered States-</b>Drugs, mental illness and technology provide a dark often psychedelic gateway to different or new realities. </li>
<li style="text-align: justify;"><b style="text-decoration: underline;">More Human than human-</b>Artificial intelligence, cybernetics and robotics provide to enhance, or replace humanity.</li>
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<b><u>1. Inception(Christopher Nolan, 2010):</u></b>About a team of con men and architects who loose touch with reality as they delve deeper into their targets dreams.(Directed by Christopher Nolan, 2010, budget-160 million, box office-$825 million, distributed by Warner Bros pictures and produced by Emma Thomas and Christopher Nolan). </div>
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<b><u>Reasons why Inception can be considered postmodern:</u></b></div>
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There is a countdown element of the missions within the film, which has been used to demonstrate the length of time in which the characters have to complete the missions. In the film it also includes guns, soldiers and videogame type of setting which is demonstrated through the snow fortress scene or when we see DiCaprio's character sitting outside of a cafe, where the city comes towards them. The audience are also told about the how powerful the mind is, which conveys how science is being used to control it and its use of chemicals and futuristic technology. If we were to apply Vladimir Propps theory of character roles in the film and narrative are challenged by its texts. As the theory points to the structure of narrative and the way Inception works disputes the order of the roles. Also there is no original protagonist or antagonist within the film(binary opposition) and their is really no distinction between the hero and villain. Cobbs wife, male holds the antagonist role but the audience soon realize that she only exists within his mind. The film makes out that it is the mind and memories which are primary Cobbs villain and this makes it difficult for him to distinguish between life and fiction (hyperreality). The film also uses a variety of well known actors which destroys Propps theory as it doesn't allow the audience to just focus upon one character.Transtextuality can also be applied because the text uses the features/conventions of different genre films, which designates the film into those genres (architextuality) but also modifies and expands on the convention of the character roles, in order to create an in depth narrative (hypotextuality).</div>
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The film is also known to break down the structure and defined meaning of the text and rejects the non postmodernist theory of structional functionalism (Parsons). There are also different interpretations of the dream sequence such as to whether the audience wakes up after the dream by testing the totem and their also no evidence we've woken up from the Satio's dream so we could be someone else dream and he is the subject. There is also evidence that Cobb is transfixed in the dream as his children never seem to age and their is also a question of ambiguity to whether end scene is real which is conveyed through his children.</div>
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The music soundtrack used within the film reinforces the idea of Inception and there is also a song which is used to connote the characters have waken up from the dream. Time is also slowed down in the dream which reinforces the theory of transtextuality. A penrose staircase is also referenced a few times and expands on the idea that anything in a dream can be possible with the architects creativity.</div>
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The scene with the mirrors in the film has a reference to Citizen Cane(1941), where Kane see's himself . This represents the idea in Inception their are many realities which reflect of the world (a dream within a dream concept) but Ariadane touches the mirror lightly and shatters demonstrating how fragile the dream worlds are.</div>
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<li><b><u>Eclecticism</u></b> is a wide range of influences, contributions and techniques. Electicism is used in the movie Inception, as the director Christopher Nolan comments upon how the movie is influenced by the movie"Last Year at Marienbad). Nolan also says that the James Bond movies had a strong influence in the construction of his film, Inception as it was similar to places that it was shot around the globe from which James Bond movies where shot in and the James Bond movies have also been influential on Inception in terms of the plot. Christopher Nolan also claims that he has been influenced by the anime movie, Paprika, The Matrix, Dark City, The Thirteenth Floor and Memento.</li>
<li>Nolan used techniques such as anamorphic format on 35mm film, with key scenes filmed in 65 mm film and aerial sequences in VistaVision and he used prime lenses for cinematography. For visual effects he used pratical effects and a miniature of the mountain fortress set. For cinematic techniques he combined elements from genres of science fiction, heist film and film noir. From this Nolan drew inspiration from films by Jorge Luis Borges, the anime Prapika by Satoshi Kon as an influence of the character of Adrianne and Blade Runner by Ridley Scott.</li>
<li>Inception includes <b>intertextuality</b> such as in the scene where we see DiCaprio's character and Ellen Page's character creating a reality and then we see, Page's character touching a mirror and it breaks this is reminiscent of the film, Citizen Kane.</li>
<li><b>Parody</b> is included within Inception in the scene where we see DiCaprio's character in a scene running and shooting while a building collapses, this is a parody as DiCaprio's character is seen to be imitating the character of James Bond through his weapons and his dress code.</li>
<li><b><u>Bricolage</u></b> is used in Inception in the first scene involving Cobb and Ken Watanabbe's character where we see Cobb wash up on a beach at the start then we see this scene occurring again this shows that their is no originality within the world. </li>
<li><b><u>Nostalgia</u></b> is used in Inception, such as when we hear the score created by Hans Zimmer which filled with nostalgia and sadness, this is used to connote Cobb's feelings throughout the film. The score is also nostalgic in the fact that its reminiscent as it features a guitar sound which is associated with Ennio Morricone, played by Johnny Marr of the Smith's band. The "Non, je ne regrette rien"(I have no regrets), is used in the film which implies it is nostalgic as it is celebrating the past as its reminiscent of composer Charles Dumont.</li>
<li>I would say that Inception acts against modernism, in the scene where Cobb and Ellen Page's character are at a coffee shop and then the whole city comes forward which defies reason and objectivity.
Inception also acts against modernism by Nolan suggesting in the film, that there is individual realities within dreams, this implies that their is another reality other then on which we as humans experience. In Inception, this separate reality lays in one dream. The dreams experienced by the characters in the film experience are brought on voluntarily to explore this reality. By using the dream states of the characters, Nolan suggests to much of this separate reality can cause confusion when distinguishing between reality and dream reality. Nolan uses this to say how we should be questioning our own reality.</li>
<li><b><u>Narcissism</u></b> is conveyed through Don Cobb in Inception.</li>
<li><b><u>The idea of an active audience</u></b> is demonstrated at the end of Inception as the scene where we see the spinner on the table is used by Nolan to get the audience involved with the narrative within the movie and to question if Cobb has got back to reality or not and makes people question their own existence of reality.</li>
<li><b><u>Hyper Conscious</u></b> is used in Inception when Don Cobb and the team wake up from the dream world and realize they were in a separate reality. You could also say that they are aware of themselves within the dream world and reality when we see Cobb fall in to the bath or when Cobb uses a spinner the real world from the dream world.</li>
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<b><u>Themes included in Inception:</u></b></div>
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<li><b>Reality and dreams</b></li>
<li><b>Dreams and cinema etc.</b></li>
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<b><u>2.Donnie Darko (Richard Kelly, 2001, box office 4 million, budget $4.5million, distributed by New-market Films and produced by Adam Fields, Drew Barrymore etc):</u></b>About a troubled teen and his attempts to save the world and covers themes such as time travel and free will. The reasons why Donnie Darko is postmodern is that the music at the start holds an intertexual reference to the cinema scene where this operatic score is also played. The innocence connoted by the swan character through her clothing could counteract whats happening beside it in the underlying under story. When the sparkle motion group get to the stage, their silver costumes and starburst dance moves could link to the sci fi postmodern element and Stephen Hawkins ideas about the universe. This also links to living in a parallel universe and there is also a scene at the end which represents an intertexual montage of sequences symbolising the change of pace of the scene. The ending scene also begins with a reference to sci-fi looking through Donnie's eyes as a computer. The eye also shows reminiscence to the artist Rene Margaritte and his painting of 'The false mirror' and there is also reference to Back to the future and is a link to the "Wizard of OZ". Montage shots of Donnie in his room shows him smiling at death and has links to schizophrenia. The fuzzy TV is also a reference to the horror film genre. </div>
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The montage also shows reference to nature showing deers on the wall which possibly links to freedom and purity contrasting Donnie's situation. The adult content shown within the film, is a reflection of Donnie's character. The birds eye view shots of the characters crossing to one another could link to the aeroplane and its accident. The "Mad World" soundtrack has also been used to demonstrate the mood within the film. When we see Donnie's mother after his death wearing a preach blazer and smoking a ciggeratte connotes her nakedness and her exposure after his death.Grethchen on her bike contrasts the scene by adding purity and innocence against the death and destruction of the accident. The end scene demonstrates the non conventional style and structure of the circular narrative of the narrative and how humans have no control over their destiny/fate. </div>
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<b><u>The themes included in Donnie Darko:</u></b><br />
<ul>
<li><b>Time Travel and Free Will</b></li>
<li><b>fear/love</b></li>
<li><b>heroism and martyrdom</b></li>
<li><b>schizophrenia</b></li>
<li><b>dreams</b></li>
<li><b>death and loneliness etc.</b></li>
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<b style="text-decoration: underline;">Eclecticism: </b>The film Donnie Darko is influenced by many genres such as the horror film genre, science fiction, Philip Dicks novel Blade Runner, Total Recall, Stephen Hawkings ideas on the universe, Alice in Wonderland(nod to the white rabbit leading Donnie into his own rabbit hole), Watership Down, E.T, The Graduate and the book, the Destruction. Richard Kelly, the director also mentioned how he was influenced by Alfred Hitchcock by including a reference the cellar and knife play in Psycho and how the school bully likes to have a large knife when not mimicking Psycho's high pitched violins in class. The techniques used in Donnie Darko include techniques such as using image patterns, music, parallel editing and the casting of the film.</div>
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<u style="font-weight: bold;">Intertexuality: </u>This is when the author borrowing and transformation of a prior text. Intertexuality is included in the film, Donnie Darko as it includes references to the book, The Destructors as in the film, the protagonist Donnie contributes to a discussion on the Destructors in English. Prior to the movie burned down a house, he thinks the destructors suggests destruction as a form of creation. The fuzzy TV is also a reference to horror film genre.</div>
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<b style="text-decoration: underline;">Parody: </b>Donnie Darko could be considered to have parody included in it becuase when we are introduced to the late Patrick Swayze character, Jim Cunningham as someone who is seen as an cunning motivational speaker. But the scene where, we see all the characters from Donnie's classroom watching a Jim Cunningham's video on "Controlling Fear" but its a parody as the statements on America's 80's ethos is satirical.</div>
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<b style="text-decoration: underline;">Bricolage:</b>I would say that their is a bricolage in Donnie Darko there is the ongoing topic of travelling back in time to change something to improve the world, Donnie Darko manipulates time by going back in time to save Gretchen and save the world, which conveys the reproduction of the topics of free will and time travel.</div>
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<b style="text-decoration: underline;">Nostalgic:</b>Donnie Darko is nostalgic as it celebrates the 80's in America through the song "Notorious" by Duran Duran which we hear when watching Samantha Darko's Dance Group, Sparkle Motion dancing and the image of George McCartney from the Beatles and the track "Proud to be Loud" by Pantera would coincide with the time setting of the film.</div>
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<b style="text-decoration: underline;">Acts agaainst modernism:</b>I would say that the film, Donnie Darko acts against modernism when we see worm holes appearing out of Donnie's and other characters chest but it also acts against modernism by the way of how the Jet engine went through a worm hole to then killing Donnie but the reversal of time to find that Gretchen is alive, Jim Cunningham hasn't been arrested but Donnie has died which signifies how Donnie is able to control when this in reality isn't logically possible as no human being can control time. Or when we see the scene at the end of the film when the sky opens up this suggests that their is no logical meaning within time or space as Dr Fuhrmann explains if this was to happen their would be no existence of God and Donnie is able to control time through transporting the jet engine through a wormhole 28days later, which proves their is no God as he is able to control time through the use of wormholes as time travel vessels. </div>
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<b style="text-decoration: underline;">Narcissism:</b> I would say Narcissism is shown in Donnie Darko with the characters of Jim Cunningham but I would especially say Kitty Farmer as in on seen where they are watching the video, when Jim Cunnningham comes into the frame she immediately starts to obsess about him.Jim and Donnie would be narcissistic because they both defy the law but Donnie does this through committing crimes without questioning Frank.</div>
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<b style="text-decoration: underline;">The idea of an active audience: </b>This characteristic of postmodernism is produced in the Film, Donnie Darko is at the end of the film, the director Richard Kelly expects us to deconstruct the media text in the last scene leaves the audience with questions unanswered, like did Donnie save humanity, did he find out the answers to Roberta Sparrows work on time travel etc so Richard Kelly is making the assumption that the audience knows about characteristics of time travel.</div>
