“Postmodern media blur the boundary between reality and representation.” Discuss this idea with reference to media texts that you have studied.
Modernism started around the 1850’s. Modern art was
driven by social and cultural agendas appropriate to the time; for example
industrialisation, emancipation of women, universal education and the impact of
war, religion and science on everyday life. This modernist perspective was
often utopian. Modernism is viewed as having ended at some point in the 1960’s.
Simply put, once Andy Warhol began painting pictures of soup cans,
postmodernism became the term to use. Postmodernism reached its zenith in the
1980’s/1990’s although it is still a useful catch all term. It is used and
misused to describe whatever you choose. George Ritzer suggested that
postmodernism usually refers to a cultural movement such as architecture, art,
music, films, TV and adverts. Ritzer was the theorist that came up with this
idea that postmodernism displays the blurring of the distinction between
representation and reality. This claim can be applied to many postmodern texts
as hyper reality is used which is a situation where images cease to be rooted
in reality so the audience can decided themselves whether what they see is real
or is hyper real.
One film that I have studied which blurs the boundary
between reality and representation is the 2011 film Drive. There are multiple
hyper real aspects presented throughout the film which makes the whole
environment seem very unusual and unrealistic. One particular aspect that is
postmodern about the film is that the film is set in Los Angeles which is a
huge city although it seems deserted as there are minimal characters. We are
only introduced to key characters which we see throughout the film although we don’t
see any other people in the background. The city is also used to represent the
characters that are shallow and oppressive and also highlights the idea that it
offers little comfort and no escape. This blurs the boundary between
representation and reality as the characters seem to live in their own universe
and everyone else other than themselves seem irrelevant. For example the police
are irrelevant because criminals never seem to get caught even though the
murders get increasingly violent throughout the film. Another postmodern aspect
from the film is the lack of dialogue. The stylized characters show little
emotion throughout the film in most situations, which is hyper real because
this lack of dialogue creates a very sinister and uncomfortable atmosphere. We
know very little about The Driver at the start of the film as he is very quiet,
dark and insular and we do not know anything about his past or him ambition.
Although we do know that he is a criminal as he starts off as a getaway driver
for bad people. This was an intertextual reference taken from the 1978 film The
Driver. The Driver shows no emotion or reaction to anything that the
other characters say to him which enhances his psychopathic traits because he
takes long pauses before he says something or makes some form of movement. An
example of this is the scene in the lift. This particular scene is self
reflexive and includes both slow motion and a change in lighting. This draws
attention the film as a text and introduces emotion for the first time. The
connection between The Driver and Irene seems genuine and the audience
witnesses the human aspect between the two which is very tender. Music is
played along with the use of slow motion which emphasises the intense emotion
between the two which almost makes it feel and looks like a dream or a
fairytale. The scene is lit with a golden hue which represents the film’s
idyllic heart and the utopian aspect. When the romantic and calming
music fades and the slow motion disappears, the violence resumes and brings us
back to reality. Irene witnesses the other side to The Driver who is extremely
violent and aggressive. For the first time, the audience can see the emotion
and shock in Irene’s face when she leaves the lift and realises who The Driver
really is. The slow motion and music is once again introduced which blurs the
boundary between reality and representation because the use of slow motion and
music presents the scene almost like a dream but when these two factors
disappear, we as the audience are reminded that the situation is actually real.
The scenes lit with a golden hue and slow motion is
consistent throughout the film. For example the scene in the car with The
Driver, Irene and Benicio. This once again shows the film’s idyllic heart and
the utopian aspect as it shows how the relationship is growing between the
characters and how The Driver is beginning to fit in with the family. The
postmodern aspect of this is that Irene’s husband Standard seemingly accepts
this which is very unusual and the audience is lead to believe that The Driver
is interfering. Another intertextual reference of the film is from the video
game Grand Theft Auto. The film is set in the modern day although 80’s style
retro music is played which makes it feel like it is set in a different era.
