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2001: A Space Odyssey is a 1968 science fiction film directed by Stanley Kubrick based on a short story by Arthur C. Clarke. It follows a voyage to Jupiter with the sentient computer HAL after the discovery of a mysterious black monolith affecting human evolution. The film examines themes of human evolution, artificial intelligence, and extraterrestrial life. Last Year at Marienbad is a 1961 French New Wave film directed by Alain Resnais about a man who claims to have met a woman, A, at the Marienbad last year, but she does not remember. The film explores themes of memory, time, and reality through its ambiguous and nonlinear narrative that challenges the viewer's understanding of what is real
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How do postmodern media differ from other media
Postmodern media differs from other media in that it often rejects conventions like linear narratives and time/space in favor of manipulated and fragmented forms. Postmodern works reference and subvert other genres/texts, creating deliberate distortions of reality rather than utopian visions. They also rely on audience familiarity to generate constructed fictions. The films Inglorious Basterds and Drive are given as examples, using techniques like pastiche, references to other works, challenging narrative structures, and emphasizing their own artificiality.
Postmodern media breaks the rules of representation
Postmodern media often breaks conventions of representation to create simulated realities that distort or subvert expectations. This is seen in films like Drive and Inglorious Basterds, which manipulate genres and use techniques like self-reflexivity to present disjunctive worlds. Television shows also break rules, like Family Guy's Star Wars parody that acknowledges itself as constructed fiction. Lady Gaga similarly constructs a simulated persona through allusions and genre-crossing. Overall, postmodern media challenges realistic representation to develop new meanings, though these can only be understood by media-literate audiences.
Postmodern media manipulates time and space
The document discusses how postmodern media manipulates time and space through three examples:
1) The TV show "Family Guy" uses non-linear narratives and self-reflexive humor to manipulate time and space. An episode parodies "Star Wars" by interrupting the storyline.
2) The film "Drive" uses contrasting mise-en-scene of cars and costumes to confuse the audience's sense of time period.
3) The film "Scott Pilgrim vs. The World" applies video game rules like battling evil exes, defying the laws of physics and reality. Both films create ambiguous or hyperreal worlds through manipulating time and space.
Why are some media products considered postmodern
The document discusses how some media products are considered postmodern due to their deliberate manipulation of reality through techniques like intertextuality and pastiche. It provides examples from the films Inglorious Basterds and Drive to illustrate postmodernist techniques. Inglorious Basterds uses elements from genres like westerns and detective films to challenge expectations of the war genre. Drive similarly mixes genres like crime drama and romance to distort reality and lacks contextual cues about its time period. Both films employ techniques like references to other works, unconventional narratives, and manipulated settings to create exaggerated hyper realities for audiences.
Discuss why some people are not convinced by the idea of postmodern media
Some audiences are not convinced by postmodern media because postmodern works deliberately distort reality, rely heavily on intertextuality and references that some viewers may not understand, and reject traditional narratives. Postmodern works like the film "Drive" and the TV shows "Flight of the Conchords" and "Family Guy" confuse and frustrate some viewers through their manipulation of elements like time, space, narrative, and their self-reflexive style over coherent plot. Likewise, Lady Gaga's stage persona and music rely heavily on references and simulations of identity that cause some to distrust her as an authentic artist. For these reasons, some find postmodern media vacuous and trapped in meaningless references rather than producing new meaningful content.
Media how does postmodern media differ from other media
Postmodern media differs from other media in that it remixes and plays with representations of reality rather than adhering to traditional conventions. Key aspects of postmodern media include merging genres, involving the audience through challenges and layered jokes, and displaying elements of hyperreality and simulation. Examples discussed are The Inbetweeners mixing genres, 30 Rock challenging viewers, and Minecraft creating simulated worlds. Pastiche and parody are also widely used in postmodern works, seen in the Beastie Boys' "Sabotage" video which pays homage to 1970s cop shows through costumes and shots replicating a popular TV show. While postmodern media is growing in popularity, some critics argue it can promote stereotypes.