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<b style="text-decoration: underline;">Hyper conscious:</b>I would say that hyper-conscious happens in the scene where we see Donnie with a knife in the bathroom, using the knife to try to hit Frank when he actually can't hit him with the knife because there are two dimensions seperating them, his subconsciousness and reality. You could even say when we see Donnie Darko laughing at the end, this conveys to the audience that he knows what fate awaits him or you can say this id done through the song "Mad World" demonstrating how chaotic and complex the world is.</div>
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<a href="http://www.the-elite.net/---/darko/">http://www.the-elite.net/---/darko/</a>
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<a href="http://upload.wikimedia.org/wikipedia/en/thumb/f/fc/Fight_Club_poster.jpg/220px-Fight_Club_poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://upload.wikimedia.org/wikipedia/en/thumb/f/fc/Fight_Club_poster.jpg/220px-Fight_Club_poster.jpg" width="242" /></a><b style="text-decoration: underline;">3.Fight Club(David Fincher,1999, budget $63 million, box office-$100.9million, produced by Art Linson etc and distributed by 20th Century Fox.):</b>Violent and schizophrenic tale of a man and his underground society which is full of plot twists, ironies and anarchy. Fight Club is postmodern because it is has self reflexivity, as Edward Norton plays an unamed protagonist, which is a postmodernist feature itself. As he provides narration throughout the film and sometimes he is known to talk towards the camera which addresses the audience directly when we especially discover the occupation of Tyler Durden. Which breaks down the the fourth wall between the text and audience.There is also additional number of characters which draw the attention of the audience to the construction of the text. Which then destroys the self of contained verisimilitude of which we are expected to consume as reality. An example of this is the scene, Tyler discusses the art of film editing with a combination of special effects to emphasis the "ciggeratte burn". </div>
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There is also the self involvement and postmodern condition which allows the examination of human nature and behavior. It also relates to post modernity as it shows that the director not only considered the thematic conventions but also what the contemporary age have done in society. There is also the belief that we have all become selfish which is reflected through Marla Singer and Norton's character, who exploits community support groups for their own emotional and personal advantages. </div>
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Intertexuality is also included in the film as it also used to reference IKEA, which conveys a link to consumerism in capitalism and the graphics used in the text has also been used to destroy the realism of the text. There is also the confusion over space and time, as we find out that Tyler only exists in the film through the mind of Norton's character. Which throws the chronological order of the narrative into turmoil as we are forced into evaluate the pace of the different sequences and their is also an aspect which is ironic in the film. </div>
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There is also the decline of Baudrillards theory and meta-narratives, as Fight Club also becomes a form of meta-narrative itself. Which originates from a minor underground gathering of supressed individuals but also spills over into mainstream society and mutates into a far reaching cult. Fincher also makes us become deterred from social institutions in society like religion etc, which results in Fight Club sharing a strong affiliation with Baudrillards principle of the deconstruction of truth. Which links Durdens rebellion to American authority and capitalist institutions. Tyler's preaching also relates to Baudrillards opinion that one meta-narrative shouldn't be replaced by another but all truths should be treated as skeptical and suspicious. </div>
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Surrealism, in the film is incorporated by Fincher which incorporates many aspects which destroy the realism of piece. Graphics such as text and texts are layered on top of the footage during the post production and there is also a scene where the narrators daydream during a therapy session. The scene where Norton's character is seen in a cave next to a computer generated imagery of a penguin in a ice cave, which actually tells Norton's character to slide, which tears down the facade of the real world and become the silver screen. </div>
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<b><u>Video Games:</u></b></div>
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<b><u>1.Grand Theft Auto(Rockstar Games, 2008, Publisher Rockstar Games, sales of around 3.6 million, Produced by Leslie Benzies):</u></b></div>
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<a href="http://blogs-images.forbes.com/davidthier/files/2012/03/Grand_Theft_Auto_IV_cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="320" src="http://blogs-images.forbes.com/davidthier/files/2012/03/Grand_Theft_Auto_IV_cover.jpg" width="256" /></a></div>
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GTA uses alot of parody and is set in liberty city, which is a reference to the American city of New York. The statue of liberty is a popular sculpture for Rockstar Games which have turned it into a parody or pastiche. In the game, the statue of liberty is seen holding a coffee mug this may be used by the creators of the game to make fun out of New York's association with Starbucks coffee or are maybe making a statement about the culture and meaningless life of New Yorkers. In the game their is also an emphasis on the style at the expense of content or style. The cars also used in the game are also basic references to modern cars today.Music in the game has been used from reality within the game giving a the viewer a sense of what is real and what isn't. </div>
<span style="text-align: justify;">Ther are also confusions over space and time within the game, which has been used within the game to represent how the gamer is being almost forced to playing the game at a fast tempo. Also cheats can be used within the game to show how people within society have grown impatient with their life and surroundings. Bricolage has also been used within the game, as the narrative is non linear. Another way that the game is postmodern as it has no boundaries within its landscape or society. GTA is also shown to break down the distinction between high and popular culture and also has a link to sci-fi and fantasy. Its also narrowcasting as its mainly a alpha male simulator where ganers are able to indulge with creaking into the culture of crime while creating and sustaining their own identities.GTA also harbours the aspect of escapism as it allows people to indulge in their own criminal desires and retaining some kind of existence within this virtual existence, whilst escaping their own life's.</span><br />
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<li><span style="text-align: justify;">Bricolage is used in Grand Theft auto, as it contains a combination of different elements brought together to make something new. For example, it is influenced by films such as Goodfellas, Little Cesar (1931), The Public Enemy and Scarface (1932).</span></li>
<li><span style="text-align: justify;">An example of how Grand Theft Auto includes intertexuality is that when you start to map the closeness in overall narrative structures between gangster films and the GTA series, it could be implied that its one shameless copying and displays a lack of inventiveness on the designers of the game series. GTA also has references to postmodern characters like Travis Brickle from Taxi Driver and Henry Hill from Goodfellas and through the borrowing of narrative from Goodfellas. </span></li>
<li><span style="text-align: justify;">GTA has parody within it as it contains imitations of characters from films such as Henry Hill this is done through Ray Liotta voicing the voices of particular characters within the series.</span></li>
<li><span style="text-align: justify;">Eclecticism is used in GTA as it has a variety of influences from gangster films such as Little Cesar etc.</span></li>
<li><span style="text-align: justify;">Acts against modernism is implicated in the GTA series as it conveyed within the story of how generic conventions from the gangster genre are used an replicated in GTA such as the game is set up in big cities, featuring young men who become indulged in a life of crime, all seeking their own version of a grand narrative which is the American Dream of being able to make it big through talent and hard work. </span></li>
<li><span style="text-align: justify;">GTA celebrated the past by including references to numerous gangster films like Goodfella's etc.</span></li>
<li style="text-align: justify;">Hyperconscious is included in GTA series as it makes referencing to allow the viewer to tune out of subjectivity and to step into the shoes of the games characters. </li>
<li style="text-align: justify;">I would say GTA includes an active audience as the game allows players to do things in the game which they wouldn't do in real life. There is also the death of another metanarrative which is the god like voice behind the texts, which means users of the digital media would be able to navigate their own way across unchartered seas of potential knowledge making their own sense of the body material, each user following new pathways through the matrix of data each time they set out on their journeys. There is also a major shift between the relationship between the producers and the consumers of the media texts. </li>
<li style="text-align: justify;">Themes included within the Grand Theft Auto series include themes like drugs, prostitution, the American dream etc.</li>
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<a href="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcRwMOSGew7egLAwe952Vf8cJ_kbShbBqZJOSSy3EAm0ogqGOU4u" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcRwMOSGew7egLAwe952Vf8cJ_kbShbBqZJOSSy3EAm0ogqGOU4u" /></a><b style="text-decoration: underline;">2.Call Of Duty:Modern Warfare 4:</b>The playing frenzy within the game was coupled with stories about the the optional amoral campaign level "no Russian" predictably it was based on the hypodermic theory of audience. Which fueled the result that gamers have become dominated by certain texts. There is also the creative process of gaming known as ludology and the immersion into the world of game is based postmodernist features. When playing the game, people are known to become an active participant in the game or text itself meaning that people who play these games sort of games also have to recognize the blurring between the text and audience which are characteristics of every game.<br />
<a href="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcQ7PSKoR44bqgwUEgV1Dtie6bp520XllDtKA6dlax_IWQ5uwAXSBA" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcQ7PSKoR44bqgwUEgV1Dtie6bp520XllDtKA6dlax_IWQ5uwAXSBA" /></a>It is the level of immersion characterizes modern warfare. There are also three elements in Call of Duty:Modern Warfare 2 is that it contains the player further within the text.<br />
<b><u>1.</u></b>In the Call of Duty franchise there is the first person perspective within its franchise, with other 'first game shooters' is that the player see's his hands and the various amounts of weaponry which are used within the game. This level immersion becomes compelling when we're are required to do more tasks.<br />
<u><b>2.</b></u> There is also the detailed three dimensional mise en scene, as it works to immerse the player into the game. There is also a comparison/reference to the game Wolfenstien (1992) reveals how modern warfare is becoming more intelligent. There is also detail within the mise en scene which renders the game realistic.<br />
<b><u>3.</u></b> The diegetic sound encourages further participation in the text. Dialogue in Call of Duty 4 used by captain Price, which is used to connote how this character is constructed to care for the gamer, which compels the gamer to continue and satisfies the gamer in get them in believe that they belong to some kind of group. Engagement of the player through these combined elements shifts the the relationship between the individual and the stand alone text where there is usually no connection. The analysis of the text audience relationship must include a consideration of hyper-realism in the act of gaming as the gamer is immersed into a diegetic world which represents a more intense and exciting reality. This hyper-reality of Call of Duty allows to manufacture our own identities which allows us to become someone else after we die. By playing this game, we immerse ourselves in an simulation were we are are at a loss with our reality, when we apply Baudrillards theory. The boundary blurring between text and audience raises the question of identity. The theme of identity can be demonstrated through the gamer taking on a variety of different identities through the characters they play. The postmodern female player, the hyper real state of male maleness presents an intriguing variation. During online play we have a social identity as we often play within a team and can join the various clans for a more permanent identity. Fact that identities can be swapped, invented and is multiple which is essential to understanding the postmodernist representation of the self. <br />
Lyotards death of the grand narrative highlights the need for the micro narrative:a story appropiate for each individual in the diverse postmodernist world. The routes across the Russian field 'All ghilled up'(Call of Duty 4) is symbolic of the micro narrative. The component of the game accounts for much of the appeal for the game, which is a postmodernist element as it demonstrates how we are all authors.<br />
The analysis of both these games in this type of context proves how useful postmodernism is in accounting for the popularity of the texts in our contemporary world. Which also heralds the the emergence of an audience who functions creatively within the texts. (published by Activision and Square Enix 2007, sold over $20 million copies).<br />
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<b><u>Postmodern Adverts 1-Official Vodafone advert featuring Yoda:</u></b><br />
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<b><u>Alterity:</u></b> Principle of exchanging one's own perspective for that of the other.<br />
<b><u>Aporia:</u></b> Puzzle used in conjunction with deconstruction.<br />
<b><u>Bricolage:</u></b> Processes by which traditional objects or language are given a new often subversive, meaning and context.<br />
<b><u>Catharsis:</u></b> Emotional cleansing, which occurs simply from the act of viewing tragedy.<br />
<b><u>Commodification:</u></b> Attaching emotional value to something which is not considered a commodity.<br />
<b><u>Cybernetics:</u></b> A process by which a biological organism enhances its abilities by the integration of technology.<br />
<b><u>Cyberpunk:</u></b> Science fiction genre based in the near future and set in post industrial dystopias.<br />
<b><u>Cyberspace: </u></b>To describe an all encompassing, virtual reality internet.<br />
<b><u>Dystopia:</u></b> Societies which are characterized by the decay or oppressive governments.<br />
<u style="font-weight: bold;">Eclecticism: </u>An approach which doesn't hold rigidly to a single paradigm, or set of assumptions but instead draws upon styles, theories etc to gain complementary insights into a subject or applies different theories in certain cases.<br />
<b><u>Flattening of effect:</u></b> Describes a persons detachment and lack of emotional re-activity.<br />