Bird’s eyes a shot are used to enhance the size of the city and makes the
characters seem quite vulnerable and lonely. Maps are also used which is one
link to the video game and also the use of the pink 80’s style font in the
titles. The main reference to the video game is the idea that the environment
is like a playground and the characters are very vulnerable because of all of
the crimes and murders. Everything that the characters do seems like a mission
that is set on the video game. The violence becomes increasingly worse
throughout the film which is an intertextual reference to the 2005 film A
History of Violence. The violence is reminiscent to that in Drive and is both
real and hyper real because it is so graphic and brutal. Jean Baudrillard’s
idea of simulacra and simulation can also be applied to the film. This theory
involves the idea that current society has replaced all reality and meaning
with symbols and signs and that human experience is of a simulation
of reality ‘like a movie’ and that we cannot separate the image from the
reality. This backs up the idea that the film blurs the boundary between
reality and representation with the use of hyper reality.
Another film which supports this claim is the 2011
film Kill List. Slow motion is a common postmodern element in the film which
presents it more as a representation rather than reality. The slow motion
enhances the idea of flashbacks which do not seem relevant at the time but fall
into place by the end of the film. The camera always seems to be one step ahead
and the sound and image overlap which makes it feel like the film is being fast
forwarded. It seems like the scenes do not link as the transitions between
shots are so separate. The camera is also unflinching which leaves
the audience to decide whether or not they want to watch because the music
builds up a strange atmosphere although this helps involves the audience
because they feel like they are a part of the film which makes the situation
more realistic. There is one particular scene where Jay’s partner
Gal looks directly at the camera which is an example of him breaking the fourth
wall so makes it clear that it is just a film. The story of the film is
generally very hard to follow as the narrative is disjointed and it doesn’t
make sense until the very end. The director explains the film as a trap and
wanted the audience to use their own imagination as to what happens because the
story is so confusing and there are so many unanswered questions. There is no
closure even at the end of the film which leaves the audience very confused but
this blurs the boundary between reality and representation as because the
audience find it hard to relate to the story so find it very unusual and hyper
real. There are many postmodern aspects used throughout the film which makes
the film seem like a dream such as the stylised murders, the use of masks,
zombies, change in language, unsteady camera, the cult, religion, and many
more.
There are also intertextual references that can be
identified from other films that fit into the same genre of black comedy and
horror. One being Saw. The two hit men in the film have a boss called The
Client who sets them tasks and refers to these as a reconstruction. He also
calls the men cogs which emphasises how they are under his control and they
work solely for him. This idea of having a villain makes you constantly feel
like you are being watched which creates a very tense and claustrophobic
atmosphere. Another intertextual link which makes the film feel more representation
than reality is the idea of a cult like in Hot Fuzz. The characters reveal
their true identity by taking off their masks and the story finally falls into
place just like in Hot Fuzz. At the end of the film they all gather
together whilst chanting and the crowd clap when the girl is hung. This
particular aspect is very unusual and hyper real as we as the audience do not
expect such characters to be in the film because they seem irrelevant to the
rest of the story. This idea of having zombies in the film also links to the
film The Descent, particularly when they are being chased by them in the
underground tunnel. The idea of fragmentation can be applied to the film as the
family are clearly experiencing financial issues which are causing a huge strain
on the relationship shown by the constant arguments and violence. Many theories
can be applied to the film which helps explain this blur between reality and
representation. One is John Fiske’s theory which describes how the audiences
relate to film to other things that they have seen such as The Descent. Another
being Talcott Parson’s theory that society has a structure although this
particular family has no structure because of the constant arguments and
tension in the household. Jean Baudrillard’s theory is also relevant because
whilst watching the film it is easy for the audience to be misled by things
that appear to be real but are not because it is so unusual. With Kill List,
there are so many unanswered questions so it is important for the audience to
use their own imagination. Another postmodern aspect of this film is that it is
based around the director’s reoccurring nightmares as he tried to scare the
audience and think of the worst things that could ever happen to him. The
director also took elements from the 1974 film The Parallax View focusing
mainly on assassinations but wanted the audience to focus on the story and not
expect what they saw. The same idea worked with the film Race with the Devil.
