media studies a2 postmodern and genre research

1. Postmodernism
and its Role Within Media Texts

2. The Postmodernism Theory
Postmodernism: is a theory that allows
creative artists to challenge conventions,
forms and ideologies.
• Others define postmodernism as;
Postmodernism challenges conventional
relations between audience and text but
also arouses controversy in
representations and conventional ideas.
• Postmodernism media rejects the
idea that any media product or text is
of greater value than the other
• Some define Postmodernism within
media as;

3. Challenging Meta Narratives
Pulp Fiction
Pulp Fiction is a brilliant example of challenging meta
narratives both through the filming techniques as the
representations, the technique used by director, Quentin
Tarintino of rewinding time and telling the same story from
different perspective is a brilliant way to reveal the story,
because we see the ending of the film within the first half an
hour but by retelling and explaining the story we are able to
understand why these events have occurred from each of the
characters perspectives.
Challenging Meta Narratives: this is the directors way of not following
the standardised genre conventions that typify Hollywood mainstream
cinema, for example their use of non-linear texts, anti-narratives like
freeze frames and challenging characters representations like the role
of women in traditional films. Pulp fiction is also interesting as it uses a
non-linear structure, meaning that they show events in a non-
chronological order, this is an interesting techniques as the story
slowly unravels in-front of the audience.

4. Intertextuality:
Carrie
Carrie(2013) is a reimagining of Stephen kings classic
novel about an outcast girl who is ridiculed by her piers
and who also has superhuman telekinetic powers. The
remake however stays truer to the original novel rather
than a remake of the 1976 film we can see this
through; no nudity, bullying becoming more
unacceptable and the main difference is hat the new
Carrie is more empowering towards women in the final
scene. There are elements of homage being the use of
the similar dress, similar style house and school hall.
Intertextuality/Pastiche :this is an idea of borrowing ideas from
previous relevant films and changing and remodelling the concepts to
appeal to the relevant audience. For example the use of story-lines
with the addition of current problems or topics. Bricolage is another
example of intertextuality where costumes and props are stolen from
other films.

5. Hyperreality
Kill Bill Vol.2
Kill Bill vol.2(2004) uses Hyperreality in two ways, the first by using ‘high art styles’
like anime style fighting to show the power and skill of the warriors. The other is
when Uma Thurman breaks the fourth wall and discusses the last film and what is
yet to come, this is very effective as it keeps the audience on edge of what might
happen next.
Hyper reality :Producers make audiences aware of an alternative
reality to challenge viewers expectations, it helps to much the ideas of
what is and isn’t real, for example the use of specialised editing, slow
motion filming, annotation etc.. To make audiences aware that they
are watching a film.

6. PRODUCER
AUDIENCE FILM
GENRE
Lacey’s Model Fixed
Hollywood :
Non-fixed
Creative:
Stick to typical conventions, only
tweaking them slighty to update to the
current climate. (If people like a genre
why change it?)
This undefined genre is more open to
ideas (more likely to be controversial).
The director Tarantino’s films don’t easily
fit into a genre as he added characteristics
from many to create his own ‘hybrid
genre.’ This keeps the audience guessing.
Adorno & Horkheimer suggested that genre
must evolve as a creative tool (hybrids). It
adapts due to its social and cultural context
(such as Tangled, where the main character
is a strong female – unusual before these
modern times, referencing the reduction of
the patriarchal society).
Genre Theory

7. Genre in Media
• Genre is a French word which means type or kind.
• More Flexible Definitions- this is used for more independent and niche audiences.
• Genre is a French word that means type or kind. Most people will be aware of genre as a way of putting films, television
programmes and other media texts into groups that have things in common, such as the story, or the ‘look’ of a film, or the
characters, the settings and even the way the characters dress.
• Genre, especially in film, is a key concept because it is more complex than just a way of putting similar films together in a group.
• Most directors divide their films in two types of genre;
• More Rigid Definitions- this type of genre is normally used for the more mainstream ‘Hollywood’ audiences
Rigid
Definitions
Flexible
Definitions

8. Postmodernists like Quentin Tarantino
want audiences to take part in their
ideas of iconography and connotations
in his films.
Tarantino makes references to many
films (intertextuality). He uses a range
of generic conventions. Therefore
creating hybrid genres, an example is
Kill Bill. Kill bill is a hybrid of western,
crime and kung-fu genres.
Action
Anime Crime
Kung-Fu

9. Genre -
Dystopia
Dystopia : an imagined world in which everything is bad
and unpleasant. Dystopia is the opposite of a utopia.
Dystopian films normally take place after a disaster (
war, holocaust, plague, alien invasion or disaster).
These films normally create an end of the world
scenario and sometimes include a new-beginning or a
re-birth.
Anti-
Hero
Human
Survivors
Animal like
tribe
The Helper
Loner/Surviv
or

10. Dystopian Sub-Genres
Dystopian crime: a corrupt world
where the crime underworld rule
the city
Dystopian-Si-fi: films that
take place in a distant and
un-realistic future or
world

11. Dystopia – Batman Begins
Helper: they help
Bruce become
batman.
Loner/Anti-hero:
the hero that will
do what ever is
necessary to save
his city even if that
makes him villain in
the peoples eyes
Crime underworld:
animalistic, they will
stop at nothing to
control the city.
Human Survivors:
they fight for what is
right to take back
their city.