<b><u>Hyper-realism:</u></b> A more intense and improved reality.<br />
<b><u>Hypodermic theory:</u></b> The idea that audiences consume the media passively and are injected with information or ideas.<br />
<b><u>Hyperconscious:</u></b> Allows text to dissolve fourth walls and hyper-consciousness of media it plays with but it also means that the postmodern media format is highly aware that its a postmodern text.<br />
<b><u>Intertexuality:</u></b> The shaping of a texts meanings by other texts.<br />
<b><u>Kitsch:</u></b> Characterizes how art is considered an inferior copy of an existing style.<br />
<b><u>Ludology:</u></b> Theory of game play<br />
<b><u>Micro-narrative:</u></b> An individual truth or story that is one of many possibilities.<br />
<b><u>Narcissistic:</u></b> Used to connote some kind of problem in a person's or groups behavior with self and others and has also been used to mean egoism, vanity, conceit, or selfishness. When applies to postmodernism, it can connote how postmodernist theory loves itself.<br />
<b><u>Nihilism:</u></b> Used as a rejection of established laws and institutions which defies postmodernism. When talking about existential nihilism, it describes how life is without objective meaning, purpose or intrinsic value. Moral nihilists argue morality doesn't inherently exist, and that any established moral values are abstractly conceived. Another meaning of it would be that knowledge is not possible or contrary to popular belief, some aspect of reality doesn't exist as such.<br />
<b><u>Nostalgic:</u></b> The yearning for the past, often in idealized form. This term also celebrates the past and bathes in its glory.<br />
<b><u>Parody:</u></b> Is an imitative work created to mock, trivalise on original work or comment on, its subject, author, style etc by means of humorous satiric or ironic imitation.<br />
<b><u>Pastiche:</u></b> Tongue and cheek imitation or tribute used in movies etc.<br />
<b><u>Simulacra</u></b>: A copy of a copy, removed from the original, that it can stand on its own and even replace the original.<br />
<b><u>Semiotics:</u></b> Study of signs, symbols and how meaning is constructed and understood.<br />
<b><u>Virtual Reality</u></b>: A simulation technology providing an immersive computer generated imagery.<br />
<b><u>Jean Baudrillard:</u></b> Argue our media saturated society offers only a representation of reality and not reality itself.<br />
<b><u>Andreas Huyssen critic:</u></b> Believes that the arts in modernism is viewed as superior to the rest of society.<br />
<b><u>Jean Francois Lyotard:</u></b> Postmodernist theorist, who argues that there's no single unifying truth in the postmodern world but different truths and stories.<br />
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<b><u>2.Curry's advert featuring C3PO and R2D2:</u></b><br />
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The first two adverts are postmodern as the company Curry's uses self reference within the adverts by using characters from Star Wars to the reference the film itself. Whereas even those the third advert is postmodern because it is self referential to the film, Star Wars by having a child dressed up like Darth Vader to sell their products, as they are also mocking Star Wars, to show how funny they can be, when trying to appeal to an audience through this. I have noticed those how all the adverts make reference to Star Wars not through the characters that are used or portrayed in the adverts but through the soundtrack used within the adverts which are an association of Star Wars. It is also postmodern through the computer generated imagery of the characters portrayed in the first two adverts, whereas the Volkswagen advert does this through costume. I would say that the Volkswagen is the most postmodern advert of them all as the person portraying Darth Vader isn't able to distinguish between life and reality through him trying to use the force (simulation).Another way the third advert is postmodern is that it contains elements such as nostalgia, intertexuality and includes the theory of Julie Kristeva. The color coding is also significant as it is cultural and has technological interplay between the generations. Also with it's remote star feature the car seems out of Star Wars and features many parodies.<br />
<b><u>3.Volkswagen's commercial:The Force </u></b><br />
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</div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com0tag:blogger.com,1999:blog-4116302942345516211.post-30599134125796674252012-04-18T02:12:00.003-07:002012-04-20T01:42:48.953-07:00Themes from the film, Blade Runner<div style="text-align: justify;">
<b><u>Genetic Engineering and Cloning:</u></b></div>
<a 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" 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PgMSPhGWcXknSl5wClaTmUspAIUKlaVKUgbyKgQ/jccHP4n+of8A9Bjzna8wrGVJKlGwS6lE8AFkmCzD7WxCV4hawlISZhOVKiUtmdgtVSOJDwnip5USGSBmUoABNMxtmAcigYG3CsVVAlRWeCVCpelDQGnEWtpaOhyR3GUZlLzVzOgFF6BLLCnbU7zSOgl1CuQ+UDKYY7tywbqWigIq4JpRizHTmPsR0WOWUvEExdSG6xUxOqyqBMMYPGrlKzS1FJNC1iLsoWUOBhcGLwini+B8Lj1ypqZspRlrQrMkpLZTw+nSIxU0rWpRABUXLUDmpLaOaw12EHxEobLKWlJzkBGVRAVmKqAMTU2jS9JezpOGxL4abKnS8xIyqCwGPqqGqT9RpCtbnWY87lhnBYrKWNt+6NHtPByDKTOkzUJKnzYclRmSy+hysU6itj0jGMbTTzHoncX0vA2qIS7NxnsK6H5Q6tQBHn98ofS5jQwqgxu+7wbnrTgIlS2USGNyxqAN1btCsjFMlRABLpYkOAxGhFXaBomuz0c8hfgKDpGY9hnC2IIIJBBoQ2hexgGN7UKylFkIKiBxUwJPEhKfCKSV6xfu0quNL2IjYMrR7Lx0tJl95KC0heZbLIUtDAd3SiQ7l7l41+0u15uOn5yEpSAEy5YLJloFkp+e+PMpw5Fg4369RGl2ficunWEvOrcd4+op9ADLlJVKV3jpBU131ZrjzjznaAZ0lLKGtX4uPDzvofsX01mSAwVTcSCD0f4RPaPb8jEr7yc7k1SksMtAyeJa5eBOfKl7uea8xPxbJUkKTlUUk+qXKXZjcXNiH1hJYINXHPdA+28SFzCpLsdDpuSDqANachB+xMNLXKVRfeJmDMr/AKaZRSWDuwWVhTDwe0W9XHN1ZlqgxDdaXI60vyMH7KWBPlf+ogHkVAEeBikzCjMps2zUMnNX+K2UXrWKyiygdxB8C8bqe4lO/VauPwiROKQANsjwMaGKCEyAcqaKKbk6ZhbjFe0Ef8QpWlTYe1V/OLTZYVJymgK/eauU1oONuJjn3xFt8vKHFbRcBuSotNnBSU7IDAhwlVaqLmlbt0gaeylqWUtbVlENvpWNNHYYyS1KJIY0KRpMmDVQa3nD3IEtprCYcJQlRSzBycq6Brv3ZjSn1lBWUklaq5VkkZJTV7sFqxmrysQoJrSvd26rJhialPcIYJO2tmCFexK3S1fe+JU8rMxyP4W/pUPikR5/tTElIdJyqFiDlILGxCgRG3jkNXKwb3G/+hIhHs3skYqeiSZgliYcrkij6tnDng1YMB4lcDMaPbGB7mauXmCsqiHFixIccIzzFZ5Ctz0NQe9WoJCmQzEywKqFfxKezpWsdGTgu6zHvgpSWoEnKXpV8qqXo2sTHB8//H/Pvf7f7js+H5Lzxkz+aT+lFCjZn4fTjA1oINacCIYEsliGHXKAQLOrXrrFMRiisJCm2QRmapFwFHVtHs7Wt7FeLCyoqbRdLmjs/FgWdn8/GKrRprCVWKS0uWcB9fFrb4hjEGD4WvSJ1blQSzugiZKt0HTKe48zF+75eD/GJWq4CnDEkAlIfeoN1OkVVJ4jpDWWKKEDWwuEcfKGhiFKYKqwAHKAkQzh8MSQwcw8LR5arDw63+A8IuRWD4XDb728ImbKrFcR/LyokweXFZaSaAQ7hUmiV0TUuz1azitWA4eMbA/ObmryU0fSGRICriu8XhqVLFQ7gux3hyHI9k0djEy5SBLBKj3nelOXTIEvmffmpGozryrOwaU2Kvv4wqvDCm0bVtfhw+6wziJsLFbmDJMG921XD4RAmJ73MqX7WUgKI90E+q9iatpGn2h24tedCAmVKWpKu7QlISMgCUBwHUwGtzWM6ZF1YgFSDlSkJABy0zNdRd9o6wM2te7iJeLKCWY5hlLh73Z9eMUKolM1IKqgOGAKAur2BPqfzBzACqGzKjux6rtAumWv3pUvefZAhk4ZSJKVH1SoF/V04AmEc4Vh5B/gI3VSpQhTHT58lKEqUQhZC0gEihcVo/8AmOSz6dfM0/JSwNHA3JWoMP5lAQCU3dy7UCvcH/UXwUfCAzO1EHMDrYkAi2hWoDyi8nEnupbOb+q5utRchIA8xGCyxacVPTN0z/7UpEVxMxpaQo+2q5Huy/emH58hqpNngqYs/wDST5lZ8oaxCz3ANQy1e8mmWXxlho2BrFxopYflHylfOEez+0US58tcwqCULSpWUnMyVAlgJiS9NCDxEMY6ugPFgfMJV8YSwXZC8TNTJlkZphypdTBzQe3TwhsbWH2rPC5q1JJKVLUQ92KiQTU1bieZhEw/2r2eqTNXLXRSFFJ1qC1IQIh56C1WOjjHQwNcTDlKEKJSvK6SAxWGoL7X8QYkFuEL96ygSSFJYbQzMUlgClTukAWbRmg8jE5aoJSobPvJWFOCFBTi2hoWNHhecsrVtNmJJKibmtzY1sekWrl5VmAF6BKgS4HqmpfK1ByFKXhdaSz6W5fSCqltfQ2sYosboWqwJYta2nM34/pBsFr0is9AuLHyO4/fhBMAz7Ts4diEluBILeBifXpXmmxEkwtNNON6VuHA8OsHlJT3aLFRCnABcWyk6F68vCI4t+SUl3ZzlDlg7AkAE7qkDqIEqZuiMOkbTlqUYO5Ysk1DA79GsYmbNJVmo7vQAJ0sBQDhGwNRq1b9fCHUBrQmAHDF3bTU3HGvxjSkoGn1rrFOYn1TuDoByiJwrFZcWVHR9ObfL7j+zXs6WMBIUJaHUlRWrJtFedgczVDAjoIJ6YqUrBTk91lAQpS6o2WUMlANpxWhprHyzsf0+xeGlCTKm5UJdhlQSHLmpBN3gHaXpnip6SmbPmKSbpdknmAwgIfhb4/x+/3QsOsgg6F2qNC1tOsVmraaefyhRM6oLAUAprxPGLTl7buC4ehBbRjuNLcRvjOkxNXHSEwEqoIZw6oAqYhcLTJjRbELiForGC1OHxuUKGRCswAdQJKa3QXoeNYopUMSMOtQXkAol1OnNsvpsnLzpzhNRgfYV6PspZVh0AXSqYml2LHkL3jT9JsqpYQVDvJZl5HIqhSRmdRIFCmw3xh+icwlSk5iG2hUNYg0IIOmkaPpZLUFImljZBDNoSN4Gugjl6/9Y6/iseTmTGd6cdfrE4fGKSLuC9DXhq/wgs6bLy1zBfIZTauZyfKElTQyQLtXnmJ0rZvCHNZ/EyvtOu7x+DpHlGxKUo4ckONsl08QjVKeGqh10xcDJdQLdN/QAmPS4sZkIQanMb1UKI0PeKFtAOQ1FSsxgY9LqIufzG/NZHlGaccqWXQopUmoIUQQRUEMpx+WNXtN8zXbQ1Pgok/2CMTFiihuBo/Ddm/2iDGZWKxSpiipZKlKLqJLkk3JO8wOVLCixUE1FTapAelaX6RyhDUrsmY2YoOUKYigXQpBZBOYl1gUBq+4tQtpfEYVKUgiahRLbKczh0hRdw1CcvMGOgeJSAcoBcUL0L6gp9kizcOkdGYxMSxLGnGnVni615gA5ASKAkqDn1mpQG7RNi4LEVG/hFSMx0BJ4JSH8AkeUXc0CWghn1tx5RV2gwmFLjQ3BqC2tL8x8IEBb6t56QlUgc0ahvmOYi+EDhVN0UmCL4RTAnlCdK8izZZZyRXRw9tQLX147otJnEJSH9lhwCrtu/UxCpjA0DHeNz2JqOLXist8qaGw5eOmkSVXlhyrTdQnewoLm0RMmOa+QA03BhESJZJIAJt6oJNHLsNBfkDEqAzUs/Om/TwjM5BqAN8auH3fdDGXnrox4Dfu05CNTDl/Bopwl2O8EMUaIzVi7mEAoa/r0isc8dnZ6A0aunEcYFNFzMDM1Xvra27/ADHJXW1hvvx4cuEUXi1FASTsiwYbybs91Hx5RWQpy3xLDxhTYel1MMUADHUvwNIDgUvFMRMANI1aAT1V6w/IObLrsgeAaM1aoa7Nm7QEZjOJQoJOQPTa2XZL1Njl50jOKo0sepGU5go2bKQNp6FTgum9Ax4xkrVChjX9FZ+XEoHvBSdNzj4R6L0jW8sJ/iBtuSbanmY8T2diMk6Wr3VpPmHvSPddvyHQSTZSX1csr83KOf5J/wBpV+L4eLmYYM5LDypx+jwD93D3fgfpGpPks78vKzj4CFhh6EHrp/jrDaOr4CVW5AfRiPA7HiYcmTy7OkjR2SG0o/d79CN2sRIo3l+jh/ygc4jPUkO9XNdwuQXF9VCFpWbj5m9JA5bPMMyfBEE7ETJM1IxDGW+0FLKAzHUOU8wkQPFJq+/W3mGB8VQbsjImfKMxAWMwJQe7GYVp+KUo/MCOMEXmMXNT3xMv8NOZ0uScgeldecVRimTnB2wpBOYJUaZmYrJKgTVScrOz6RAdU0d3QknLQlgXuEgk03AwbAzJYC1bKVyUoMsgr/EWJssOylapzGw5CKQvRaf2qtSipQSdycoyoDqVlQkMEJdRoKR0AmhTBZZlEgDOCQ38OYqA3PHQWaakDMxUACS8zaNCwqLt0epvSF5oYsWLaguPGGTOKVULm28EUpW4feNBqIAqU+oAqdWo5agLE2GlrR0VywNYPy8NIEdd/l/mG8Yht9CU1G09CyiKKawroaB4UIhKryooRfCTClyL/UEfOKzILhVUINbM5LChDnkPvSJ1WCqw6QkEKezgJUGJfZBIZRatPOL4WaQhLKUCEkABxVQ4K9qqTSzX05yUpoya1AFVCtbP6wDmwPSOlykCWhRJJOYKSxDM2U5rFybCzB7xNT9QkGulh8SNI5SvVG4lnAAqK8dIIJhUoknMcrEmtBQX3AAPRonEpZVwXY0ATo7AAMlnalKaxm1RdWNqDfU2Nx13ARoYM/CM4qJIcvYVL0+Qh7CKqeX0inKfXo8s0gaTAMbM2RzhHNFbUJGu8UmFqGhjKKoGtb1MLaeRqGYGuIrnZqgdRuvyjKCo54W08j0+DxyBdSfEQKdNcx59Jg8nFFPLd92jaFjYShxyudz0rHDZVcFlXFiAWdJIsbh4BhsSFWvu+7waYloOhjQWEzFTcmbIlK1JzJ7xQSCGzFDBJqHXYRlrMUnm3MRCgRC/bOKo+nTZmeS9DmyFna6CQ4HOwj5eTHuOzcdmwkutgEkUFUuNLUA4nhEvk+qfgvjJFaO4DeHLXgnqYRCGA3P4HcN3QPxh+at3pcMGFeVOHsg8zCMpbjx+6V+A4wBQ+/r+tf8A5E8oDMJzHeAGfTiNlx0AHEQYq/T9G/2jrCGInbRHLd+oJ6KPGFFWctyT5/Uv8VdI6XhETNhc1ElKgXWsKyihqQkAnd6qr3gazru13dXp1KYojArnKEuWHUsFg4S5Ym5KRpcv/NBF5xaQFtmAD+sXAZ70BI6B4axMxSsjFTTFEFQXNUFKzgO6wATspVTg7EUSmqKVOLhjvqDHKx6isLWy2ILKGyWahSlqU0aLEsVxKcpKdksTW6tzFiwtbiY6KT55VeiSVKCQ+UE3yjTQdBHRhjc74lOQkZakOl8pNdkgOCWAa1Y7GYZUuYpE50rQGoEqqwKQSDZjepFKRRKCosNx1ALAObmtBbXSIRKUo5RegYliSKBIfXcOEdDkCVlKWcghy3sn1QlgLKbNU0YCKFKkFSTskOlQLCzuCDq48W1iSAFbQO4ix87MatwioQ4LDWlagcU6u4tuhKpAZg4v5GC9nTFAqy0JDO7MNWPJx1MAUIb7IusgAsnUOBVrcyB1hKo5MoEEvUAUp7wA3MK8S43Gk4RSkh0O4QQddlToVbeFN1jlpo53sKh6CtL1cV4G+hJEn8MFSsoZTG+0AWo9ASQHq3lE1FZQ2yHLGjhhTNoHbiz9YDNIcN/m9eDw5NkoKx3JUsd3mUFJbIQTmSC+2AADmpdmpCRoU3Bf6wBGmS2CaEOHrqHZ+VD91J8NfxhQIZqX131aH5eI/FzJAQQoqASTsl8wYkk0oxJJoKxTlPpXGK2Rz+ULSyHGZ8rh2Z21Z6O1nhnHKzBzckkniXJhEmHqcTPUMxyvlcs92ejtR2vAnh1XZE7vFSzLUFoClKTQEBCc6ia6JrC+DwpmrypKQWUXUoIDJSVHaUQLAsNSw1hNh5C5js0GxWDVL9YpfMpLBSVEFISSSEk02qHVlbjApSHdyEsCavUgOEhgamw03kQNOgGLBUDVT9LQRKUsDmYlTEMSyWG0+tyGFdnjGY12fiQiYhSk5wlQJS5S41Dio5xvYjFoUkBIUDlDu3rvVq0Q29zHlgY2Jaqw0hb6MyVCrkBw1VFL6sGfMaWoDSsVUYumaqpSvK6SC5AzJoCgUqTSnAwJUb7JVCgHhGr2RjAlBQreSBzS1DvfrWkZKbRaXNylxXeDYjcYXqbB5uVvy59LA1I6Nz8vEwvJmbN/hwv+tNwMKoLjYID6XHIXKeVeQiJM7TVyfnTf0fpElDs1fy+y/wA/CMiZNdSq7h5ff0g+Kn0++v35wgle0enw+9YEgm+88vL6f284Jg+2v3eZny5gynS+XMlSSk1bjdja8IKnff3bnTnCM9bg8vHi3zY84MgklgFTOACQHLsA9ywJbkDFA1CAC13IrWjJoWbn0iMrlviQLVuYN+7rVlTU2CQkPRRDMRQuote7vFSWhT8KpATmDZ0hQqHymxIFUuzh7gg2IjoGpFbNzpwiIwtzEzQokhITvAdn4A20o/0ApswlySSaVJegDAV4ADpEx0dFcsUmTCojMSWDB60FhygUdHQlViJbZhmBI1ALE9WLeGkW7PJGYgsyfjT5x0dCGogUwNAXYC9KguPBuphnAGiCHCkqSQoGvrEi9HBS451eOjoRShoVtqN3Crk6m9Gq9d3CKzwMwAcBwKl66mgDB3LfG8dHQGcSBlAFdS9DWjBqUpfw1PImEqSCfVBA4ByW8SfGOjofklExlEDn8jGcox0dFOkuQzFSY6OhFFSYh4iOgGSDEPHR0ARJdxzEbWDWkLBmJKkh3CVZCSxbaYsxY2qzaxMdDT1Q+4Y7VwndKCCczZC7N6yUqs53t0gaoiOjRO+1BFVfKOjowOw8whTaH5RZSr84mOiXXtaF5sw79QPswIKr4R0dAMh/i36/deMaHo52emdiES1BJBKwQoKKS0taqhKknTe/GOjo30Ly6j8ILIyHZKS+/NS49ltz66jdXo6KJ30FOl5S3BJ/MkKbzjo6OjDH/9k=" 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The first draft of the entire human genome was decoded on 26th June 2000, by the human genome project followed by a steadily increasingly number of other organisms across the microscope to the macroscopic spectrum. There is also embryonic techniques of somatic cell nuclear transfer from a genotype through cloning as some of the problems which figured in Blade Runner and the book, Do Androids dream of electric sheep? which Blade Runner has been based upon has been linked to Mary Shelley's novel, Frankenstein as it serves as a cautionary tale.</div>
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<b><u>Eyes and memories:</u></b></div>
<a href="https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcQWi_Y3RLuL3hi8b7yHqkjao-2JqaIzm9mn0HxVXLpub5hRDnHz" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="181" src="https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcQWi_Y3RLuL3hi8b7yHqkjao-2JqaIzm9mn0HxVXLpub5hRDnHz" width="320" /></a><br />
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Throughout the film, the image of eyes are used throughout the movie repeatedly, as they provide insight into the themes and characters therein. The close up of the eye at the start of the film, which fills the screen reflecting the landscape being shown. When the eye is seen reflecting the one of the Tyrell corp pyramid reflects the eye of providence. It is also symbolic how the man that design's the replicant eyes (chew), uses the eyes as a way to represent how the eyes are being convyed as windows to their souls and eye contact is used to represent a facet of body language which unconsciously represents intent and emotion.</div>
<span style="text-align: justify;">The Voight -Kampff machine is used in the film to measure the emotions and generally empathy through various biological responses such as fluctuation of the pupil and involuntary dilation of the iris. Tyrell's glasses are also an indicator of his dependence on technology for his power and myopic vision.The glow that is represented in the eyes of the replicants are used to represent their artificiality. Ridley Scott states that he considers the glow to be a stylistic device, whereas Brion James the actor that plays Leon suggests that the pollution within the film was a cause for the glow in the movie.There is also a notion that Rachel's memories have been fabricated and the owl which we see in the scene within the Tyrell corp pyramid, and the owl is seen flickering its eyes with a red tint. This has been adapted from Philip Dick's novel, Do androids dream of electric sheep? to signify how rare real animals are and the owls are used to connote how the owls were the first of the animals to die from pollution, which have forced humans to the off-world colonies. The owl also signifies to the audience that its a replicant of Tyell's creation.</span><br />
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<b><u>Religious and Philosophical symbolism:</u></b></div>
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<a href="https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcQXtMvjgJAJkYdQRIqqN6GEIt26qfRDHq6dhJLCAM4UgJUowv-1Og" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="133" src="https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcQXtMvjgJAJkYdQRIqqN6GEIt26qfRDHq6dhJLCAM4UgJUowv-1Og" width="320" /></a></div>
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Christian allegory has also been used in Blade Runner, especially with Roy Batty's character. Regarding the replicants superhuman abilities, their identity are created by the Tyrell corporation and have fallen from the heavens (off world), which represents them as fallen angle's. Roy Batty's character is contrasted to that of Lucifer, as they both prefer to rule in hell (earth) rather then serve in heaven (off-world), which is obvious as Roy quotes William Blake from his book. Towards the end of the film, Roy creates a stigmata by pushing a nail into his hand and sacrifices his life to save Deckard, representing him as a Christ like figure. Whereas the dove has been used in the film to demonstrate Batty's should being transferred to heaven.
