1. Advanced Portfolio Research – Media A2 Jane Lawrance 61589

2. Definition of Postmodernism Defining Postmodernism is very hard to do as it is a very open term and covers a variety of different ideas. Put simply, being postmodern in media is taking an existing idea and challenging people to see it differently. Trying to take new meanings using old ideas. Re-vamping. Re-styling. Re-thinking.

3. Genre Theory I always hope that if one million people see my movie, they saw a million different movies” – Quentin Tarantino

4. Hollywood Film Steven Spielberg famously said; “If a person can tell me the idea in 25 words or less it’s going to be a pretty good movie” this suggests that Hollywood films have very simplistic clearly defined genres and do not like to deviate within their work. Hollywood has very fixed conventions when it comes to film making because of this. The Ancient Greeks took it upon themselves to use the term genre as a sort of quality control to their plays. They were labelled as either ‘Comedy’ or ‘Tragedy’.

5. Alternative/ Creative Film This new age of film defies the conventions of the Hollywood films and instead challenges its audiences. The genres of these films are less clearly defined and are open to multiple interpretations. Tarantino is known for producing postmodern films and being extremely diverse and creative with his genres, frequently creating hybrids, sub and mixed genres. Django Unchained (2013) Quentin Tarantino Reservoir Dogs (1992) Quentin Tarantino

6. Lacey’s Model on Genre Lacey suggests, with this model, that genre is a ‘Negotiation’ between Audiences and Producers. However, it is debateable who has the greater influence on the film’s final cut. Hollywood critics suggest that the producers have the greater influence or dominance because they decide and have the last say over the output. An example of the ‘negotiation’ between these points is Kill Bill (2003) Quentin Tarantino where the genre is not conventional, Tarantino mixes different genres to defy these conventions. Genre Producers AudiencesFilm

7. Adorno and Horkheimer Adorno and Horkheimer were European critics of Hollywood. They said that Hollywood’s mass production of film created a repetitive ‘standardisation’ of conventions that where dominated with one ideology that communicates to the lowest common denominator of ‘mass consumption’. Their critic has helped film evolve with the use of ‘sub genres’, ‘mixed genres’ and ‘Hybrids’. Theodor Adorno and Max Horkheimer

8. Genre and Conventions Genre is a French word, the word is used to categorise films by the similarities and stereotypes they have. Genres normally hold codes and conventions which audience expect to see in a certain genre; E.g. Blood in the trailer suggest the film will be in the horror genre. Postmodern films play with this by creating hybrid genres, for example; Kill Bill (2003) Quentin Tarantino uses martial arts and film noir (femme fatales) to create a hybrid genre. Kill Bill (2003) Quentin Tarantino

9. Genre Theory Postmodern films like to challenge the conventions of other films by creating sub, mixed and hybrid genres. Tarantino is a great example of this as all of his films steal ideas from other films and use hyper violence to challenge the themes of these films; examples of this include; Inglorious Basterds (2009) Quentin Tarantino and Django Unchained (2012) Quentin Tarantino. Because of this Tarantino can be called an Auteur because he has his own style; Poetic violence. Django Unchained (2012) Quentin Tarantino Inglorious Basterds (2009) Quentin Tarantino

10. Hollywood genre originated from the Greek idea of genre to categorise films so the audiences knows what they are watching. The problem with this is, if you’ve seen one of these big budget Hollywood genres, you have seen every other film in the genre. Where’s the fun in that? Postmodern film, on the other hand, aims to excite its audiences keeping them interested because their genres are harder to define. This is because postmodern films mix up their genres creating sub and hybrids e.g. Spoof Horror, Rom-Com. These films create new film favourites and in some cases Scream (1996) Wes Craven creates all new iconography. As well as this Tarantino uses other films iconography in his films; e.g. the yellow jumpsuit in Kill Bill (2003) Quentin Tarantino. Scream (1996) Wes Craven Kill Bill (2003) Quentin Tarantino