Apply narrative to one of your coursework productions
This document discusses the narrative elements in a music video the author created for their coursework. It analyzes how various film and narrative theories were applied to tell the story and engage the audience. Binary oppositions between indoor and outdoor scenes were used to represent the "living" and "dying" states mentioned in the song. Todorov's theory of narrative structure provided an original equilibrium, disequilibrium, and new equilibrium. The mise-en-scene and costumes further developed the narrative and relationship of the artist through ideas like voyeurism and how she challenges or accepts the male gaze. Overall, the author believes the polysemic narrative kept the audience engaged and allowed different interpretations of the story.
pitch
This document is a film pitch for a horror movie called "Haven" that will use the serial killer and slasher subgenres. It outlines plans for funding the production through a British film institute grant or crowdfunding. It also discusses exhibiting the film at festivals to build an audience. The plot involves a serene town disrupted by a soulless killer whose silent actions lead to the demise of the community's undisturbed way of life. The opening scene shows two characters approaching the same location from different directions, with one revealed to be carrying a weapon.
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How do postmodern media differ from other media
Postmodern media differs from other media in that it often rejects conventions like linear narratives and time/space in favor of manipulated and fragmented forms. Postmodern works reference and subvert other genres/texts, creating deliberate distortions of reality rather than utopian visions. They also rely on audience familiarity to generate constructed fictions. The films Inglorious Basterds and Drive are given as examples, using techniques like pastiche, references to other works, challenging narrative structures, and emphasizing their own artificiality.
Postmodern media breaks the rules of representation
Postmodern media often breaks conventions of representation to create simulated realities that distort or subvert expectations. This is seen in films like Drive and Inglorious Basterds, which manipulate genres and use techniques like self-reflexivity to present disjunctive worlds. Television shows also break rules, like Family Guy's Star Wars parody that acknowledges itself as constructed fiction. Lady Gaga similarly constructs a simulated persona through allusions and genre-crossing. Overall, postmodern media challenges realistic representation to develop new meanings, though these can only be understood by media-literate audiences.
Postmodern media manipulates time and space
The document discusses how postmodern media manipulates time and space through three examples:
1) The TV show "Family Guy" uses non-linear narratives and self-reflexive humor to manipulate time and space. An episode parodies "Star Wars" by interrupting the storyline.
2) The film "Drive" uses contrasting mise-en-scene of cars and costumes to confuse the audience's sense of time period.
3) The film "Scott Pilgrim vs. The World" applies video game rules like battling evil exes, defying the laws of physics and reality. Both films create ambiguous or hyperreal worlds through manipulating time and space.
Why are some media products considered postmodern
The document discusses how some media products are considered postmodern due to their deliberate manipulation of reality through techniques like intertextuality and pastiche. It provides examples from the films Inglorious Basterds and Drive to illustrate postmodernist techniques. Inglorious Basterds uses elements from genres like westerns and detective films to challenge expectations of the war genre. Drive similarly mixes genres like crime drama and romance to distort reality and lacks contextual cues about its time period. Both films employ techniques like references to other works, unconventional narratives, and manipulated settings to create exaggerated hyper realities for audiences.
Discuss why some people are not convinced by the idea of postmodern media
Some audiences are not convinced by postmodern media because postmodern works deliberately distort reality, rely heavily on intertextuality and references that some viewers may not understand, and reject traditional narratives. Postmodern works like the film "Drive" and the TV shows "Flight of the Conchords" and "Family Guy" confuse and frustrate some viewers through their manipulation of elements like time, space, narrative, and their self-reflexive style over coherent plot. Likewise, Lady Gaga's stage persona and music rely heavily on references and simulations of identity that cause some to distrust her as an authentic artist. For these reasons, some find postmodern media vacuous and trapped in meaningless references rather than producing new meaningful content.
Media how does postmodern media differ from other media
Postmodern media differs from other media in that it remixes and plays with representations of reality rather than adhering to traditional conventions. Key aspects of postmodern media include merging genres, involving the audience through challenges and layered jokes, and displaying elements of hyperreality and simulation. Examples discussed are The Inbetweeners mixing genres, 30 Rock challenging viewers, and Minecraft creating simulated worlds. Pastiche and parody are also widely used in postmodern works, seen in the Beastie Boys' "Sabotage" video which pays homage to 1970s cop shows through costumes and shots replicating a popular TV show. While postmodern media is growing in popularity, some critics argue it can promote stereotypes.