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Also the scene where Zhora has been shot in both her shoulders, has been used to represent her as an angel whose wings have been cut off. The serpent which hangs around the neck of Zhora, connotes biblical association of the serpent corrupting man in his performance, (contrasted to serpent which corrupts Adam and Eve.</div>
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<b><u>Environment and Globalization:</u></b></div>
<a href="https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcSjNG0hufX8eqIezEjKHDjmdJPipX1tCPlgKxULbUfyaQrJQU_U" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="124" src="https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcSjNG0hufX8eqIezEjKHDjmdJPipX1tCPlgKxULbUfyaQrJQU_U" width="320" /></a><br />
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The climate of L.A. in AD, 2019 is different from today's climate is different as the industrial pollution, within the film has been used to imply how affected Earth is by the issues of global warming and global dimming. As a result of the pollution on the Earth, real animals have become rare and animal extinction and human depopulation of the planet was consequent to the radioactive fallout of a nuclear war.</div>
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Regarding in the film we see a lot of Asian people in L.A. and the citsyspeak dialect policeman, speaks to Deckard states how there has been alot of cultural mixing which has happened. Globalization, is also reflected in the name of Shimago-Dominguez Corporation, whose slogan proclaims "Helping America into the real world". Which indicates mass migration if happening, as their's a status quo that people want to escape.</div>
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Cultural mixing within the film, is implied by the scene depicting the chase between Deckard and Zhora. As when we look through the streets of L.A., we see people traditionally dressed as Jews, hare Krishnas and young boys dressed as punks.</div>
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<b><u>Roy Sparing Deckards life:</u></b></div>
<a 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" 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" 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It has been spectualted by film critics, that Rutger Hauer's character save Deckards life, so Deckard could live with the knowledge of Roy's experience being about to die. When preventing his own death, by passing on his own experience, this ensures that Deckard will remember Roy for the rest of his life.</div>
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<b><u>Deckard: Human or Replicant:</u></b></div>
<a href="https://encrypted-tbn1.google.com/images?q=tbn:ANd9GcSGKJheLHcV0VqWN-cASI6nYG3Dr386sAUSVozfuOxNnU6fJozp6w" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="231" src="https://encrypted-tbn1.google.com/images?q=tbn:ANd9GcSGKJheLHcV0VqWN-cASI6nYG3Dr386sAUSVozfuOxNnU6fJozp6w" width="320" /></a><br />
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When Deckard dreams of a unicorn in the directors final cut, at the end of the film finds an origami figure which Gaff leaves in Deckards apartment, which implies that Gaff knows of Deckards dream and connotes that he knows about Rachel's implanted memories. Although there is evidence which points to the audience that Deckard is a replicant but there is the possibility that Deckard can actually be human such as:</div>
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<li><span style="text-align: justify;">Deckards apartment is full of photos which are neither recent or in colour. Replicants are also represented in the film as having a liking of photo's as it conveys their appreciation for a non existent past. </span></li>
<li style="text-align: justify;">The scene where Deckard is asked by Rachel if his ever failed the Voight-Kampff eye test and we receive no answer from him.</li>
<li style="text-align: justify;">There is also the fact that Gaff has no sympathy for Deckard in the film at all, as he tells Deckard "You've done a mans job after Roy retires and he doesn't intervene when Deckard chooses to leave the apartment with Rachel to let her live. </li>
<li style="text-align: justify;">The scene with Deckard and Rachel in the apartment, (after Rachel saves Deckards life by shooting Leon) shows a red tint to Rachel's eyes and as briefly as Deckard comes up behind her, the same red tint is briefly seen in the eyes of Deckard.</li>
<li style="text-align: justify;">Whereas in his Novel, Philip Dick wrote Deckard as a human and the original screenwriter of the film, Hampton Fincher wrote Deckard as a human.</li>
<li style="text-align: justify;">Whereas Ridley Scott states that he see's Deckard as a replicant and Harrison Ford see's Deckard as a human.</li>
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I would say at first I saw, Deckard as a replicant, with human characteristics which make him more human then that of the average human being, because towards the end of the film were we see Deckard with a red tint in his eyes which I remembered was a connection to Tyrell's owl which is a copy of the original non existent owls and his memories are similar to those of the implanted memories implanted in the replicants but I would say that he starts out as a human but looses his humanity enabling him to become a replicant as the narrative draws on as in a way the replicants are more human then the humans themselves, as the humans gain the role of being god.</div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com1tag:blogger.com,1999:blog-4116302942345516211.post-58995331685229864302012-03-20T10:23:00.002-07:002012-05-10T06:07:10.842-07:00Postmodernism example-Life In A Day<b><u>Who made it?</u></b><br />
<a href="http://www.dparkphotography.com/blog/wedding-photos/2011/12/life-in-a-day-movie-poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.dparkphotography.com/blog/wedding-photos/2011/12/life-in-a-day-movie-poster.jpg" width="214" /></a><br />
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Life in a day is a documentary/crowd sourced film which includes a series of videos selected from a number of 80,000 videos which were submitted from YouTube users to Youtube, an internet sharing website, the clips included within the film include respective occurrences from around the world on a single day, which was the 24th July, 2010. The film debuted at the Sundance film festival and lasts for 94 minutes and 57 seconds. on the 27th of January 2011and the film has been directed by Kevin Macdonald and is produced by Ridley Scott.</div>
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<b><u>How was it made?</u></b></div>
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It was made through the partnership between Youtube, Ridley Scott Associates and LG electronics. Kevin Macdonald also stated that some of the footage was gained through Youtube users, advertisements etc while, other camera footage was gained through sending camera's to developing countries. The filmmaking team attached to Youtube, were allowed to tap into a pre-existing community of people around the world. The team were also able to use Youtube's ability to collect all the material and had students go through the footage. Walker indicated that a team of roughly two dozen researchers, chosen both for a cinematic eye and proficiency with languages, watched, logged, tagged, and rated each clip on a scale of one to five stars.Walker remarked that "the vast amount of material was two stars," and that he and director Kevin Macdonald reviewed the four-star and five-star rated clips. In addition to the star rating system, the editing/selecting team also organized the 80,000 clips according to countries, themes and video quality as part of the selection process, and further had to convert from 60 different frame rates to make the results cinematic.</div>
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<b><u>When was it made?</u></b></div>
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The video clips from Youtube where received by the 24th July 2010, but was released on the 27th January 2011 at the Sundance Film Festival.</div>
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<b><u>Whats it about?</u></b></div>
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I would say that the narrative of the film, "Life In a Day" director Kevin Macdonald explained the narrative is about focusing on events consisting within one day because he saw it as the building block for human life. He also explained its as a film that consisted of the non conventional narrative structure but it has thematic movement and has recurring characters. I would also say that the film, is about people being able to connect with a number of people around the world. I would also say that the film, is about traditional film-making, which is shaped by the internet. It has also been used to connote how through viewing these videos, we are are able to connect with people on a virtual level but I would also say the film is also about combining traditional media with modernized digital media so in a way its about adapting to our technological world but also trying to retain some traditional pieces if media which we can benefit from and is a reflection of the traditional world coming to grips of our new technological dependent and how we as human beings are only able to communicate interactively while only being able to find some kind of existence/purpose through our virtual existence. <br />
<b><u><br /></u></b><br />
<b><u>What are the themes that are used in Life in a Day:</u></b><br />
<br />
<ul>
<li><b>Human life</b></li>
<li><b>The internet</b></li>
<li><b>Immediacy</b></li>
<li><b>Unexpected intimacy etc</b></li>
</ul>
</div>
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<b><u>How can it be described as a postmodernist film?</u></b></div>
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I would say that the film, can be described as postmodern as it includes many intertexual references to other pieces of life such as through the consumption of these video clips promote.It also doesn't have a traditional narrative structure, as the majority of the videos have no relevance to one another and also has a lot of narrators. The references also include references to a number of events within people lives. In the film it also includes loss of context because when we view the film, their isn't just one type of story being told or explained to the audience but it makes the audience be able to interpret the media text any way they want while also questioning their own, cultural beliefs or ideologies. Another reason why it isn't postmodern as it doesn't occur the traditional recurring/conventional characters, that people are able to appeal or connect with. Another reason, would be that the director, Kevin Macdonald uses the video clips as a way to demonstrate generic blurring such as their is a combination of genres include within the video, which is used to display how the director is using the film to almost criticise the rules and features within film and uses the videos clips as a way to connote how human beings have become situated in implosions, hyperreality and simulation as a way to convey to the audience how they need to recognise that they are only able to find a sense of purpose/existence through recognising or even becoming aware of their own reality.</div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com0tag:blogger.com,1999:blog-4116302942345516211.post-30294869596024975522012-03-19T08:45:00.000-07:002012-05-15T12:16:42.831-07:00Blade Runner and Postmodernism<div style="text-align: justify;">
<a href="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcS3wtcF8IaZ7ZGDVWvvLcEqVVD5A0wcLU6wnyr4anoUHjcHJGjc" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcS3wtcF8IaZ7ZGDVWvvLcEqVVD5A0wcLU6wnyr4anoUHjcHJGjc" width="213" /></a><span style="font-family: Times, 'Times New Roman', serif;">In the first paragraph of this essay, the essay talks about how Ridley Scott's Bladerunner which was produced in 1982, talks about the postmodernist aesthetic which is included within the narrative, set design, dialogue, special effects and literary forces which have been explored by other theorists. "The cultural logic of capitalism" is a phrase which is used to portray postmodernism in a specific economic and industrialized period which has actually created/determined the character. A dialectical space is used by Jameson to discuss the postmodernist theory, as he uses Ernest Mandels Marxist theories associated with capitalist expansion, such as in 1840, we used steam power. In this paragraph it states how, this stage is ultimately congruent with the beginnings of realist thought as explored through mechanical reproduction of the photograph. The second stage, marked by the emergence of electric power, and the condensation of disparate business ventures into conglomerates, starts in the 1890’s. However here lies the first flowering of modernist philosophy. Whereas the third stage is the 1950's, is of how we are still living in a postindustrial consumerist society developed in a shadow of the atomic age. Jameson then states how we have the widest cultural examples in graphic arts, literature and cinema etc.</span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">In the second paragraph, Jameson tries to answer the question of how we need to define a new cultural moment which actively splinters its forebears and resists continuity in the classical sense. Jameson attempt to answer the question by explicating clear constituent tropes in the typical postmodernist work. Jameson talks about the depthlessness onto original cultural elements which have been projected or duplicated. He then goes on to state how obvious this is in the work of Andy Warhol. Secondly their is the de-emphasis of linearity which is also embodied by patische and the schizophrenic state of mind and how our daily existence has been constructed through a puzzle. Whereas thirdly, Jameson points out in the essay how humans mind isn't able to grasp the growing awareness of the world. For Jameson this tripartite formulation is about the epitome of postmodernism. He also explains how he seens film scholars have taken up the challenge of applying these ideas to the media format or medium, as they have found an iconic example of this within Bladerunner. He also talks about how he will also analyse the theoretical work of Giuliana Bruno, Vivian Sobchack and Scott Bukatman. All these film scholars, concentrate on the different aspects which is associated with Jameson's postmodernity thesis, using the essay for his own intellectual ends. While they manage to bring out subtle distinctions of his theory on application to the film, Jameson’s unaltered creations are remarkably durable.</span></div>
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<b><u><span style="font-family: Times, 'Times New Roman', serif;">So what is Blade Runner about?</span></u></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhypNutx9a4g-4nMNzJp7KPS1tRpCW4Jv-xDgXnph4FAFODhzDCSqKtyEid4DvahhKC_bwvT8puDPFYcNeEfd3DfeaAd0oXGTVau9f9MLpVDKTCgU6vcJW6L-7Qi-ntnexMdhcvGoRyPhb3/s1600/blade_runner_7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: Times, 'Times New Roman', serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhypNutx9a4g-4nMNzJp7KPS1tRpCW4Jv-xDgXnph4FAFODhzDCSqKtyEid4DvahhKC_bwvT8puDPFYcNeEfd3DfeaAd0oXGTVau9f9MLpVDKTCgU6vcJW6L-7Qi-ntnexMdhcvGoRyPhb3/s320/blade_runner_7.jpg" /></span></a><span style="font-family: Times, 'Times New Roman', serif;">Blade Runner is a science fiction film directed by Ridley Scott set in the dystopian city of Los Angeles in 2019 and is based on the book of Do Androids dream of Electric Sheep by Philip k. Dick, whereas pollution and nuclear waste fallout has pushed the population to off world. People which live on earth, are considered to be weak and too poor to afford transport, or are considered to be genetically inferior as they are forced to live their because of their fear of contaminating colonists. In order to facilitate exploration and Terra forming initiatives where humans are able to grow synthetic humans to compensate for their lack of work. The synthetic humans are also useful in comforting soldiers and to citizens and are used to provide protection the interest of their human masters. The replicants have also been created by the humans with a four year span of life, in which Roy Batty finds his creator, Sebastian and attempts to find the secret to a longer life span through various means. For replicants, this is a fact in which the replicants rebel against their makers. For this they are hunted down by the Harrison Fords Blade Runner character and are made to be retired to spare humanity for humanity's outcome of playing God for their indulgence in the advancement of their technology and the destruction of their world.</span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">In the next parargraph, it states how Scott Bukatman is interested in Blade Runner and its fractal geography as we have a clear fascination with Jameson's notion of spatial deflation. It also points out that their are differences between the high modernist and the elements which are associated with postmodernism. As he points out, how he see's the first and most evident is the emergence of a new kind of flatness etc. In this paragraph he points out that during the modern phrase their were new types of surfaces in almost a fetishitic mode, which are conveyed through commodities and a fabricated desire. Their is also the affect/element of emotional attachment in Bade Runner of a subject which is a suggested warning of effect, this is displayed between the characters of Rick Deckard and Rachel.He also states how we come to watch the film, we come apart of it and engaged in it that we actually alienated from our surroundings. It is then argued that postmodernism is actually fractuaring our relationship with the image which we find so pivotal in our lives that we aren't able to recognise the composed fragments in synchronicity which are attributed to our world. In this sentence the author goes on to say how we as a species have lost our sense of purpose and life within the world as we aren't able to contribute to elements such as we have lost the diachronic impulse which fosters education and life experience, it also points out how are modern lives are so dependent on technological advancement such as the internet and televisual landscape have come to define what we are as a species. Scott Bkatman also states how he has located a hidden profanity in the media saluted screen which associated with that of Deckards Esper machine and in the eye itself.</span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">Bukatman goes on to decribe how he see's the fractal as a phenomen which subdivided parts of a geometric shape are identical to the whole, implying an endless depth of form and structure. Bukatman also states how the new monument is no longer the substantial spatiality of the building but the depthlessness surface of the screen. Bukatman also states how the screens conveyed in the movie are a reflection of the mass culture of the media an example of this is is the screeen portraying a Japanese women popping pills enticements to enjoy Coca Cola, or Stalinst entreateies to begin the process of colonization and humanity reverting to discovery through exploration in the off world colonies. Bukatman then states how these projected light shows have replaced the significance, cultural marker and meanings associated with buildings. Bukatman also goes on to explain how advertisements have come to mimic the psychological characteristics which are usually associated with humans. He also see's them as having more function inits society as it sustains its mores and rythms. </span></div>