The director of Kill List took elements from what he could remember rather than
copying elements directly from the film. He also took aspects from 1970’s and
80’s socio realist TV. Kill List blurs the boundary between reality and
representation because the story is so unusual but the postmodern elements make
the film seem like a dream but the audience do not expect what they see. The
story is very hard to follow so this particular text seems more like a
representation rather than reality because it is very hard to relate to.
Not only do films blur the boundary between reality
and representation but TV programmes do too. One example is The IT Crowd. One
episode that I have studied was called ‘Moss and The German’. The theme tune of
the programme is reminiscent of the 80’s computers games which is relevant to
the programme because it is based around the environment of technology. This is
one particular postmodern element which is hyper real as the characters have
created their own comedy universe and everything seems to be based around their
office. This blurs this boundary because the audience can relate to the reality
of working in an office although the representation of them being surrounded by
technology and being involved in this comedy is portrayed as a representation
because it is very hyper real. The parody of the piracy advert is also relevant
to this representation and the idea of technology. There are also references
made to the Soviet scenes which are taken as far as possible being enhanced by
the strong Russian accents, music, costumes and lighting changes. There is also
a scene in the episode where Jen talks to Moss and gives him advice as if she
is a psychiatrist. This introduces humour as the audience can relate the
reality of people like her in their work environment. Stereotypes are also used
which portray the representation aspect. The German is extremely stereotypical
because of his clothing and the food he eats such as ‘schweinefliesch’.
Throughout the episode there are many intertextual references to other films
and programmes such as Hannibal Lector, Morecambe and Wise, Fine Young
Cannibals, The Pink Windmill Kids and Gorky Park. The programme blurs this
boundary between reality and representation as it seems like everything
revolves around their office which is very hyper real although they do have
social lives so there is an element of reality which is still present.
Music also blurs the boundary between reality and
representation. One example of an artist that does this is Lady Gaga. She
echoes classic 1980’s pop and 1990’s Europop and constantly reinvents her sound
and image. She recontextualises elements from other artists she finds
inspirational and makes them into something new and more modern such as from
David Bowie and Queen. For example her song from her first album ‘Boys Boys Boys’
was a mash up of Motley Crue's ‘Girls Girls Girls’ and AC/DC’s
‘T.N.T’. The album that she released in 2009 ‘The Fame Monster’ has an element
of pastiche and said to include seventies arena glam, perky ABBA disco and
sugary throwbacks like Stacey Q. She blurs this boundary as she can sing in a
number of different languages including English, French, German and Spanish and
also covers a range of diverse genres such as opera, heavy metal, disco and
rock and roll which is an example of bricolage. Although she is very unusual
and represented as being so unique because of her choice of outfits, there is
an element of reality as she writes songs about her personal experiences so
help her fans get through difficult times on their lives. She also does a lot of
charity work to help others. Brian Eno’s theory of the ‘death of
uncool’ can be applied to Lady Gaga as some people find her very unusual but
have got use to her over time but there is the argument that she is all surface
and no depth according to Jean Baudrillard’s claim. Audiences could agree that
she is ‘so bad she’s good’ because she is so unique and represented as a huge
iconic star now because of her success. Music is constantly changing as there
are so many styles around that are mutating all of the time. This is with help
from developments in technology, sampling and easier access to music. The use
of holograms are predicted to be the future of music as they
constantly reinvent artists and bring them back to life. An example is the
Tupac hologram which was shown at Coachella in 2012. This is not the first
hologram which has been made but is becoming more and more popular,
particularly with such iconic artists such as Elvis Presley. Although this
could also ruin the success of such artists and take away the impact of these
holograms because they will lose their value. This blurs the boundary between
representation and reality as it brings artists back to life as they look
realistic although they are only a representation.
Postmodern texts do blur the boundary between reality
and representation because it is hard to identify what is original and what is
just recontextualised from other texts. They deliberately play with meaning and
generally believe that there are no new or original ideas and that everything
is connected in some way with intertextual references. This idea shows that
postmodern texts usually enhance more representation rather than reality
because if audiences are not literate they may not be able to identify the
intertextual references in reality.
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