Apply narrative to one of your coursework productions
This document discusses the narrative elements in a music video the author created for their coursework. It analyzes how various film and narrative theories were applied to tell the story and engage the audience. Binary oppositions between indoor and outdoor scenes were used to represent the "living" and "dying" states mentioned in the song. Todorov's theory of narrative structure provided an original equilibrium, disequilibrium, and new equilibrium. The mise-en-scene and costumes further developed the narrative and relationship of the artist through ideas like voyeurism and how she challenges or accepts the male gaze. Overall, the author believes the polysemic narrative kept the audience engaged and allowed different interpretations of the story.
pitch
This document is a film pitch for a horror movie called "Haven" that will use the serial killer and slasher subgenres. It outlines plans for funding the production through a British film institute grant or crowdfunding. It also discusses exhibiting the film at festivals to build an audience. The plot involves a serene town disrupted by a soulless killer whose silent actions lead to the demise of the community's undisturbed way of life. The opening scene shows two characters approaching the same location from different directions, with one revealed to be carrying a weapon.
Postmodernism in media
Postmodernism in media rejects notions of absolute truth and reality. It blurs the lines between high and low culture and reality versus representations of reality. Postmodern media emphasizes style over substance and questions traditional narratives and interpretations. Some key aspects include a lack of originality, intertextuality between different media forms, and a collapsed distinction between media and lived experience where media simulations define reality. The Matrix film trilogy exemplifies these postmodern themes through its simulated reality and lack of clear distinctions.
Scream Notes
Wes Craven's 1996 film Scream presented horror conventions to audiences in an innovative way rather than trying to extend or exploit them. The film is seen as postmodern because it acknowledges that audiences have seen previous horror films. It simultaneously utilizes intertextuality, parody, and pastiche to ingeniously dismantle known horror conventions while still adhering to the foundations of the genre. The dialogue includes detailed descriptions of horror mechanics and effects, seemingly spelling out genre codes and conventions, but offers a new self-conscious and sometimes humorous example of a horror film that alleviates fans from worn formulas through its postmodern style.
How are postmodern media texts different from normal texts
Postmodern media texts differ from normal texts in several ways:
1) They incorporate elements of pastiche, genre hybridity, intertextuality, and self-reference that make them more complex and challenge notions of reality.
2) Examples like Blade Runner, Scream 4, music videos by Lady Gaga and Madonna, and the video game The Sims use techniques like referencing other works, blurring fiction and reality, and allowing for new creative expressions.
3) By bringing in features from multiple genres and styles, and allowing for new perspectives on identity and culture, postmodern media offer audiences and creators more freedom and novelty compared to traditional or modernist works.
Finalgirl
The document discusses several tropes and influences found in thriller and horror films, particularly slasher films. It defines the "final girl" as the last woman confronting the killer. It also describes how the monster usually wears a mask to allow viewers to project their own fears, and how authority figures and sexually active girls are often portrayed or the first to be killed. The document also notes that isolated locations like woods and cabins are commonly used, as well as the influences of film noir and German Expressionism on the visual style of these films.
To what extend do postmodern text challenge...
This document discusses three postmodern texts - Gorillaz, The X-Factor, and The Only Way is Essex - and how they challenge conventions of traditional media. Regarding Gorillaz, it notes their eclectic music style mixes genres and that they use virtual band identities rather than showing the real band. For X-Factor, it discusses how the interactive audience voting challenges the passive audiences of modernism. It also notes X-Factor's hyperreal presentation of contestants. For TOWIE, it discusses how the show references stereotypes through its characters and blurs reality versus simulation. Overall, the document analyzes how these postmodern texts upend traditions of singular genres, passive audiences, authentic representation, and the real
Postmodernism in scream
This document provides an analysis of the 1996 film Scream and how it exemplifies postmodern characteristics. It discusses how Scream acknowledges and references conventions of the horror genre while also subverting expectations. The film includes self-aware characters and parodies cliches through humor. It also heavily relies on intertextuality, featuring numerous references to other horror films like Halloween and Psycho. Overall, the document examines how Scream uses metafictional elements like parody and intertextuality to both engage with and challenge typical horror genre conventions from a postmodern perspective.