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<a href="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcR-qEDF0tgYjJ5_KTAhOYM2RUAezSCC9rzA8Z8VcECvRBwlLqnQ" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: Times, 'Times New Roman', serif;"><img border="0" src="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcR-qEDF0tgYjJ5_KTAhOYM2RUAezSCC9rzA8Z8VcECvRBwlLqnQ" /></span></a><span style="font-family: Times, 'Times New Roman', serif;">Deckard uses the Esper macchine to find out where the other fugitive replicants are, through analysing a photo found in Leon's apartment. Like an entrance to our own memeories, the machine scans images, focuses on significant details and comes to important conclusions. Bukatman see's the machine as a link to determining the existenial to the replicants. In a way those the machine determines whose human and who is synthetic. The machine is also confirming to it being dialetical which is opposite of the Voight-Kampff machine, which is seen as taking humanity through the emotion of empathy, taking away the humanity from the replicants and reasserting their superficiality. The fear is obvious, on Byrants face as Deckard ponders whether the machine will work on the Nexus 6. He then goes on to state, if the humans keep on playing God through the creation artificial intelligence when will actually come to an end, and how both these mechanical contraptions work through the exengencies of the eye.</span><br />
<a 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" /></span></a><span style="font-family: Times, 'Times New Roman', serif;">The close up of the eye reflect Hades like Los Angeles, which we are about to enter. As stated briefly before, the eye is also a vital part of the Voight-Kampff testing procedure which reads unknown gradations in ocular activity (jargonized by Tyrell as “capillary dilation of the blush response, fluctuation of the pupil, involuntary dilation of the iris”). It is Batty's declaration “If only you could see what I’ve seen with your eyes” to Chew at EyeWorks and his eloquent final speech detailing those visions that, I argue, ensure his humanity. Bukatman describes the eye as a way for humanity to scrutinise its world from the Tyrell building to serial number on the artificial snake skin, seen through the microscope. He labels various elements of this space, as cinematic an impression associated with that of allegiances to Jean Epstein’s photogenie. The dimensional shifts in the film compel the audience to indulge themselves into the image. We are almost brought back to positivist rationale for photography in the nineteenth century, which claims how humanity would be able to visualize or see the world in a variety of different ways.</span><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="http://t3.gstatic.com/images?q=tbn:ANd9GcSq7T64l5W2A6JNw20tUHlQx3v155iVFwrgtTtp5xewWNr1nElHLQ" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: Times, 'Times New Roman', serif;"><img alt="" border="0" class="rg_hi" data-height="194" data-width="259" height="149" id="rg_hi" src="http://t3.gstatic.com/images?q=tbn:ANd9GcSq7T64l5W2A6JNw20tUHlQx3v155iVFwrgtTtp5xewWNr1nElHLQ" style="height: 194px; width: 259px;" width="200" /></span></a><span style="font-family: Times, 'Times New Roman', serif;">Bukatman doesn't go in detail about the representational of the replicants themselves. Rachel is seen by Bukatman to symbolize the ultimate stage of replicant evolution/advancement. Although she is made in man kinds image, she is incerted by her maker/s with human characteristics such as her feelings and her memories and therefore isn't able to recognise herself as a replicant but as a human. But in this story she isn't projected on to the audience in her consumerist society as a human being but as a product. “More human than human is our motto.” This slogan by Tyrell is used by the author and director to connote how the audience is being lead into some kind of maze/puzzle, which makes the audience question Rachel's human existence. By the replicants not being able to take control of their own lives, they are to a degree being punished by humanity for their creation and existence and by humanity's guilt, which is conveyed through their enslavement and life span. They are therefore depicted as manifestations of humanity's repressed guilt coming back to humanity.</span></div>
<span style="font-family: Times, 'Times New Roman', serif;">However Bukatman ignores the neon lights etc which sustain Jameson's original observations. The constant repetition of the neon dragon’s flicking tongue offers no escape from the suffocating diegesis.There's also an interplay between the horizontal flatness of the Tyrell building or the street scenes and vertical depth of the world with no bottom or top. In this film it also shown how new architectural buildings have been built on those of the old. The characters’ clothing, mode of address, and mannerisms also seem to be bred from film noir conventions of the past, with a thin veneer of futurity applied to situate them in this new world.</span><br />
<a href="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcSApx23o7VLJnVe9_aMbo8LQSKpROrErYHYANjJmzpklEQAAq-j" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcSApx23o7VLJnVe9_aMbo8LQSKpROrErYHYANjJmzpklEQAAq-j" /></a><span style="font-family: Times, 'Times New Roman', serif;">In Guiliana's essay of Ramble city:Postmodernism and Bladerunner, she employs Jameson's exploitation of pastiche and schrizophrenia to sustain her arguments. Jameson also discusses the postmodernist reliance on pastiche to create new artistic forms to create new artistic forms out of an amalgamation of previous historical events, as their is a copy of the original which results in a simulacrum. This ia postmodernist entity, which can no longer be distinguished from the original as the original doesn't exist. The disconnected temporarily of the replicants and pastiche city are all effects of a postmodern city. Pastiche is an aesthetic quotation, incorporates dead architectural styles (Egyptian and Roman), attempts a rellocation of the past of memory and history and eneters the life's of the replicants. Which is obvious as Rachels memories are those belonging to other human beings. As for the criminal replicants, they know what they are, as photographs are used to represent some time in the past when they existed before the present. These images allow them to retain a semblance of personality and indiuviuality, shich are considered human characteristics.</span><br />
<a 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" /></a><span style="font-family: Times, 'Times New Roman', serif;">The replicants are also trying to avois schizophrenia. Jameson defines their psychosis through Lacan as a breakdown in the signifying chain, which is interlocking syntagmatic series of signifiers consistuting a utterance or meaning. The linguistic order of the signifiers allows a human to describe their temporality. Replicants have a limited lifespan as this leads to their own destruction as they aren't created naturally. Which is why they aren't able to avoid schizophrenia as they only have access to life as a series of presents. Batty is denied a future because of his meetings with Chew, J.F. Sebastian and Tyrell because he refuses to submit to language and is only able to communicate his needs through violence and is contrasted to a neglected child. Bruno emphatically concludes, “The schizophrenic temporarily of the replicants is a resistance to enter the social order, to function according to its modes. As outsiders to the order of language, replicants have to be eliminated” (Bruno, 70).</span><br />
<a href="http://t0.gstatic.com/images?q=tbn:ANd9GcR0l-HZUi4GYNZ11LjI27moK5IoapTxWLTA4MXaDT_22Bl-Od0i7g" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" class="rg_hi" data-height="194" data-width="259" height="149" id="rg_hi" src="http://t0.gstatic.com/images?q=tbn:ANd9GcR0l-HZUi4GYNZ11LjI27moK5IoapTxWLTA4MXaDT_22Bl-Od0i7g" style="height: 194px; width: 259px;" width="200" /></a><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<span style="font-family: Times, 'Times New Roman', serif;">Bruno extends the Lacanian analysis by putting the replicants in a world that is imagined. Moreover, their desire, characteristic of the Imaginary, is to be human but this is impossible. Ensuing is a profound sense of loss that causes a mental rupture from which the replicants can’t recover. The symbolic order is out of their grasp because to have language they need history. Therefore the laws of man, have no place upon the attainment of the language,meaning they have no purpose/meaning within the world. Even those the replicants have been given adult bodies their emotional capacity is infantile. Bruno reveals a phenomenological link between mother, history, and photography in the narrative.All these events are events of the past such as childhood etc. Leon and Rachel who fail the Voight-Kampff test succumb to their synthetic personality when confronted with the apparation of mother-Rachel by way of a living photograph and by Leon answering through a question about his history. In a sense when Lacanian'sanalysis is used, the replicants represent morality, nurture and home but the replicants are excluded from these realms.</span></div>
<span style="font-family: Times, 'Times New Roman', serif;">Bruno those doesn't discuss nostalgia for a motivation of pastiche. The design of the replicants references to a time when humans weren't hobbled by the effluence and conflicts of the industrial age. Technology in 2019 is seen as advancing but the humans have become more frail as they over rely on the replicants to do the majority of their tasks. There's a nostalgia inherent in the film noir aesthetic of the film. Deckard is seen as a reference or even a modern equivalent to that of Humphrey Bogarts rumpled dectives and Rachel is portrayed in the femme fetale role that has never mislead a dective on celluloid. Jameson's intertexuality bestows the characters with more emotional depth to the point where we align ourselves with Deckard's actions or motives. The confident egotists of the roles in Star Wars and Raiders of the Lost Ark are a contrast to Deckards brooding anxiety.</span><br />
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We are told that the vernacular is spoken by other inhabitants of the city. However, as an imaginary language created by Edward James Olmos just for the film, we have no way of deciphering it. Cityspeak functions as a link between the motives of the police department and those of Gaff as related to Deckard. Consequently, we enter into a schizophrenic relationship with these authority figures and have no sense of their history as it relates to this unfamiliar world. Although we don't know why the replicants need to be retired and why they have chosen Deckard to do this but Gaff's origami figures remain enigmas(puzzles) as we have no language to descipher them. The inability to comprehend constitutes Jameson's final boundary between art and postmodernity.</span><br />
<span style="font-family: Times, 'Times New Roman', serif;">Jameson name the unprecievable network the sublime. The nexus of the idea revolves around a conceptualization of the divine but thats only one application. There is an unbridled dread and incredulity which invades the human mind when confronted with a deity, a universe, a planet, or any infinitely branched system which we cannot comprehend. Jameson finds ideal literally representation of sublimity inthe cyberpunk expulsiom of William Gibson. The intangible bytes which surf through cyberspace exist in a world that the human psyche can’t quite control. This connection to electronic signals leads to paranoia as subjectivity is destroyed. In a sense, Blade Runner preceeded and influenced the cyberpunk movement.</span><br />
<span style="font-family: Times, 'Times New Roman', serif;">Vivian Sobchack in her final chapter, “Postfuturism,” from Screening Space outlines the shape of the unfathomable. Vivian see's Blade Runner as being one paradigm which is used to fulfil the metaphorical space. As we are surrounded by electronic gagets and the vestiges of the sublime. A constant reminder of another existence beyond physicality as transformed humanity. Sobchack believes our mediated insertion into cyberspace has transformed human beings into being a myriad of visible and active simulacra” (Sobchack, 229). These apects of simulacra doesn't bound to the indexical and can exist autonomously from us in a world where our bodies can’t travel. In a culture where humans can be alienated from themselves, the alien or the other no longer signifies the same fear it once did,as this portrays humans as being aliens and replicants being us.</span><br />
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<a href="http://t3.gstatic.com/images?q=tbn:ANd9GcRFfH0O9eYyiK-zZo7RXXE9M53OdbNUL95movH83XxlYXFQWatiSw" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><span style="color: black; font-family: Times, 'Times New Roman', serif;"><img alt="" border="0" class="rg_hi" data-height="145" data-width="349" height="145" id="rg_hi" src="http://t3.gstatic.com/images?q=tbn:ANd9GcRFfH0O9eYyiK-zZo7RXXE9M53OdbNUL95movH83XxlYXFQWatiSw" style="height: 145px; width: 349px;" width="349" /></span></a></div>
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<span style="font-family: Times, 'Times New Roman', serif;">In Blade Runner, the spectator and protagonist are always re-orienting themselves to come to terms with this infinitely dense sensorium. As </span>which is common with the human psyche, the narrative displaces society confusion into other evil.“This is space that finds its most explicit figuration in the impossible towering beauty of Blade Runner’s Tyrell Corporation Building—an awesome mega structure whose intricate façade also resembles a microchip” (Sobchack, 234). Tyrell corporation has been able to synthesize a crushing amount of bio-engineering technology to recreate humankind. In the inter-textual world of the science-fiction film, such a mastery of the sublime is always deemed unnatural (partially by its perceived impossibility) and can only have negative consequences. We are not meant to conquer the sublime. If we do this we are personally gods. The hyper-consciousness would render culture pointless. Postmodern logic can accommodate the sublime into our way of life.<br />
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<a href="https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcRw0m3DZCi5uUfDeC22QIKPvM7rnNy14yew84ru8faYEPUq_6ew" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcRw0m3DZCi5uUfDeC22QIKPvM7rnNy14yew84ru8faYEPUq_6ew" /></a>This incomprehension is literalized in Blade Runner due to what Sobchack calls an “inflation of space,” a theory functionally identical to Jameson’s “hyperspace.” This inflation is identified by an “excess scenography” which crowds the mise-en-scéne. The fabricated space brings the spectator into contact with the sublime. Space is anthropomorphized, and like a collector classifies, gathers, preserves, and displays objects. “Trash and waste, pollution and decay, are visualized as curious and beautiful, postmodern sensibility finding aesthetic pleasure and sublimity in the accumulations and trans-formative decay of the cityscape…” (Sobchack, 263-64). In this film, Pris is seen hiding in a pile of garbage to catch Sebastian's attention, whereas Zhora is seen running through a chaotic gauntlet of cars and costumes etc. This inflation has its own consequences in the digesis. Primary among those is a “deflation of temporal value.” Time no longer flows in a rational manner that presupposes history, language, and causal forces. Blade Runner though is ambivalent about this shift towards spatial representation. Its apparent that the inclusion of time within the narrative is pivotal to the story and the replicants four year life span, which is shown through the intercepted shots of Roy Batty hands seizing up to the deadline and through his speech on the rooftop. The spatial dominance in contemporary science fiction features a new postmodern cinematic language.</div>
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The author also talks about how they would add one element to Sobchacks inflation thesis.Cascading and ominous tones of Vangelis score simply imply a world outside the normal flow of melody and tempo. The music constantly adds expansive layers of melancholy and awe. In addition Sobchack doesn't engage Jameson's mention of derealization in her argument. This conveys how reality is represented as artificial modern forms of art. Rachel asks Deckard early in the film whether he’s ever retired a human by mistake. There is also a question which resides on Rick Deckard of whether he is human or in fact a replicant. This question, sustains Jameson's conception of the terrifying and exhilirating as the audience try to answer this question. If Deckard is a replicant, the dissolution of boundaries theorized by the film would be complete; Homosapiens will have come to an end brought on by our own hubris.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb21jDVNlTC1Kfzpo8vhK1UPyqExK0Cx3hOb9FE0Ilx7EcgnfPkv7is5b-BcB3yGL55WasnJj2lrEAsTFlbgW5hZVifyRF1cVQdstqQ0w1pQKe6Z1BbBu3ftdS46yqAbwdly9bzWWuoks/s1600/bladerunner8.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black; color: #444444; font-family: Times, 'Times New Roman', serif;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb21jDVNlTC1Kfzpo8vhK1UPyqExK0Cx3hOb9FE0Ilx7EcgnfPkv7is5b-BcB3yGL55WasnJj2lrEAsTFlbgW5hZVifyRF1cVQdstqQ0w1pQKe6Z1BbBu3ftdS46yqAbwdly9bzWWuoks/s320/bladerunner8.jpg" width="320" /></span></a>Jameson believes the only way for us to interact with the sublime in the future will be to develop an aesthetic of cognitive mapping. This diagrammatic overlay would “enable a situational representation on the part of the individual subject to that vaster and properly representable totality which is the ensemble of society’s structures as a whole” (Jameson, 51). This system would reclaim subjectivity from the fragmenting impulses of depthlessness, pastiche, schizophrenia, and sublimity. It would create a political dynamic capable of integrating personal ideology and global awareness, all through technology. In the conclusion of the essay, Sobchack glances over “cognitive mapping” and offers Born in Flames (1982) as an idealized example of mapping put into practical use. I offer Blade Runner as a counterexample. Aren’t the replicant’s brains the beginning of this advanced cultural logic? Once they are allowed to temporally transcend, their engineered brains will be able to surpass ours. The part of their minds that is constructed will be able to hold yottabytes of information, and the part that mimics our own will have the time to craft an individualized ideology. Replicants are the perfect solution to the postmodernity crisis. They are immune to the vicissitudes of cultural logic. They will succeed despite our impotence, at least on film.<br />