11. Postmodern Films Postmodern films challenge genre conventions using intertextual references. Another way we categorise films other than genre is ‘style’ of the director known as Auterism. Tarantino’s postmodern style can label him as an auteur. He is known for his hyper violence; take no prisoners movies such as Django Unchained (2013) and Inglorious Basterds (2009). Inglorious Basterds (2009) Quentin Tarantino

12. Postmodern Theory “I steal from every movie ever made” - Quentin Tarantino

13. Postmodern Theory Postmodernist are all about making challenging films. By creating a hybrid genre they can explore new ways of representing and relating themes through film. The postmodern age is challenging, it takes the ideas of our age; digital, computer and the nuclear advances and tries to confuse our ideas about them and make them global ideas. Ideas from the 1960s onwards reflect society’s insecurities in a media saturated world. Where the ideas appear unclear. This is called a global homogenised culture. The ‘postmodern condition’; feeling unsure about the world. Not knowing your place anymore, postmodern films explore this anxiety. Postmodernism challenges ideas in a confused world. They use references and update ideas (Hybrids) to off challenging narratives, representations and use of a high art style.

14. Postmodern uses in media Postmodern films use several techniques to create the new interesting effects in their films. Here are a few examples; Narratives that question whether the progress we are making now is for the ‘good’ of society. A critique of our mass producing ways. E.g. Blade Runner (1982) Ridley Scott. Narratives which involve themes that challenge film narrative conventions (Anti Heroes/ unclear or mixed representations). E.g. Pulp Fiction (1994) Quentin Tarantino.

15. Non- Linear narratives – Anything that challenges the conventional 3 act structure by disrupting the chronology of the narrative. E.g. Kill Bill (2003) Quentin Tarantino, Memento (2000) Christopher Nolan. Anti-Narratives – disrupt the narrative, Guy Ritchie uses this, E.g. Sherlock Holmes (2009) and Snatch (2000) Guy Ritchie. Meta – reference – when the audience is made aware they are watching a ‘film’. i.e. Talking to the camera. E.g. Being John Malkovich (1999) Spike Jouze.

16. Values/ ideology – postmodern media products tend to leave judgements up to the individual and challenge morals rather than making their values/ ideology obvious. Intertextuality – making references to other media texts for effect, for pleasure or as ‘homage’, to show respect, makes an audience active with the text. E.g. Kill Bill (2003) Quentin Tarantino – makes references to Film Noir, Yakuza, Martial Arts and Spaghetti Western films. Intertextuality is also used in ‘Parody’ or ‘satire’ of other texts. E.g. The Simpsons and South Park.

17. Simulacra/ hyper reality – put simplistically, postmodernists argue that as a result of media saturation we live in a new reality where the differences between the ‘real world’ and the ‘new media reality’ are blurred. This allows a new outlook on representation. E.g. The Matrix (1999) Andy and Lana Wachowski. High art styles – filming techniques that challenge conventional ideas (art house films) e.g. Anime used in Kill Bill (2003) Quentin Tarantino.

18. Mixing/ blurring the genres of film to create new hybrids/ new versions. Pastiche is a straight copy of the original text. E.g. the remakes of Oceans 11 (2001) Steven Soderbergh, Shaft (2000) John Singleton and Get Carter (2000) Stephen Kay Bricolage – Almost stealing images/objects from other films or styles; usually used to create new meanings through high art styles. E.g. Yellow Jumpsuit in Kill Bill.

19. Postmodern theorists

20. Jean-Francois Lyotard He had the idea of challenging meta- narratives, or grand narratives. The type of narrative was normally found in Hollywood films and so the postmodern film makers wanted to move away from the conventional and challenge it. Lyotard wanted to get rid of old fashioned dominant ideas, saying that the ‘fixed’ truths from the past must be challenged due to our confused postmodern condition. Tarantino has embraced this and loves to challenge Hollywood narratives, for example; Django Unchained (2012) Quentin Tarantino challenges the conventional slave film narrative.