Pulp fiction post modernism
Pulp Fiction can be considered a postmodern film for several reasons:
1) It has a non-linear narrative structure that is split into three separate stories and requires the viewer to pay attention to piece together the timeline of events.
2) It incorporates intertextuality by including references to other works, such as characters quoting from the Bible or hairstyles mirroring those in other films.
3) It flattens effects by juxtaposing casual discussions of drugs, crime, and sex with normal conversations, which decreases the dramatic effect and deviates from film norms.
Lh close analysis
The document provides discussion questions about the French film "La Haine" which explores urban poverty and conflict in the suburbs of Paris. It asks the reader to analyze and interpret various scenes from the film focusing on themes like:
1) The representation of the police and the backgrounds of the three main characters Vinz, Hubert, and Sayid.
2) Symbolic elements like the music playing during the opening credits and what locations and characters reveal about their circumstances.
3) Tensions between the characters addressed in scenes like their argument in the bathroom over perceived slights and aspirations.
4) The broader social commentary on issues like lack of opportunity for the characters and disenfranchisement.
Qualitative Research
The document discusses the evolution of different styles and genres in horror films over time, from their origins in German Expressionism to modern slasher films. It traces how techniques like expressionist lighting and set design influenced later styles like film noir and gothic horror. Additionally, it notes how modern horror films have become more gory and controversial by explicitly showing violence, in contrast to earlier eras where more was left to the viewer's imagination.
film theory
The document discusses several aspects of film theory as it relates to horror films. It first quotes Noel Carroll, who notes that the horror genre seems resilient as it is able to revive itself by exploring new ideas and topics. The document then discusses how horror films can be viewed as a rite of passage for audiences. It also examines the use of graphic violence and gore in 1980s slasher films. The document provides analysis of several horror directors, including Guillermo del Toro, Ari Aster, and Dario Argento, and how they have influenced the author's own film project. It concludes with a discussion of film theory more broadly and how various elements come together to tell a story and draw in audiences.
How does your media product represent particular social groups
The document summarizes how two main characters, a mysterious woman and a dark figure, are represented in the opening of a psychological horror film. The mysterious woman is established as the vulnerable first victim through close-ups and body language. Her appearance fits stereotypes of pale, dark-haired, pretty female victims commonly seen at the start of horror films. The dark figure is only briefly shown at the end to build mystery as to its identity, wearing dark colors and looking away from the camera consistently with the antagonist role. Both characters fit conventions of representing the vulnerable female and mysterious threat typically seen in psychological horror openings.
Key Changes in Supernatural Horrors
Discusses the key changes, including the use of technology, in supernatural horror films from the 1970s until present day.
Recurring patterns
The document discusses the German Expressionist film movement of the 1920s. It reflects the isolation Germany experienced during WWI through abstract psychological landscapes and distorted scenes representing characters' states of mind. Many German filmmakers then emigrated to Hollywood and subtly adapted these techniques into 'B' films, influencing the new era of 'Film Noir' through shadows and lighting. Film Noir crime dramas were stylish Hollywood films from the 1940s-1950s influenced by German Expressionism's visual style using shadows and low key lighting to highlight situations and emotions.
Micro analysis of La Haine - Opening
The document summarizes and asks questions about several opening scenes in the film "La Haine". The scenes introduce the three main characters: Said, Vinz, and Hubert. Said is first seen being chased by police, establishing his distrustful relationship with authority. Vinz's room shows American pop culture influences, revealing aspects of his background. Hubert lives in run-down housing projects and struggles to help his sister with schoolwork, illustrating the challenges of his environment. Overall, the opening scenes set up the characters and social tensions experienced by youth in the French banlieues.
The Bright Darkness Within
1) Michael Cunningham's short story "Little Man" is told from Rumpelstiltskin's perspective using an unconventional first person perspective and second person narration. This allows the reader to feel personally connected to Rumpelstiltskin while also maintaining an intriguing distance.