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In the film, the replicants are depicted as searching for empathy and memory in a city containing memories on its walls. The humans are shown as being consistently trapped in a state of amnesia as the directions of the mind only point one way. The theorists discussed in this essay are also searching and grasping the nature of the simulacrum, as they are searching for clues in Jameson's intricate composition. Postmodernity doesn't offer answer but instead its fluid borders generate an unending cavalcade of suppostitutions. Blade Runner is interested in the decisions we make and is also a film which is invested in our contemporary moment. What counts as a human, whether at the embryonic dawn or the “accelerated decrepitude” of dusk? Is reminiscence really a part of lived experience or more a function of the imagination? Whats the elemental spark which allows us to abstract ourselves and engage ourselves in a variety is different realities and theories. Can this ember ever be duplicated? How do we shelter emotional veracity from an increasingly coded world? Do we really want to know the answers?</div>
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</div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com1tag:blogger.com,1999:blog-4116302942345516211.post-26722964629393345872012-03-16T13:27:00.004-07:002012-05-15T12:18:07.666-07:00Identifying the Characteristics of Postmodern Films<div style="text-align: justify;">
<b><u>Playfulness and self reference:</u></b></div>
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Firstly when viewing a classical narrative, the narrative will try to hide the fact that its a fictional product, the film is usually edited in away to get viewers to forget about any editing transitions etc which has actually taken place. Compared to a classical/modern film, a postmodernist film will jump up and down to draw attention to itself and its modes of construction. Thomas Tykwer's film, Run Lola Run plays with its narrative structure, delivering a similar scenario three times with different conclusions. Its cinematic style which includes animation, both video and film stock, colour changes, whip pans(where the camera whips sideways), crash zooms which quickly focuses on experimental editing. It also never lets you forget that its a highly constructed film using a number of storytelling devices. The film also makes references to other forms of popular culture, such as music videos and computer games and also positions itself in context of other media products. The message of the film is basically not to take the film seriously which is done through the audience distancing itself from the media representations etc which are found in the film. Compared to a classical movie, a postmodernist films include texts which keep us at arms length by reminding us that its a constructed or simulated reality which we experience in order to communicate to audiences that the text being conveyed through the movie isn't real whereas a classical narrative draws the audience into the storyline of the film and attempts to create a belief in the characters and their experiences. Postmodernist film is also known to challenge the mainstream conventions of narrative structures and characterization, while also destroying the audiences suspension of disbelief in order to create a work in which a less recognizable internal logic forms the mediums means of representation and expression. For the film to convey their desired meaning, they are also known to maintain conventional elements to help orient the audience. Another example of where the film plays around with its narrative structure, is the film, The Time Travellers Wife, which plays around the narrative as Eric Bana's character goes back and forth in time, trying to reach different conclusions within his life with his family.</div>
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Postmodernist films also include concepts such as pastiche, flattening of affact, hyperreality, time bending, altered states and more human then human. Pastiche is self referential, tongue in cheek, rehashes of classic pop culture. Flattening of affect involves technology, violence, drugs and the media lead to detached, emotionless, unauthentic lives. Hyperreality is described in relation to where technology creates realities which are original or more desirable then the real world. Time bending is used to connote the importance of time travel, as it relates to how time travel provides another way to shape reality. Whereas altered states involves mental illness, drugs and technology which provide a dark gateway to internal realities. Whereas Human more human involves artifical intelligence, robotics and cybernetics, which seeks to replace or enhance humanity.</div>
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<b><u>Generic blurring and intertexuality:</u></b></div>
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This is where films often cross boundaries between different genres an example of this is Pans Labyrinth, which clearly has different film genres included within the film such as it creates scenes of horror, tragedy, adventure and fantasy with elements of a fairy tale like story line combined with elements of military history when combined with the topic of the Spanish civil war and it also explores the themes of obedience, religion, politics, war and imagination. Intertexuality is also, where the film makes reference to any other medium formats, such as Toy Story 2 refers to the shortage of Buzz Lightyear toys as an intertexual joke, which is connected to the manufacturers underestimated demand for the toy. This postmodern tendency towards generic cross reference and intertexuality creates a relationship with the audience by both playing with and complementing their knowledge of film. Another example of this is in South park, when they make intertexual references to Harry Potter, The Lords of The Rings and the Dark Knight, when Cartman dresses up as the Coon to make a mockery out of the Dark Knight. Pans Labyrinth also uses intertexual references to Del Toro's film, The Devils Backbone and Narnia etc, which Guillermo Del Toro uses to combine pieces of his favourite writers to compromise the story which is original and to explore the figure of the god, pan and its symbolic nature of the Labyrinth.<br />
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<u><b>Popular and commercial media meets High Culture:</b></u><br />
This were the film or another type of media format uses popular culture is combines with high culture, which can be done through various ways such as having parts of high culture such as literature, art forms etc combined with popular culture such as computer games etc. An example of this is Pan's Labyrinth which contains cultural styles and times which are combined with each other, as it challenges the chronological history as it includes scenes of Captain Vidal involved in fascism and while at the same time addressing Ofelia's innocence when completing Pans tasks. These could be considered as high culture elements and the text can be perceived as postmodern as it involves this and can be considered modern because its enjoyed by the masses. The OC is also another example of where it combines the Cohens, high cultural lifestyle with that of Ryan's, whose from Chino.<br />
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<b><u>Fragmentation and the death of representation:</u></b><br />
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This is were films, use a range of fragments from other texts, genres and cultural influences, this fragmentation also applies to representation. Captain Vidal representation of someone who is perceived as violent as it can be argued that there's a death of representation as his constructed to be like a monster and the audience make a connection with fairy tale monstrous characters, which Ofelia faces and see's as an uncertain threat<span style="font-family: Georgia, 'Bitstream Charter', serif;"><span style="font-size: 14px; line-height: 23px;">, the same can be said about how the antagonist in The lovely Bones.</span></span></div>
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<b><u>Uncertainty and the loss of context:</u></b><br />
This can result in a sense of uncertainty and the shaking up of previously understood beliefs and roles. Postmodernist films can also make the audience feel their are no generic rules and that representations only make reference to other representations. Postmodernist filmmakers such as Christopher Nolan, Stanley Kubrick and David Lynch etc challenge aspects of life or belief systems. This can be said of Nolan's film, Inception, When the audience are made to decide if DiCaprio's character is trapped in reality or a simulated/constructed reality or The Simpsons which challenges law enforcement, science and the American Dream.</div>
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<b><u>Other characteristics which are sometimes used in postmodernist films:</u></b></div>
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Postmodernist films are also known to include other key concepts when its comes to them being embedded into films. Such as postmodern films also include concepts like a pre-fabrication which is similar to how simulation is used in movies but this draws the audience closer to already existing and noticeable scenes, and these are basically reused in narratives, dialogue etc. A bricolage is also used, which is where a person such as a producer, editor or director usually builds a film like a collage of different film styles and genres. It also includes metafiction which is were someone within a film write someone writing within a film to demonstrate its fictionality and is used for shifts in narrative, impossible jumps in time or to mainatin emotional distance for the narrator. Historic metafiction is a technique refering to novels that fictionalise actual historical events and characters. Temporal distortion is the jumping of time backwards and forwards. Minimalism is a technique used to demonstrate characters that are unexceptional and events which usually occur. Postmodernist films are also known to use other characteristics such as technoculture, paranoia, maximalism, faction, participation and magical realism.</div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com4tag:blogger.com,1999:blog-4116302942345516211.post-71189068735230969322012-03-09T06:19:00.004-08:002012-05-11T12:13:47.791-07:00Semiotic Study of signs and how we make sense of them<div style="text-align: justify;">
The media concepts which I will be using in this blog post was the concepts of media language which is connected to media language, representations and audience. The production I will be analysing in this blog is the first production.</div>
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In my first production I use examples of signs which are connected to semiotics such as money, the safe, the boxing gloves, the lamp, cards and the boxing photos of past boxers on the wall. The money has a denotation of employement and success, whereas it has a connotation of power, empowerment, corruption and sumpremacy. Whereas the boxing gloves has been used to connote connotations of patrichal ideals and mannerisms, masculinity and its also portrayed in my films opening production as a way of remmembering his past and it has also been used to connote the archetypical characters which we usually associate with the genres of sports drama and relates to gangsterism and as a way to connote the personality of the central protagonist as someone who is obsessive and someone that can easily be manipulated.Which represents my central protagonist as someone who isn't able to find any purpose or humanity within his existence and is only able to find his purpose, identity and embrace more of his identity throught his co-existence and connection with the sport of boxing. I have also used the boxing gloves as a way to represent traditional beliefs with capitalism and to represent how my character is going to have to change his own mythology and lifestyle to adapt to societities beliefs and identities to achive some kind of existence.The denotation of the boxing gloves is the it conveys, rivalry, violence and saddism. The colour of the boxing gloves are black which has been used to convey death, masculinity, leadership etc. I have used the lamp as a way to signify how I as a director isn't just exploring the structure of our society and the characters that co-exist within it but I'm using it as a way to convey to my audience how I want my audience to make an analytical assessment of my character but I want them to make a more knowledgable and unfamilar assessment which they question their beleifs in capitalism and I use it as a way to personify the obssessive behaviour of the characterisation of my character. I have used the photos in my garage to convey how I want to convey how the character use it as away as a reminder of his progress in the world and how his moulding his personality as a way to connect with other boxers on a falled and emotional level. I have also used the cards as a denotation of power, whereas the connotation of the cards is to convey how the character has a false sense of power and he is basically a reflection of a media text, like a cog in a machine as Charlie Chaplin says and its also a reflection of how the protagonist isn't basically in control of his fate and existence and how his political society is determing his identity and existence, which represents him as a victim of capitalism and I have also used it as a way to reflect and marxist and postmodernist mythologies of the world. The Safe is basically denoting protection and secrey and signifying a simulacra of boxing, emancipation and how the characterisation of my character has loss all sense of power and reality in the world. The money is basically used to personify, how my character is being portrayed as selfish, corrupt, exploitative and I have used it as a way to convey his false sense of power and I have used it as a way to scrutinise the capitalist system from a marxist point of view.</div>
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Ferdinand Du Saussure was a swiss linguistic whose ideas laid a foundation for many significant developments in linguistics in the 20th century.Saussure is one of the founding fathers of semiotics. His concept of the sign/signifier/signified/referent forms the core of the field. Equally crucial, although often overlooked or misapplied, is the dimension of the syntagmatic and paradigmatic axis of linguistic description. I would also put those concepts under linguistics as although Saussure saw the relationship between the two concepts when apllied to a figure, he wanted people to find a difference between those two when applying to them because he wanted people to connect with the figure on an analytical level, while exploring there own ideologies which are connected to the figures. Whereas Barthes went further to gain a descriptive analytical anlysis of figures through other concepts such as denotation, connotation etc.</div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com1tag:blogger.com,1999:blog-4116302942345516211.post-22354535356463175162012-03-02T07:46:00.005-08:002012-03-09T05:38:17.376-08:00Audiences:Reception theory<span style="line-height: 20px;"><b><u><span style="font-family: Verdana, sans-serif;">Stuart Hall:</span></u></b></span><br />
<span style="line-height: 20px;"><span style="font-family: Verdana, sans-serif;">Stuart Hall is a leading sociological thinker of the late twentieth and early 21st century's, whose writings were often encompass media perspectives. Even those he was thought as a sociologist and cultural studies theorist, he taught media in London in the sixties. Rather then just exploring how texts make meaning, as was the predominant practice of his analytical forerunners, for Hall, the meaning of the text is not inherently in the text itself. From this Hall claimed that no amount of analysis can find the texts actual one meaning because different people who encounter the text will make different interpretations.</span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;">This can be applied to other media formats such as films, TV shows etc, as we as an audience don't all like the same characters portrayed in those media texts but we are all able to see the same representations. The technical and symbolic codes which construct the representations we perceive are the same as the denotation is often the same. The thoughts that the producers or directors want us to think and what we actually think might be two different things. This reading, according to Hall depends on our social positioning an example is the level of our education and experience and what are occupations are.</span></span><br />
<span style="line-height: 20px;"><b><u><span style="font-family: Verdana, sans-serif;">Reception theory defined:</span></u></b></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;">Reception theory is a version of reader response literary theory that emphasizes the reader's reception of a literary text. It is more generally called audience reception in the analysis of communications models. In literary studies, reception theory originated from the work of Hans-Robert Jauss in the late 1960s.</span></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;"><br />
</span></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;">Reception theory is an approach to textual analysis which puts more emphasis on the audience, the meaning is made at the moment of consumption. At that moment, the individual audience member considers the representations presented to them in the context of their own values, opinions and experiences. Therefore, people with similar socio-cultural backgrounds are likely to make similar readings of the same texts. The theory also follows, that if the audiences values, opinions and experiences are similar to the producers, then they are likely to read the meaning of the text in the way it was intended, or at least which is very close to it. </span></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="line-height: 20px;"><br />
</span></span></div><div style="text-align: justify;"><span style="line-height: 20px;"><b><u><span style="font-family: Verdana, sans-serif;">So what is an audience:</span></u></b></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;">An audience is a group of people, who are targeted by producers or directors, in which they use media formats such as TV programmes, films, music etc, and these media formats are used by directors and producers to target people of specific ages, gender, ethnicity etc.</span></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;"><br />