21. Jean Baudrillard Jean Baudrillard liked the idea of Simulacra/ Hyper reality. He said that it is important to explore the difference between the real and the fake because we live in a virtual world of confusing reality and there for sometimes we don’t know the difference. Postmodern film makers reflect this e.g. The Matrix (1999) Andy and Lana Wachowski.

22. Frederic Jameson Following Adorno and Horkheimer’s analysis of the culture industry, Jameson discussed his own views on postmodernism in his critical discussion of film, narrative and the visual arts. He claimed that postmodernism is characterized by a use of Pastiche in film. That everything is ultimately a copy of something but by copying it we should challenge the past ideas. Postmodernists take ideas from the past and challenge them BUT unlike Jameson they update the themes and morals creating Hybrid genres and not straight copies. E.g. Inglorious Basterds (2009) Quentin Tarantino has ideas borrowed from The Dirty Dozen (1967) Robert Aldrich.

23. Narratives

24. Narrative theory In this section I will explore the theorists; Propp, Todorov, Strauss and Barthes. Each of them had theories on narratives and structure that are still used today by Hollywood and Postmodernists alike.

25. Vladimir Propp Vladimir Propp analysed the basic plot components of Russian folk tales to identify their simplest irreducible narrative elements. In doing so he was able to identify the norm for film narrative structures and come up with character profiles for these films too, for example; Hero, Villain, Damsel and Helper. Postmodernists tend to play around with these roles and create new ones such as The ‘Postmodern Cowboy’ usually found in Dystopia films. E.g. 28 Days Later (2002) Danny Boyle.

26. Tzvetan Todorov Todorov was a philosopher who studied narrative structure he came up with his 3 act structure which is titled with 3 words; Equilibrium, Disequilibrium and New-Equilibrium. Postmodernists like to play with the order or these and create films that start at the Disequilibrium or even those that mix up the three entirely. E.g. Memento (2000) Christopher Nolan.

27. Levi Strauss Levi Strauss believes the use of opposing themes helps to create a better structure. The theme that are used consist of: Age, Gender, Ethnicity, Sexuality, Social Class etc. Postmodernist like to explore and challenge these themes in their films; e.g. Jackie Brown (1997) Quentin Tarantino explores and challenges Ethnicity and Gender.

28. Roland Barthes Barthes created Enigma codes also known as the mystery of film. Throughout films you ask questions about the information you are given, the mysteries in these films are called Enigmas, like a code to be cracked and are used frequently in postmodern films such as; Sherlock Holmes (2009) Guy Ritchie.

29. Crime Genre From the Original Gangsters to Postmodern Crime

30. Origin of the Crime Genre Crime Genre originated in the 1920s silent era from Hollywood Gangster films. Crime has evolved through the years but tends to keep one common theme, each era tends to reflect society’s crime waves and fears. For example; the 1930s films reflected the prohibition era of the 1920s where organised criminal acts were facilitated by the prohibition of alcohol. To the left we see three of the first crime films all of which are directed by Alfred Hitchcock. The Lodger (1927) Alfred Hitchcock Blackmail (1929) Alfred Hitchcock The Pleasure Garden (1925) Alfred Hitchcock

31. Generic Iconography Themes: ‘Ascension’ Killing/Gang Rivals / Heists Characters: The Alienated Hero/ Buddies/ Hit Men/ Henchmen/ Bent Cops/ Good Cops/ ‘Canaries’- rats/ Femme Fatales Mise en scene: Tuxedos/ Suits/ Dark Lighting/ Dark Rundown sets/ High Status Cars Sound: Moody Scores/ ‘Wise Guys’ Language

32. Time line 1930 Original Gangster Films 1940/50 Film Noir 1940/50 British Noir 1960s Crime Capers 1970/80s Gritty Gangster Epic 1970/80s Blaxploitation 1970/80s Gritty British Crime 1990 to present Postmodern Crime 1990s British Postmodern Gangster