2) Through Rumpelstiltskin's internal monologues and reflections, the reader gains insight into his humanity, insecurities, desperation, and broken heart over his unrequited love for the miller's daughter.
3) The climactic moment of the story occurs when the queen speaks Rumpelstiltskin's name, literally breaking him in half internally and reflecting the
Pulp fiction
Pulp Fiction is considered a post-modern film because it contains many post-modern features such as unconventional narrative structure, references to other films (intertextuality), and focusing on trivial details and mundane dialogue. It jumps between different time periods confusing the viewer and draws attention to itself as a constructed work. While some critics argue it focuses too much on style over substance, Pulp Fiction remains an iconic example of a post-modern film through its narrative experimentation and self-referential elements.
Film Theory
Film theory explores how film relates to reality and other art forms, as well as how individual viewers and society experience film. Some early contributors to film theory include French philosopher Henri Bergson in the early 1900s and directors from the silent film era who emphasized how film differs from reality. In later decades, film theory drew from disciplines like psychoanalysis, gender studies, and linguistics. Recent film theory has reexamined concepts like how celluloid captures moments in time and has offered new perspectives on gaze and early cinema spectatorship.
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Welcome to the Darkness
Guest lecture delivered as a part of the Artspaced Inc exhibition, Tales of the Uncanny, in 2009 (Townsville Australia).
11film Studies
The document discusses postmodern film theory and provides examples from films by David Lynch and Matt Groening. It examines how postmodern films like Mulholland Drive and The Simpsons employ techniques like intertextuality, pastiche, and the blurring of reality and fiction. The document also discusses postmodernism more broadly and how it challenges notions of linear time, objective reality, and the distinction between high and low art forms.
11. benjamin
1) You are shocked and overwhelmed by the beauty and skill of Botticelli's The Birth of Venus as a chambermaid from a peasant family serving the wealthy de Medici's.
2) As a young shop assistant from a small village seeing the Mona Lisa for the first time at the Louvre in 1910, you are in awe of da Vinci's masterpiece and the prestige and sophistication of Paris.
3) In 2018 as a new graphic designer, you feel uncomfortable with your colleague's poster of Klimt's The Kiss hanging over your shared desk as intimate artwork in a professional workspace.
The Work of Art In The Age of ... (?)
This presentation looks at the maybe over used essay by Walter Benjamin, "The Work of Art in The Age of Mechanical Reproduction" and looks at its relevance to digital arts practice.
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Postmodernism in media
Postmodernism in media rejects notions of absolute truth and reality. It blurs the lines between high and low culture and reality versus representations of reality. Postmodern media emphasizes style over substance and questions traditional narratives and interpretations. Some key aspects include a lack of originality, intertextuality between different media forms, and a collapsed distinction between media and lived experience where media simulations define reality. The Matrix film trilogy exemplifies these postmodern themes through its simulated reality and lack of clear distinctions.
Scream Notes
Wes Craven's 1996 film Scream presented horror conventions to audiences in an innovative way rather than trying to extend or exploit them. The film is seen as postmodern because it acknowledges that audiences have seen previous horror films. It simultaneously utilizes intertextuality, parody, and pastiche to ingeniously dismantle known horror conventions while still adhering to the foundations of the genre. The dialogue includes detailed descriptions of horror mechanics and effects, seemingly spelling out genre codes and conventions, but offers a new self-conscious and sometimes humorous example of a horror film that alleviates fans from worn formulas through its postmodern style.
How are postmodern media texts different from normal texts
Postmodern media texts differ from normal texts in several ways:
1) They incorporate elements of pastiche, genre hybridity, intertextuality, and self-reference that make them more complex and challenge notions of reality.
2) Examples like Blade Runner, Scream 4, music videos by Lady Gaga and Madonna, and the video game The Sims use techniques like referencing other works, blurring fiction and reality, and allowing for new creative expressions.
3) By bringing in features from multiple genres and styles, and allowing for new perspectives on identity and culture, postmodern media offer audiences and creators more freedom and novelty compared to traditional or modernist works.