</span></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;">The audience targeted by me when producing the opening sequence of a film:</span></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;">In relation to who were my intended audience were, I would say that the age of which my film opening sequence was aimed at was of the age of fifteen to twenty five years of age and it was aimed at both genders specifically, but I would say that it mas more specifically aimed at males because of the context displayed in the film opening sequence and as the males would be able to relate to the central protagonist more then females would. The intended audience for the films opening sequence when considering the socio-economics were of the categories of C2, C2 and D. In relation to audience I would say that the psycho graphic in relation to the audience is that its mainly aimed at people of similar values of how they perceive capitalism and how they identify with the values presented in the film, which are usually associated with movements such as Marxism and post-modernism. I would say that people would interpret the film differently because some people would say that the film interprets the film as a film which criticises liberal values and dominant ideologies as it portrays the negative representations and values which are associated with capitalism and this is portrayed through the closing of the safe door, which conveys how I perceive the protagonist as someone who is trapped in his own world as it reflects post-modernist, concepts of hypperreality, simulation and implosion. Marxists would say those that it presents an accurate view on capitalism as it conveys how working class people are being exploited by the bourgeoisie. </span></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;"><br />
</span></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;"><b><u>Task-Stuart Halls article on "Preferred, negotiated/oppositional reading":</u></b></span></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;"><b><u><br />
</u></b></span></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;"><b><u>Description of my target audience:</u></b></span></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif; line-height: 20px;">An description of my intended target audience for my films opening sequence is that my target audience is aimed at people of the ages of fifteen to twenty five years of age, consisting of socio-economic groups of C1,C2 to D because I feel that my intended target audience would be able to understand the themes employed in the film's opening sequence and would be able to understand the growing influence of Italian neorealism on the film. I would also say that even those my film is aimed at both genders, I think that it would appeal to males more then females as it would appeal to them more because of the hybridity of its genre and males would be able to relate to the central protagonist more then that of females would be able to. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif; line-height: 20px;"><br />
</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif; line-height: 20px;"><b><u>The Preferred reading of my production:</u></b></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;">The preferred which I was trying to represent to my intended target audience when producing the opening sequence of my film was that I was trying to represent a Marxist and post-modernist perspective towards my intended target audience. The reason why I say I was trying to represent a Marxist view was because in a scene within the opening sequence of the film, I was using a boxing montage which was used as metaphor to signify the positive representations of capitalism as the scene promotes masculinity, idealism etc. In the film when I compared the montage sequence of the boxer boxing, I then compared it to another scene in which the audience are employed to be a spectator in the scene of where we see the central protagonist drinking in a darkened litten room. This scene was used as a way to representing my own ideological perspective on capitalism from a Marxist view, as I employed this scene to convey the negative representations which can be associated with capitalism as the scene and central protagonist is a reflection of my intentions of how I see the working class being exploited by capitalism and by the bourgeoisie. My preferred perspective or reading of my production is that it promotes a post-modernist view, as it exposes how we are constructed into a piece of reality of where we aren't able to find some objective truth within the world and it relates to post-modernist concepts of hyppereality, simulation and implosion, which is presented in the scene of where we see the protagonist drinking which signify's that his trying to find some kind of objective truth within life or purpose. Whereas the closing of the safe door promotes as I see humanity trapped within a fixated and false reality of where they aren't able to escape.</span></span></div><span style="font-family: Verdana, sans-serif; line-height: 20px;"><b><u><br />
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<span style="font-family: Verdana, sans-serif; line-height: 20px;"><b><u>What negotiated and oppositional readings does my production offer?</u></b></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="line-height: 20px;">The negotiated and oppositional reading that I would say is provided my production is that it offers the oppositional reading of presenting the working class as a someone who is easily, corrupted by greed and money. This is shown through the scene of the protagonist sorting out and counting his money. Another oppositional reading would be that it presents the working class person as someone who has no purpose within life and can be easily exploited through the political system of capitalism. Whereas I would say that the negotiated reading which is represented or even signified by the film's opening sequence is that it represents capitalism in a negative representation and a character that instead of being able to become a better person within his life and find his sense of purpose and identity, he finds out that he can become a better person if he doesn't fall to his decisive traits he will be able to find his purpose but he doesn't want to challenge capitalism because it would be an rejection of his criminality.</span></span><br />
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</u></b></span>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com0tag:blogger.com,1999:blog-4116302942345516211.post-56467180118395144222012-02-24T06:33:00.008-08:002012-05-27T13:51:24.880-07:00Potsmodern analysis of the TV show-Futurama<div style="text-align: justify;">
<b><u><span style="font-size: large;">Futurama:</span></u></b></div>
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<a href="http://t1.gstatic.com/images?q=tbn:ANd9GcQuSWduYExpoAWiIOBKCY4UzgXMBiNOusSuCt-5TbB-x8n7wYas" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://t1.gstatic.com/images?q=tbn:ANd9GcQuSWduYExpoAWiIOBKCY4UzgXMBiNOusSuCt-5TbB-x8n7wYas" width="227" /></a>Futura is an animated science fiction sitcom created by Matt Groening and developed by Groening, and David X Cohen for the Fox Broadcasting Company. The animated series is produced by Lee Supercinski and Claudia Katz. The series was aired in the United States on Fox in from March 28th, 1999 to August 10, 2003 before it ceased production. The plot of the series is based around the central character of Philip J Fry, who is a 20th century New York City, pizza delivery boy, who is frozen cryogentically for one thousand years. and finds employement at Planet Express. He finds employement as an interplenetary delivery company in the retro-futuristic 31st century. The series was also envisioned by Groening in the late 1990's while working on the Simpsons. He later brought Cohen aboard to develop storylines and characters to pitch the show to Fox.Futurama has received critical acclaim, culminating in a Guinness World Record for "Current Most Critically Acclaimed Animated Series" in 2010.<sup><span style="font-size: x-small;"> </span></sup>Futurama has also been nominated for 17 Annie Awards and 10 Emmy Awards, winning seven and five, respectively. Futurama has also been nominated four times for a Writers Guild of America Award, winning two for the episodes "Godfellas" and "The Prisoner of Benda", and nominated for a Nebula Award. The show also received an Environmental Media Award for "The Problem With Popplers". </div>
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<b><u>Futurama's themes:</u></b><br />
<ul>
<li>Multicultural</li>
<li>Orphanism</li>
<li>Bureaucracy</li>
<li>Global Warming</li>
<li>Substance abuse</li>
<li>Moon landing</li>
<li>Relationships between characters e.g. Leela and Fry relationship</li>
<li>Alienation</li>
<li>Robotology etc.</li>
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<b style="text-decoration: underline;">Eclecticism: </b>Futurama has been influenced by other media formats like The Simpsons,South Park and Blade Runner etc. The techniques producers like Matt Groening used to create Futurama, were that when it was sent of to Rough Draft Studios which animates the show, there were storyboards of over a 100 drawings. It then creates a pencil drawn animatic with 1000 frames. In addition to traditional cartoon drawings, the studio uses CGI for fast or complex shots. The opening sequence is rendered in CGI and the CGI is rendered at 24 frames per second as opposed to 12 frames per second.<br />
<b><u>Intertexuality:</u></b> This is used in the TV show Futurama, as with the character of Zapp Brannigan is an intertexual cultural reference to the TV series Star Trek and is a reference to Captain Kirk and to William Shatner.Another example would be that of when the characters from Futurama go into a cybernetic world and this is used as a cultural reference to the movies, Tron and The Matrix series. Another example would be the name of the Futurama character, Turanga Leela is a reference to Turangalilia Symphonie By Olivier Messiaen.<br />
<b><u>Parody:</u></b> This is included in the TV show Futurama, when the character of Zapp Brannigan is used as a satirical pastiche of Star Trek character Captain Kirk and to the actor, William Shatner.<br />
<b style="text-decoration: underline;">Bricolage: </b>I would say that Futurama uses bricolage as Groening uses the science fiction genre for example when we see the setting of New New York, it has references to Fritz Langs Metropolis, Star Trek and to Blade Runner<br />
<b><u>Acts against modernism:</u></b> Futurama acts against modernism such as in Futurama, the Earth is seen to have an unified government headed by the president of Earth, Richard Nixon's head is elected in season two, I would say this acts against modernism as it says how Earth is ruled by colonialist country of America. Another example of this would be that in one episode where science is used by Professor Farmsworth to create mutants which shows how science isn't being used for the ideas of progress.<br />
<b><u>Nostalgic:</u></b> I would say that Futurama uses Nostalgia in an episode featuring the character of Leonardo Da Vinci as it celebrates Leonardo Da Vinci's inventions or the episode called "The series has landed" where we see Futurama celebrating the moon landings through the character of Philip J Fry.<br />
<b><u>Narcissistic:</u></b> This concept is used in Futurama, through the character of Bender as Bender considers himself to be flawless-a towering inferno of physical perfection and he frequently refers to himself in the first and third person. In the episode, "The Farmsworth Paradox" Bender fall in love with an alternate gold plated version of himself, stating that he has found someone has great as him. Even those his personal email address -bender@ilovebender.com reflects his self absorbed nature.<br />
<b><u>An Active audience:</u></b>An example of this would be that Groening appeals to a wide range of audiences by having so many levels of understanding which appeals to the audience. There is the science fiction intertexual level which is aimed at the sci-fi fan base and also those who recognize the sci-fi conventions and devices. Also the comedy and the character identity tends to mirror "The Simpsosn" screen devices such as Fry and Homer, Leela and Lisa, Bender and Bart etc which are considered to be characteristic features of these shows. <br />
<b><u>Hyper-conscious:</u></b>This is used in the Futurama episode, "Anthology of Interest", the episode shows Professor Farmsworth's intervention, the What if machine. In this episode we see what Leela would be like if she was more impulsive which shows her going on a killing spree and the other characters become aware someone in their crew is killing them. Its self aware as we see Professor Farmsworth seeing a simulation of what it would be like if he invented the fing-longer but he throws the What if machine into the bin, after watching a simulated scenario of what it would be like if he invented the fing longer.<br />
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<b><u>Postmodernism theory applied to Futurama:</u></b></div>
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Postmodernism theory can be applied to the, science fiction animated series Futurama as it includes the concepts of pastiche, which is tongue in cheek rehashes and tributes to classic pop culture. This can be applied to Futurama as Futurama paints the Simpson's creators as bringing classic plots and fobiles into the next millenuim, which includes the uncharacteristic character of the alcoholic robot, Bender. </div>
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<strong><u>Postmodern theory:</u></strong></div>
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Postmodernism theory, is an theory that centers on a wide range of ideals, values, methods and methods. When it comes to postmodernism, I would say that the theory is based on their being no objective truth within the world. The theory is also associated with the concepts of simulation, hyppereality and implosion. The theory is also centered on questioning, our own morality and reality and this is challenged, through those concepts and it also says that we live in a fabricated world of existence and where nothing is original anymore and where every plain of existence is fabricated, constructed and not original as it questions humans purpose in the world and our loss of humanity<span style="background-color: #eeeeee;">.</span></div>
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Postmodernism also asserts human beings as a species that are only able to exist as media texts. Postmodernism also means "post" as it denies the existence of any ultimate principles, and it lacks the optimism of there being a scientific, philosophical, or religious truth which will explain everything for everybody - a characteristic of the so-called "modern" mind and postmodernism also rejects metanarritives. Postmodernism can also be described as an theoretical theory based on the premise that we live in a world of simulations and hyperreality in economies based on the of images and information rather than the production of materialist products. For Baudrillard, he describes simulation,as we living in an era of media saturation in which we bombarded with information and signs. So much of our experience is in the form of media texts rather then first hand direct experience that mediated signs became more real than reality itself. Postmodernism theory is also the part of our lives that is dominated by computer games, television, social networking on the internet, magazines and all other forms of media experience. Baudrillard argued that the distinction between reality and simulation breaks down altogether: as we make no distinction between direct reality which we experience first hand and the simulated experience offered by the media and this is called implosion. Baudrillard described hyperreality as where we get to the stage where the difference between reality and mediated experience hasn't just got blurred and the image part has got the upper hand. </div>
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<b><u>Postmodernism theory applied to my AS film, opening sequence:</u></b><br />
Postmodernism theory can be applied to my film's opening sequence as my films opening sequence conveys how humanity istrapped within reality and have has basically lost all sense of reality, and the protagonist is seen drinking alcohol and playing cards which has been used how he uses alcohol as a way of escaping his own fate and reality. The cards have been used in the film's opening sequence to conveys how the protagonist has lost his own grip on reality and his own humanity and how he isn't control of his own destiny which is presented as an illusion towards the audience but the illusion of time becoming repetituous which is shown through the relationship between his boxing career to his criminality as in away those sequences offer an opposition to authorative figures and to popular culture. I would say that my films opening sequence is more connected to marxism than postmodernism though. I would also say my film is postmodern in terms of its references to how I compare my protagonist to Muhammed Ali and Rocky Marciano and the way my central protagonist is trapped in the mythology of boxing simulacra. The film opening sequence is also postmodern in away by the way in which it doesn't follow the typical narrative structures which are usually associated with Todorov or Propp as my film opening seqeunce rejects conventional narrative structures and formats by its ending of ending not on a satisfying ending but ending with no happy ending, no emancipation and constructing the protagonist as someone who is declining in society and has become corrupted by capitalism etc and he fails in making himself a better character and declines in terms of his morality, traits and faults etc, this is shown in the last scene where we see the closing of the door of the safe at the end.Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com1tag:blogger.com,1999:blog-4116302942345516211.post-30656459841447890672012-02-22T02:43:00.002-08:002012-02-29T02:37:22.823-08:00Representation<div style="text-align: justify;"><strong><u>Laura Mulvey's theory of representation:</u></strong></div><div style="text-align: justify;">So what is Laura Mulvey's theory on representation. In Laura Mulveys theory she studies feminist theory.Feminist theory is the study of the way films, make meanings for their audiences from the perceptions of feminist politics. These are related to studies on the the roles and functions of female characters in the context of the narratives, and this theory explore the representations of women in reinforcing dominant patriarchal ideologies (hegemony).