33. 1930s - Original gangster This era of Crime films reflects the prohibition era of the 1920s. In this era real mobsters such as Al Capone took control of bootlegging through their speakeasies. Most of the crime was in reaction to the prohibition of alcohol. E.g. ‘Little Ceaser’ (1930), ‘the Public Enemy’ (1931), ‘Lime house Blues’ (1934). Jean Parker and George Raft in Lime house Blues (1934) Alexander Hall

34. 1940/50s – Film Noir This era has iconic imagery and takes its inspiration from the 1930s. Film Noir uses minimal sets and dark lighting to update the themes of the time and create a more sinister look. These films reflected wartime turmoil and included confused roles for the gender being forward the concepts of the alienated hero and the femme fatales. E.g. ‘the Big Sleep’ (1946), ‘Key Largo’ (1948) and ‘Touch of Evil’ (1958). Lauren Bacall and Humphrey Bogart in Key Largo (1948) John Huston

35. 1940/50s – British Noir British Crime followed Film Noir conventions trying to document the darker side of civilian life. British Noir normally reflected the post war anxieties of society. E.g. Brighton Rock (1947) and The Third Man (1949). Richard Attenborough as ‘Pinky Brown’ in Brighton Rock (1947) John Boulting

36. 1960s – Crime Capers The ‘swinging 60s’ brought forward a new type of social and economic optimism and the crime films of the era embraced it and started to positively portray art with light hearted narratives and ‘loveable rogues’. E.g. Oceans 11 (1960) Starring Frank Sinatra, Dean Martin and Sammy David Jnr. Oceans Eleven (1960) Lewis Milestone

37. 1960s – British Crime Capers These British Crime Capers mixed the concepts of comedy movies and heist movies together using ‘Cheeky Cockney’ Characters of the Ealing Comedy era. They often used romantic European settings a great example of a British Crime Caper is ‘the Italian Job’ (1969).

38. 1970/80s – Gritty Gangster Epics These films focused on reflecting the economic downturn of the 1970s with hard hitting bosses ‘Dons’ and drug pushing. E.g. the Godfather (1972), Mean Streets (1973) and Scarface (1983). Al Pacino in Scarface (1983) Brain De Palma

39. 1970/80s - Blaxploitation These filmed aimed to reflect the civil rights issues of the time with mainly all black casts and directors, except for Shaft. The films dealt with issues of racism, prostitution and drug use by often switching or using stereotyped characters. E.g. Shaft (1971) and Foxy Brown (1973). Pam Grier in Foxy Brown (1973)

40. 1970/80s - Gritty British crime These films emerged from the harsh economic depression from the late 60s and early 70s, the films reflected the importance of gangland figures such as the Kray Twins. E.g. Get Carter (1971) and THE Long Good Friday (1981). Michael Caine in Get Carter (1971)

41. 1990 - British Postmodern Gangster Borrowing ideas from British Crime iconography, often using the idea of ‘New Laddism’ of the 1990s. Hybrids offered mixed representations and heavily stylised production, giving a new twist to existing ideas. E.g. Lock, Stock and Two Smoking Barrels (1998), Sexy Beast (2000), Layer Cake (2004) and London to Brighton (2006). Lock, Stock and Two Smoking Barrels (1998) Guy Ritchie

42. 1990 to Present Postmodern Crime These films reflect the postmodern age of film where society is overloaded with ideas and so borrows and references the past with new challenging narratives. A method used to create these new films is to create Hybrid genres by using heavily stylised and blurred representations. E.g. Pulp Fiction (1994), the Usual Suspects (1995) and Get Shorty (1996). Uma Thurman in Pulp Fiction (1994) Quentin Tarantino

43. Dystopia

44. Utopia and Dystopia, what’s the difference? A Utopian world is a ‘perfect’ world. A Dystopia on the other hand is the opposite of a Utopia, so it’s an imperfect world. As well as just being imperfect it is a world that is alien to us and how the world is now. Most Dystopia and Post- apocalyptic films are set in the unsettled future and show their audiences something they are unfamiliar with; these films tend to tackle fears we have about the future and the unknown. For example; The Day After Tomorrow (2004) Roland Emmerich, 2012 (2009) Roland Emmerich, 28 Days Later (2002) Danny Boyle and Metropolis (1928) Fritz Lang, they all represent the fears of their times: Global Warming, The apocalypse, deadly viruses and Technology taking over. 28 Days Later (2002) Danny Boyle Metropolis (1928) Fritz Lang