Finalgirl
The document discusses several tropes and influences found in thriller and horror films, particularly slasher films. It defines the "final girl" as the last woman confronting the killer. It also describes how the monster usually wears a mask to allow viewers to project their own fears, and how authority figures and sexually active girls are often portrayed or the first to be killed. The document also notes that isolated locations like woods and cabins are commonly used, as well as the influences of film noir and German Expressionism on the visual style of these films.
To what extend do postmodern text challenge...
This document discusses three postmodern texts - Gorillaz, The X-Factor, and The Only Way is Essex - and how they challenge conventions of traditional media. Regarding Gorillaz, it notes their eclectic music style mixes genres and that they use virtual band identities rather than showing the real band. For X-Factor, it discusses how the interactive audience voting challenges the passive audiences of modernism. It also notes X-Factor's hyperreal presentation of contestants. For TOWIE, it discusses how the show references stereotypes through its characters and blurs reality versus simulation. Overall, the document analyzes how these postmodern texts upend traditions of singular genres, passive audiences, authentic representation, and the real
Postmodernism in scream
This document provides an analysis of the 1996 film Scream and how it exemplifies postmodern characteristics. It discusses how Scream acknowledges and references conventions of the horror genre while also subverting expectations. The film includes self-aware characters and parodies cliches through humor. It also heavily relies on intertextuality, featuring numerous references to other horror films like Halloween and Psycho. Overall, the document examines how Scream uses metafictional elements like parody and intertextuality to both engage with and challenge typical horror genre conventions from a postmodern perspective.
Pulp fiction post modernism
Pulp Fiction can be considered a postmodern film for several reasons:
1) It has a non-linear narrative structure that is split into three separate stories and requires the viewer to pay attention to piece together the timeline of events.
2) It incorporates intertextuality by including references to other works, such as characters quoting from the Bible or hairstyles mirroring those in other films.
3) It flattens effects by juxtaposing casual discussions of drugs, crime, and sex with normal conversations, which decreases the dramatic effect and deviates from film norms.
Lh close analysis
The document provides discussion questions about the French film "La Haine" which explores urban poverty and conflict in the suburbs of Paris. It asks the reader to analyze and interpret various scenes from the film focusing on themes like:
1) The representation of the police and the backgrounds of the three main characters Vinz, Hubert, and Sayid.
2) Symbolic elements like the music playing during the opening credits and what locations and characters reveal about their circumstances.
3) Tensions between the characters addressed in scenes like their argument in the bathroom over perceived slights and aspirations.
4) The broader social commentary on issues like lack of opportunity for the characters and disenfranchisement.
Qualitative Research
The document discusses the evolution of different styles and genres in horror films over time, from their origins in German Expressionism to modern slasher films. It traces how techniques like expressionist lighting and set design influenced later styles like film noir and gothic horror. Additionally, it notes how modern horror films have become more gory and controversial by explicitly showing violence, in contrast to earlier eras where more was left to the viewer's imagination.
film theory
The document discusses several aspects of film theory as it relates to horror films. It first quotes Noel Carroll, who notes that the horror genre seems resilient as it is able to revive itself by exploring new ideas and topics. The document then discusses how horror films can be viewed as a rite of passage for audiences. It also examines the use of graphic violence and gore in 1980s slasher films. The document provides analysis of several horror directors, including Guillermo del Toro, Ari Aster, and Dario Argento, and how they have influenced the author's own film project. It concludes with a discussion of film theory more broadly and how various elements come together to tell a story and draw in audiences.
How does your media product represent particular social groups
The document summarizes how two main characters, a mysterious woman and a dark figure, are represented in the opening of a psychological horror film. The mysterious woman is established as the vulnerable first victim through close-ups and body language. Her appearance fits stereotypes of pale, dark-haired, pretty female victims commonly seen at the start of horror films. The dark figure is only briefly shown at the end to build mystery as to its identity, wearing dark colors and looking away from the camera consistently with the antagonist role. Both characters fit conventions of representing the vulnerable female and mysterious threat typically seen in psychological horror openings.