</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Her study explores the male gaze, which is linked to Sigmund Freud and scopophillia. This theory explores how women are treated in sexualized and voyeuristic manners. This theory explores the male gaze, where women are viewed voyeuristically or fetishically. The female gaze objectifies women as gaining a voyeuristically pleasure from looking at a subject and film techniques can be used to objectify or even reinforce female audience's into a kind of voyeuristic spectatorship. The intra diegetic gaze, is when a character from any media text gaze's upon another character. This is done through the process of identification, and through this process of spectatorship, this can lead to the spectators gaze.The extra diegetic gaze is when a character in the text looks out of the text at the audience, breaking the imaginary fourth wall. The theory then goes on to convey, how the gaze is connected to power.In this case, some characters in media texts may, actually not know they are being watched, which lends to the bearer of the gaze is constituted with more power and knowledge of the bearer. The gaze may also be challenged by the character being watched voyeuristically by actually aiming their gaze at the bearer, by doing this, it questions the knowledge and power of the spectator.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Laura Mulveys theory on the gaze relates to my music video, as in the video we see the male character watching the female character in the scene after he kills her. This relates to the male gaze as it, portrays the traditional patriarchal ideology of power, knowledge and oppressive attitude towards women. This is challenged through the film, as through the film, instead of my character embracing the typical femme fetale characteristic role, she takes on a character who is not exploited (unlike Maryln Monroe) and actually gains power, knowledge and supremacy over the typical male role which is still associated with male characteristic roles today today in modern cinema and she actaully takes on masculine traitts towards the end of the video.(the femme fetale character I have constructed has been moulded into a character embracing traditional masculine traits and is similar to Ellen Ripley, from the Alien franchise). I have also used a hand held shot for this scene to make the audience feel like their getting some kind of voyeuristic and spectatorship pleasure in the film. In a sense the male gaze depands on sexual behaviour and voyeuristic behaviour unlike mine, which is connected to the gaze theories in terms of marxist ideologies.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong><u>Roland Barthes theory:</u></strong></div><div style="text-align: justify;">Roland Barthes theory is on the active audience, which is based on the audience being open to may possible interpretations from many different perspectives. To consider the audience as active, Barthes pulled apart texts, and looked at those texts semioticallyand how they fit together by connecting it to structuralism. Instead of identifying the author of a book, or a director or a producer as producing meaning in media texts he considered audience to generate their own particular meanings, portrayed through those media texts. He then goes on how the audience are generating their own particualar meanings through the media texts they embrace. </div><div style="text-align: justify;">Roland Barthes then talks about myths and ideologies, in this section he discusses the myth in two meanings such as by talking about myth as a traiditional story being passed down from generations to generations to explain the natural order of the world. He then explains it as something which isn't true but is believed to be true. Drawing on marxist theory, Barthes explained myth works in terms of ideologies. Then he goes on to discuss how the mass media through signs in terms of semiotics and the structures between them (structualism) reinforces a domant ideolgy of the world (hegemony). These representations may be false. The construction of myths in representations and narrative therefore determines the texts ideological perspective. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">This relates to my AS media coursework for my films, opening sequence as it relates to how I used the film opening sequence to criticse the mainstream ideological perspective of capitalism/liberalism and I have done this through use propps such as a vodka bottle to promote my fixation with the ideological perspective with marxism by portraying capitalism through greed, alienation and belief in a false manipulation of power created by the elite, which is conveyed by the gangster in the film drinking alone, talking to himself etc . My film from AS, also takes on a postmodernist view in a way as, throughout the film I try to objectify and replicate my belief in postmodernism, through my protagonist not being able to control his own, fate, reality and future as this relates how I am connecting my work to postmodernism in terms of hypperreality, implosion and simulations within the reality, which is embraced by the protagonist at the end of the film, and this is similar to the character of Rick Decard as my character questions his own identity, humanity and his own purpose within the world which they embrace and this is how those two character are connected to each other. <br />
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<strong><u>Laura Mulvey's theory applied to Nafi's music video:</u></strong><br />
When applying Nafi's music video 1st draft, I will be applying Laura Mulveys theory of representation to her work. The theory deals with the concepts of identificiation, where the audience are manipulated by the directors or producers to identify with any of the characters within the narrative. At first the audience are made to identify with the central protagonist, played by Natasha who is basically a prostitute who is seen in the conventional representation of the women in cinema as someone who is sexualised and is seen as someone who is also seen as someone who is seen as an object of desire and voyeuristic pleasure. At first I think that the audience is able to identify with the cental character as they often sympathise with the character because of the way the character is represented and explored. The audience is also able to identify with Natasha's character because the film mainly deals with teenage themes of alienation and manipulation etc this is seen in the first draft of the video, were the audience are pushed into a spectatorship point of view shot, which is used to make the audience feel uncomforment but it also makes them feel empowerment over Natasha's character as she doesn't know she is being watched, this is also used so that the audience are able to actually embrace the characteristics of the conventional male character who is often seen in films/cinema as the one who is unable to control his emotions and desires and seek pleasure without the other character knowing about it, to gain some kind of voyeuristic and scopophilc pleasure. This can be compared to Psycho as the characters portrayed in the music video are not that different from the ones portrayed in Psycho. As they both potray the typical epower relations of the female and male characteristics. What's is different when it comes to, Laura Mulvey's theory is that the characters portrayed in the media formats aren't portrayed as in the typical femme fetale character, but Naf's character is portrayed as someone who is manipulative, alienated and abusive. We are also made to identify with the antagonist as we see the Natasha's character being portrayed as an object of sexualised desire this is shown by a pan being used to pan from left to right which is shown when we see the antagonist, hiding behind a tree taking voyeuristic pleasure when we see Natasha's character walking across the scenery. Natasha's character is portrayed is also potrayed in the conventional manner of a sexualised object of desire, this is used to appeal the male demographics of the heterosexual male as the music video portrays the power relations in a typical heterosexual relationship.<br />
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The power relations demonstated between the characters in the music video by Nafi, is that it portrays the power relations between the characters in a kind of exploitative and demeaning manner. Such as when we see the characters depicted in the music video, as the female character is potrayed as being exploited and manipulated by her search for acceptance and non judgemental way but she is actually portrayed as someone who is being exploited by her characteristics and faults as presented by the camera shots, editing techniques and the events that are depicted within the music video. When it somes to the audience the power relations between the audience and the characters is that, the power offered through the depiction of the media format presents a false sense of power as it gives the audience a limitation of power, in which the audeince are instructed by the directors to believe tthat they can change Natasha's fate when actually they can't.<br />
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I would say that the audience is given a sense of power through the male gaze and spectatorship gaze as this presented by through the cinematography and editing techniques which are used to do this.<br />
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Natasha's character in the music video, is objectified as someone who is been seing as someone who is seen in a sexualised, demeaning and exploitative way, through the camera shots which are portrayed in the media format and the power relations are shown when we see Natash's character on the left, as this is used to portray their character with a false sense of power. The representational result is that it doesn't challenge gender roles and conforms to patrical ideals and ideologies. I would say that their isn't any instances for the extra diagetic gaze, the result is that it doesn't allow the audience a sense of empowerment and doesn't give them a purpose within the narrative of the video. <br />
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I would say that the power play relations between the characters and audience are not just based on gender but is also based on the power relations of ethnicity and the typical power relations which are depicted in capitalism as its based on mainly power relations of mainly gender and mostly sexuality.</div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com1tag:blogger.com,1999:blog-4116302942345516211.post-8229342248783716882011-10-13T03:33:00.001-07:002012-05-26T22:20:03.987-07:00District 9, Revision Plan<strong><u><span style="font-size: large;">District 9: </span></u></strong><br />
<a href="http://t1.gstatic.com/images?q=tbn:ANd9GcR6VNyvE3M2eUDoGfZmYqMAaygXx2B9xwIc694cb-ZG3xclfC93PlWu9_LI6g" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://t1.gstatic.com/images?q=tbn:ANd9GcR6VNyvE3M2eUDoGfZmYqMAaygXx2B9xwIc694cb-ZG3xclfC93PlWu9_LI6g" width="214" /></a>The film district 9, is a South African science fiction thriller film which is directed by Neill Blomkamp. It was written by Neill Blomkamp Teri Tatchell and is produced by Peter Jackson and Carolyn Cunningham. The film also stars other actors such as David James, Sharlto Copley and Jason Cope. The film has won many awards and was budgeted at 30 million and was released in August 13th 2009. The film also pivots on themes such as xenophobia and social segregation etc. The filming of the film, was shot in Chiawelo, Soweto during a time of unrest in Alexander, Gauteng and some other African townships which involved clashes between native south Africans and Africans born inside other countries. As their consisted a lot of hand held camerawork, the producers and crew chose to use the Red One Cameras using build 15, Cooke SA primes and Angenieux zoom. As for the documentary style used for the film a Sony EX1/EX3 XDCAM-HD was used and the Aliens from the film were designed by Weta Workshop and the design was executed by Image Engine.The story is adapted, from Neill Blomkamp's, from his short film of Alive in Joburg in 2005. The title and premise of District 9 was inspired by events such as District six, Cape Town during the apartheid era. Even those it was shot in the location of Chiawelo, Soweto and includes fictional interviews, news footage and videos from surveillance cameras in a mock-documentary style format.<br />
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<b><span style="font-family: Times, 'Times New Roman', serif;"><u>What are the themes in District 9:</u></span></b><br />
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<li><b><span style="font-family: Times, 'Times New Roman', serif;">Apartheid era</span></b></li>
<li><b><span style="font-family: Times, 'Times New Roman', serif;">Contempoary evictions and forced removals to new suburban ghettos in South Africa.</span></b></li>
<li><b><span style="font-family: Times, 'Times New Roman', serif;">Resistance</span></b></li>
<li><b><span style="font-family: Times, 'Times New Roman', serif;">Inhumanity in the irony of Wikus becoming more humane as he become less human. </span></b></li>
<li><b><span style="font-family: Times, 'Times New Roman', serif;">Betrayal</span></b></li>
<li><b><span style="font-family: Times, 'Times New Roman', serif;">The destruction of which humans are capable </span></b></li>
<li><b><span style="font-family: Times, 'Times New Roman', serif;">Racism, xenophobia when applied in the form os speciesmen applied to the aliens. </span></b></li>
<li><b><span style="font-family: Times, 'Times New Roman', serif;">State reliance on multinational corporations as a government funded enforcement arm. </span></b></li>
<li><span style="background-color: white; line-height: 19px;"><b><span style="font-family: Times, 'Times New Roman', serif;">dangers of governments, particularly in their outsourcing of militaries and bureaucracies to private contractors</span></b></span></li>
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<strong><u>What is Postmodern media?</u></strong>Postmodern media rejects the idea, idea of stories (end of metanarratives.). Postmodern also hinds on the concept of how we live in a fixed time, where people are usually media texts and in life we are defined by our representations and images/pictures which is an association of simulacrum. Postmodern also rejects the idea that their is no fixed truth in society and also hinders on the concept of on how their isn't any originality or individualism anymore in the world. They poften play with meanings and postmodernism theory also present other oppositional readings simultaneously. Postmodern texts employ a range of referential techniques such as bricolage and usually use images and ideas e.g. Nirvanna music video- Heart Shaped box. it also rejects boundaries between high and low forms of of art rejecting rigid genre distinctions etc.<br />
<a href="http://www.slideshare.net/sgummer/postmodernism-for-media"><strong>http://www.slideshare.net/sgummer/postmodernism-for-media</strong></a><br />
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<a href="http://www.slideshare.net/rikhudson/postmodern-media-postmodern-media-ocr-media-conference-2009">http://www.slideshare.net/rikhudson/postmodern-media-postmodern-media-ocr-media-conference-2009</a><br />
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District 9(2009, Neil Blomkamp) can be considered a postmodernist film in terms of it style as for instance, it uses an eclectic(borrowing from other genres) range of camera and editing techniques to deliver the story. As at the start of the film, it uses a documentary style with the characters addressing an unseen interviewer-in these scenes the characters are seen discussing the protagonist in the past tense. Further documentary shots are included featuring the protagonist addressing the camera directly. </div>
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The direct mode of address(signification of documentary truth and authenticity) which suggests the film is self aware and how cameras and microphones were revealed to the audience which is realized by the "knowing audience. This coveys to the audience that its actually faux documentary(fictional events are shown in a documentary format).</div>
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<a href="http://stirfrycinema.podbean.com/mf/web/chiwh3/district9_4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="173" src="http://stirfrycinema.podbean.com/mf/web/chiwh3/district9_4.jpg" width="320" /></a>The film is also playful in its mixing and blurring of genres and conventions, which is a major feature within postmodern media. As the film progresses, the documentary style previously used in the film is replaced by an fourth wall approach, to filming with occasional changes of mode of address like closed circuit TV footage. </div>
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A common aspect of postmodernist films, is the playing around with audience's suspension of disbelief and this is done by presenting a fictional narrative through the realist, self aware, hand held style of images and by stating at the beginning of the film that the footage was recovered from an abandoned camera or handed in anonymously.</div>
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The film takes the idea by combining faux documentary style with normal fiction film style. The film makes no judgement for it to be real or fake. It does not explain why the documentary footage is used, its used to trigger audience recognition of these media codes. In this way District 9 erodes distinction between reality and representation.</div>
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District 9 could also be considered to be postmodern in content, even those it uses codes and conventions of documentary which alternate and fabricated history.</div>
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<a href="http://upload.wikimedia.org/wikipedia/en/thumb/d/d7/District_nine_ver2.jpg/220px-District_nine_ver2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://upload.wikimedia.org/wikipedia/en/thumb/d/d7/District_nine_ver2.jpg/220px-District_nine_ver2.jpg" width="216" /></a>Like Science fiction which deal with the unreal of being set in the future etc, District 9's back story starts with Aliens coming to Johannesburg in 1982, this is called the re-imagining of history and is considered to be an aspect in postmodern films.</div>
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The fragmentation of the film has the aliens (or prawns) as they are called corralled into a city slum and forcefully segregated from the rest of the human inhabited city. These are cultural references to the famous township or slum of Soweto- there are also cultural codes like pictorially represented "no aliens" signs signifying forced segregation and other cultural references with perhaps South Africans/Nigerian (rather then south African) mafia within township who deal in illegal goods like alien weapons.</div>
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Postmodernists argue that we are so used to seeing even being bombarded with media messages and representations that this has become the dominant way of constructing meaning of the world instead of reading the reality of the physical world. This is called fragmentation of representation, District 9 conveys an example of it through all those cultural references.</div>Rhys Chidwickhttp://www.blogger.com/profile/15810120908548407201noreply@blogger.com1