45. Generic Conventions The generic conventions of Dystopia films are: That they are set in a dystopian world: A fictional reality in which everything is bad, typically set with a totalitarian ruler or an environmentally degraded world. The opposite of a Utopia. Dystopia films normally explore postmodern themes through their use of challenging narrative themes; they offer their audience hyperrealism and an uneasy futuristic nightmare using pastiche to create hybrid genres. Narratives take place in the aftermath of an event; typically war, plague, alien invasion etc. Most of the movies ‘disasters’ have man-made causes. Dystopia films reflect society’s fears: cold war, medical advances, environmental change, technology, economic cash etc. Agrarian societies often develop.* Possibility of human demise; survivors struggle to survive. The films create a sense of finality, in some cases a new beginning/ survival/ re-birth. *Agrarian – Agricultural based. Farming and Living simplistically. Societies return to a pre- industrialised world. The Day After Tomorrow (2004) Roland Emmerich

46. Character types There are several different character types used within Dystopia films because of the dystopic world several unconventional characters are used to show how people react differently within new environments. Some of these include; The Heroic Protagonist Male - The most conventional character ever the main role being young, male, heroic, without weakness, etc. The ‘Post-modern Cowboy’ – A loner, pushed into the narrative without choice, there is a constant threat of violence and danger towards him but he survives against the odds. Groups/Tribes (animal like) seeking to profit from violent anarchy. Hero encounters these tribes they will more than likely try to hurt or kill him. He will confront them on his terms (Savage, anarchic responses). Human Survivor groups – small groups from pre- apocalyptic modern world, struggling to survive the new world. Look to the hero for help and remind him of the past and its humanity and sometimes they offer hope for the future. The Helper – often from the alien/infected race who plays assistant to the hero in his quest. The ‘ Postmodern Cowboy’ in 28 Days Later (2002) Danny Boyle The Heroic Protagonist Male in 2012 (2009) Roland Emmerich

47. Sub genres Dystopia normally stems out in to loads of sub genres as the themes that are challenged in such films are so wildly different and can be tackled in different ways. These are just a few of the sub genres seen within Dystopic films; Science Fiction – These films give a sense of ‘science gone wrong’ where the future is controlled by a big brother scenario; these films relate to the fears of the societies at the time e.g. Metropolis (1928) Fritz Lang, Blade Runner (1982) Ridley Scott, The Terminator (1984) James Cameron and The Matrix (1999) Andy and Lana Wachowski. Post-apocalyptic – End of the world scenario, limited survivors. Includes ideas of Darwinism, this reflects the notion of survival, normally explores the concepts of us adapting to new environments, who will survive and eventually advance the new order and new society? E.g. Planet of the Apes (1968) Franklin J. Schaffner, Mad Max (1979) George Miller and The Road (2009) John Hillcoat. Horror – presenting a chaotic world of mutants/ zombies created from human genetic research. E.g. Dawn of the Dead (1978) George A. Romero, 28 Days Later (2009) Danny Boyle, I am Legend (2007) Francis Lawrence and World War Z (2013) Marc Forster. The Terminator (1984) James Cameron The Road (2009) John Hillcoat World War Z (2013) Marc Forster

48. Time line 1920s - Pre - war 1960s -Post - war 1970s/80s - Advances in Technology 1990s to present -Advances in Medicine and Science, Environmental Disasters.