Key Changes in Supernatural Horrors
Discusses the key changes, including the use of technology, in supernatural horror films from the 1970s until present day.
Recurring patterns
The document discusses the German Expressionist film movement of the 1920s. It reflects the isolation Germany experienced during WWI through abstract psychological landscapes and distorted scenes representing characters' states of mind. Many German filmmakers then emigrated to Hollywood and subtly adapted these techniques into 'B' films, influencing the new era of 'Film Noir' through shadows and lighting. Film Noir crime dramas were stylish Hollywood films from the 1940s-1950s influenced by German Expressionism's visual style using shadows and low key lighting to highlight situations and emotions.
Micro analysis of La Haine - Opening
The document summarizes and asks questions about several opening scenes in the film "La Haine". The scenes introduce the three main characters: Said, Vinz, and Hubert. Said is first seen being chased by police, establishing his distrustful relationship with authority. Vinz's room shows American pop culture influences, revealing aspects of his background. Hubert lives in run-down housing projects and struggles to help his sister with schoolwork, illustrating the challenges of his environment. Overall, the opening scenes set up the characters and social tensions experienced by youth in the French banlieues.
The Bright Darkness Within
1) Michael Cunningham's short story "Little Man" is told from Rumpelstiltskin's perspective using an unconventional first person perspective and second person narration. This allows the reader to feel personally connected to Rumpelstiltskin while also maintaining an intriguing distance.
2) Through Rumpelstiltskin's internal monologues and reflections, the reader gains insight into his humanity, insecurities, desperation, and broken heart over his unrequited love for the miller's daughter.
3) The climactic moment of the story occurs when the queen speaks Rumpelstiltskin's name, literally breaking him in half internally and reflecting the
Pulp fiction
Pulp Fiction is considered a post-modern film because it contains many post-modern features such as unconventional narrative structure, references to other films (intertextuality), and focusing on trivial details and mundane dialogue. It jumps between different time periods confusing the viewer and draws attention to itself as a constructed work. While some critics argue it focuses too much on style over substance, Pulp Fiction remains an iconic example of a post-modern film through its narrative experimentation and self-referential elements.
Film Theory
Film theory explores how film relates to reality and other art forms, as well as how individual viewers and society experience film. Some early contributors to film theory include French philosopher Henri Bergson in the early 1900s and directors from the silent film era who emphasized how film differs from reality. In later decades, film theory drew from disciplines like psychoanalysis, gender studies, and linguistics. Recent film theory has reexamined concepts like how celluloid captures moments in time and has offered new perspectives on gaze and early cinema spectatorship.
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How are postmodern media texts different from normal texts
How are postmodern media texts different from normal texts
How does your media product represent particular social groups
How does your media product represent particular social groups
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The document discusses postmodern film theory and provides examples from films by David Lynch and Matt Groening. It examines how postmodern films like Mulholland Drive and The Simpsons employ techniques like intertextuality, pastiche, and the blurring of reality and fiction. The document also discusses postmodernism more broadly and how it challenges notions of linear time, objective reality, and the distinction between high and low art forms.
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1) You are shocked and overwhelmed by the beauty and skill of Botticelli's The Birth of Venus as a chambermaid from a peasant family serving the wealthy de Medici's.
2) As a young shop assistant from a small village seeing the Mona Lisa for the first time at the Louvre in 1910, you are in awe of da Vinci's masterpiece and the prestige and sophistication of Paris.
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3. Postmodernism celebrates fragmentation and incoherence, seeing the self as multiple and unstable in a world dominated by superficial images and cultural commodification over authentic experience.
E+103+bonnie+and+clyde+slides
Bonnie and Clyde helped establish the use of the "put-on" in art by disrupting audience expectations and keeping viewers constantly off balance. The film treated the violent crimes of Bonnie and Clyde in a comedic and fun manner rather than straightforward, generating controversy over its approach. Bonnie and Clyde demonstrated how art can use deception and irony to engage audiences in new ways.
Postmodernism in film - Blade Runner
This is a presentation describing the different aspects of Postmodernism that have been found in Ridley Scott's 1982 film, Blade Runner.
