Postmodern texts


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Postmodern texts

  1. 1. Postmodern Texts....By Charlie Powell
  2. 2. SimulacrumThe opening scene of Inglorious Basterds can beregarded as replicating a scene from ‘Thesound of music.’
  3. 3. Bricolage• The film opens with 1960s universal logo, WW2 was aglobal war that lasted from 1939 to 1945. The logo is of thewrong era.• We also see Bricolage as chapter one is introduced. Thetext on screen reads “Once upon a time in occupiedEurope” reminiscent of a fairy tale. This fits into the processof addition because an idealistic story is not what weassociate it with a war film.
  4. 4. Intertextual reference:• Tarintino references his previous films withinInglorious Basterds, for example the highlevels of gore can be witnessed in ‘ReservoirDogs.’ He uses these references as almostsignatures to identify work as his own.
  5. 5. Hyper reality• With Inglorious Basterds being a war film theaudience presumes that some of the violence fromWorld War 2 will be displayed in the film. For a filmon World War 2 there is a lot less emphasis onstandard warfare using guns rather looking at morebrutal methods of killing, such as the scalping doneby the Basterds or the killing using a baseball bat byThe Bear Jew (Eli Roth). This could be considerpostmodern form how instead of following thenormal fights in war films Tarantino invents his ownmethods of violence which goes against the generaltrend.
  6. 6. Intertextual reference• In numerous scenes words appear to accompany asound, such as when Scott deflects Matthew Patels first attackthe word ‘KPOW’ appears as he does it. This doesnt usuallyhappen in real life obviously it is a typical convention of comicstrips. The reason comic strips do this is because not possibleto play sound effects as it is just a media text.
  7. 7. Bricolage• The fight scenes are taking place we see the characters as ifthey were part of a fighting game and then we have the comicbook text put on screen when punches are made which hasmixed up both of these so that the audience can feel as if theyare both watching a game being played and seeing a comicbook.
  8. 8. Hyper Reality• This whole film challenges the audience’sperception of reality, as it combines realisticcharacters with unrealistic game likesituations, such as mid-air fights where no onegets hurt.
  9. 9. Simulacrum• This film is attempting to mimic that of acheesy hero fighter film, but lacks thesubstance of a well known heroes and villainsstory. It lacks engaging action and a grippingstoryline.
  10. 10. Intertextual reference• The scene with the mirror reflections has an intertextualreference to the Citizen Kane (1941) when Kane sees himselfreflected indefinitely. This represents in Inception the ideathat there are many worlds that reflect off of this world butwhen Ariadne touches the mirror lightly and it shatters, showhow fragile the dream worlds are and that there is only onereality.
  11. 11. Hyper Reality• The film ‘Inception’ has many aspects ofhyper-reality. During this film, the mind isopened into another reality which could beseen as more desirable than real life reality.This aspect of the film means a sense of anew,better and more sought-after world and sothe audience are convinced that it is anauthentic world.
  12. 12. Bricolage• Within inception, it combines the genres of crime-drama, filmnoir and a psychological twist. This creates a whole new sub-division of its own. Within these levels all the senses thecharacters experience are copies of the real world and theunrealistic dream elements are copies of past dreams. Thepeople are copies of reality and some of the places.
  13. 13. Simulacrum• Inception toys around with the idea ofsimulacrum and shows it by travelling to adream world within a dream world within adream world.
  14. 14. Bricolage• This film combines at heart-felt emotional sceneswith that of comical circumstances that induce noemotional response at all. This gives the situation ahumorous interpretation. Such as the scene wherethe Hobo places a picture of a bear in the prostitutesempty picture frame.
  15. 15. Simulacrum• This film is based on a trailer for a bad film, and hasattempted to form a copy of the ideas from thistrailer. This form of post-modernism can be criticisedby the beliefs of, for being vacuous, as it is a text withno intention to serve any purpose, and therefore canbe regarded as a pointless and depthless.
  16. 16. Hyper Reality• Every aspect of this film is hyper-real, as thecharacters are over dramatic and provide unrealisticperformances. The situation itself, of a bleak andwild town ruled by a few rich people seems veryunlikely and poorly explained.
  17. 17. Intertextual reference• Hobo with a Shotgun has Intertextualreferences to Steam punk.