49. 1920s – Pre-War Society has fears of mass production and totalitarianism. Films normally showed this through Big Brother Style Scenarios. E.g. Metropolis (1927) Fritz Lang. Metropolis (1927) Fritz Lang

50. 1960s – Post-War Society fears a cold war, nuclear Armageddon and invasion. Post- Apocalyptic ideas start to emerge. E.g. Planet of the Apes (1968) Franklin J. Schaffner. Planet of the Apes (1968) Franklin J. Schaffner

51. 1970/80s – Advances in Technology This generation fear technological advances, genetic modification, computers and robots having power and authoritarian states. E.g. Blade Runner (1982) Ridley Scott and The Terminator (1984) James Cameron. Blade Runner (1982) Ridley Scott The Terminator (1984) James Cameron

52. 1990s to Present – Science and The Environment Society starts to fear the fast advance in science leading to cloning or genetic research gone to far. Dystopia themes start to come through in the films. Environmental disasters are also incorporated, the human race is nearly always the problem. E.g. 28 days later (2002) Danny Boyle, District 9 (2009) Niell Blomkamp and 2012 (2009) Roland Emmerich. 28 Days Later (2002) Danny Boyle

53. Postmodern film directors

54. Quentin Tarantino Taratino is known for his hyper violent movies. One of his past jobs was working as a shop assistant in a video store, as a result he watched a lot of films and openly admits to using ideas from other films in his own, examples include; Reservoir Dogs, 1992 (influenced by the original Oceans 11, 1960), Django Unchained, 2012 (Influenced by Django, 1966) and Inglorious Basterds, 2009 (influenced by The Dirty Dozen, 1967). He loves to take ideas from these films and re vamp them. His postmodern style is heavily stylised, uses controversial/ challenging narratives/representations and plays with genre conventions. He is also known for bringing back Actors from the original films to act in the new ones. E.g. Pam Grier in Jackie Brown (1997) was in Foxy Brown (1974) and Franco Nero was in the original Django (1966) and has a small part in Django Unchained (2012).

55. Use of Strong Female Roles Taratino is also known for his use unconvential representations, often using strong women as his protagonists to challenge conventions. These films include; Kill Bill (2003) uses Intertextual referencing and Bricolage. It brings together loads of styles from several different genres; Spaghetti Westerns, Yakuza, Bruce-lee films and Film Noir. As well as this Taratino borrows camera techniques from these styles such as fast zooming and extreme close ups. As well as this Tarantino uses Antripamoric animation using accentuated features from graphic novels. Jackie Brown (1997) is another one of Tarantino’s films that empowers the female protagonist. He has borrowed the font style from the original 1974 film Foxy Brown which also stars Pam Grier as well as this the film is very 70s orientated set with black civil rights movement, soul music.

56. Guy Ritchie Ritchie is a British ‘mockney’ director famous for his stylised, stereotypical depictions of criminal underworlds using fast paced editing from fast to low motion to freeze frames. Some of his films include: Lock, Stock and Two Smoking Barrels (1998) Snatch (2000) Sherlock Holmes (2011)

57. David Fincher A US Director, started off working on Music videos, including: Madonna and Aerosmith. He then moved on to films dealing with challenging narratives. His films include: Alien 3 (1992) Se7en (1995) The Social Network (2010) The Girl with the Dragon Tattoo (2011)

58. Jim Jarmusch Jarmusch is a well known director famous for his static camera work (deadpan) and personalised narratives and showing an uncommon viewpoint of the world. He was parodied in The Simpsons as the strange ‘Art House’ director. His films include: Night on Earth (1991) Dead Man (1995) Ghost Dog: The way of the Samurai (1999)

59. Spike Jonze Jonze came to fame through directing music videos, including; Bjork and the Beastie Boys. He uses off beat and hyper real narratives and sets that involve live action and surreal animation with CGI sequences. His films include: Adaptation (2002) Jackass (2002)

60. Christopher Nolan A British born director. He is famous for his non- linear narratives and cross cutting scenes of parallel action. His Films include: Memento (2000) The Dark Knight (2008) Inception (2010)

61. Edgar Wright British Director, Actor and Producer sprung to fame after working with Simon Pegg on the TV Series “Spaced”. He is known for his use of parody and comedy. His films include: Shaun of the Dead (2004) Hot Fuzz (2008) Scott Pilgrim VS The World (2010) The Worlds End (2013)