Modernism vs post modernism
Modernism began as a rejection of past ideas and cultural norms in the 19th century, driven by new ideas from evolution, psychology, and socialism. Modernism in art covered 1863-1960s and focused on new ideas and using techniques as subject matter over representing subjects. Postmodernism emerged in the 1970s from scrutiny of modernism, questioning its lack of diversity and utopian ideals. Postmodernism embraces irony, appropriation, juxtaposition, and examining bias through deconstruction.
Canada machinima ppt
Slides for a talk on machinima I gave at the University of British Columbia and the University of Alberta, 8 and 10 February 2012 respectively. See http://blog.knittedgardens.net/2012/02/machinima-and-transcending-of-mortality.html for more.
Week 6 subjectivity and identity(nx power lite)
Postmodernism questions notions of identity, subjectivity and the self. It rejects the idea of a fixed or essential self, viewing identity as socially constructed. Issues explored include how identity is formed, the influence of images and media on identity construction, and the idea that identities are multiple and mutable rather than fixed. Postmodern art reflects these ideas by depicting shallow or fragmented identities influenced by consumerism and popular culture. Artists like Sherman, Kruger and McCarthy critique consumerism and the constructed nature of modern identities.
Postmodern art
This document provides an overview of postmodernism across various artistic disciplines from the 1960s onward. It summarizes some of the key characteristics and qualities of postmodernist works, including extreme self-reflexivity, the breakdown of boundaries between high and low cultural forms, a questioning of grand narratives, and a focus on visuality, simulacra, and temporal experimentation. Various postmodern artists and artworks are referenced as examples that demonstrate these postmodern concepts and traits.
Culture Shock Manifesto
This document discusses how art reflects the time period and beliefs of its creation. It argues that 19th century notions of linear causality no longer apply given modern scientific discoveries. The rapid technological changes of the 21st century have not been matched by changes in how art engages audiences. The document advocates for more two-way, collaborative models of art that turn observers into protagonists and reflect the accelerated, interconnected present. It suggests that 2012 could be a time for revealing new approaches to creative expression that are relevant to current experiences of reality.
Culture Shock Manifesto
This document discusses how art reflects the time period and beliefs of its creation. It argues that 19th century notions of linear causality no longer apply given modern scientific discoveries. The internet has also changed how culture is created and shared, with most artistic expression now occurring online rather than traditional galleries and museums. The document advocates for art that embraces nonlinear narratives and turns observers into active participants, in order to be relevant to the present moment. It promotes the idea that an "apocalypse" or revelation is needed to disclose what has been hidden and update understandings of what it means to exist now.
Archaeologies of the future: Mixed Reality storytelling inspired by European ...
I. How to tell the catastrophe
Pompeii : the paradox of a creative destruction (Bulwer, Gautier, Jenssen)
B. Virtual reality and romanticism : the literary challenge
II. How to tell the creation
Parthenon : the cult of representation
The placeless place : from myth to the self consciousness (V. Woolf, Sigmund Freud )
Like tears in the rain’ postmodern media
The document analyzes Blade Runner as a postmodern film. It discusses how the film has a postmodern aesthetic that mixes genres and styles. It examines how the film raises questions about humanity in an age where humans and machines are indistinguishable. It also explores how the futuristic city in the film reflects the postmodern condition and the virtual world's replacement of reality. The film undermines classic philosophical binaries like human/machine through its examination of what makes someone human.
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P3
- 1. 2001: A Space Odyssey 1968 Stanley Kubrick
- 2. Stanley Kubrick Arthur C. Clarke
- 6. What do you think the next stage of human evolution will be like? What’s the relationship between technology advancement and violence?
- 7. Last Year at Marienbad 1961 Alain Resnais
- 9. How many time periods have appeared in the movie? What’s the connections between them?
- 10. How does the idea of modernism and post-modernism reflecting in the movie?
- 11. Is the story of last year in marienbad a reality or an illusion, and why?
- 12. What is the relationship between reality and art itself in last year at marienbad？
- 13. What do you think about the idea: if you go to the movies too often, you may never come back. Your own life may become a fiction, you could become a nameless character wandering forever in the present tense, alive or dead one cannot be sure.