12. Dystopia - In Time
Will Salas -
Anti-hero
Sylvia Weis – The Princess
Time Keepers– Animal Like
tribe
Phillip Weis- Anti-hero Wealthy Man– Dispatcher

13. Voice-over/Narration:
anchors the key points of the
narrative or characterisation within
the film. Often using a powerful,
dramatic tone.
Sound:
sets the mood using non diegetic
ambient soundtracks and effects.
Often complimented by an original
or recognisable soundtrack. E.g.
Jackie Brown-Blaxpoitation.
Title/onscreen text:
Title usually appears at the end to stick
in the memory. Text anchors key
meanings of the narrative or
characterisation. E.g. 28 Days and
Snatch.
Cast:
Prominent stars usually feature
early in the trailer helping the
audience decide how appealing it
is. Starring…
Director/studio/reviews: Director
usually mentioned if considered an
‘auteur’ or successful. ‘From the
makers of..’ helps promotion
followed by logo.
Trailer Conventions

14. In Time Trailer Analyse
In Time is a dystopian film set in the near future, in which after 25 you do not age
and the length of your life is decided by how much “time” (MONEY) you have. To
the left you see a shot from the trailer explaining that this system is corrupt and the
world has gone wrong. The green text layered over the black background draws you
straight to the text and foreshadows what a dark world this place has become.
To the left you can see the “time keepers” this are your corrupt and
savage police, they control and monitor the time and make sure the rich
stay rich and the poor stay poor, this is more easily monitored through
their created time zones each containing a different average life
expectancy.
To the right is an example of this , you can see that this is a problem
meaning that people have control over life and death. The power that
this simple clock holds is to much which makes it an unfair and chaotic
system.

15. To the left you can see the corruption and
the economical divide that comes from this
type of system ( this would be an
interesting concept to use in our trailer but
due to budgets and equipment it would not
be possible).
Above shows that for the poor one
minute is the difference between life
and death.
To the right you can see that even though Will Salis is
the good guy the system rejects him because he isn’t
rich and powerful. He kidnaps the richest mans
daughter to prove a point with the hope of blackmailing
her father, however the strange twist is that she felt
trapped in her old life and helps him break the rules to
do what's right.
In Time Trailer Analyse
The grading used in the film is what is
expected for this genre; for the poor we
have dingy living accommodations and
overcrowded buildings, whereas the rich
have spacious and extravagant
accommodation.

16. To the left you will see that during the film they break rules in order to
help the people who are too poor to help themselves.
Throughout the film the setting that are chosen are perfect
to explain what is wrong with the world, the poorest time
zone, named the Ghetto, is dirty and crowded whereas the
wealthiest time zone named New Greenwich is clean
technologically advanced and over the top. For me the line in
the film that explains the situation best is from the
timekeepers “ you can tell who is the richest around hear,
just look for the person eating slowest”
In Time Trailer Analyse

17. Crime Genre
Lloyd Hughes Guide to
CrimeCrime film originates from Hollywood Gangster films from the silent era (1920s) to
today. It originally reflected the prohibition era (1920s) which lead to criminal gangs
racketeering. Each era tends to reflect society’s crime waves or fears (It’s context)
Generic Iconography:
• Themes: ‘Ascension’ killing/Rival killings/The Heist
• Characters: Alienated Hero/Buddies/Hit-men/ Henchmen/Bent Cops/Good
Cops/Canaries/Femme Fatales
• Mise-en-scene: Tuxedos/Suits/Dark lighting/ Dark rundown sets/High status cars
• Sound: Moody Scores/ ‘Wise guy’ language
Above Scarface 1932
Left Scarface 1983

18. Crime TimelineOriginal
Gangster Films:
Reflected the
prohibition era
of the 1920s
when real life
Mobsters, such
as Al Capone,
took control of
bootlegging
through their
speakeasies. E.g.
The Public
Enemy (1931).
30’s 40/50’s 70/80’s60’s 90’s
American
Crime
British
Crime
Film Noir: Studios copied
the 1930s dark lighting
and minimal sets and
updated the themes to
reflect a more sinister side
of life including more
confused roles for the
genders - alienated
heroes and femme
fatales.
British Noir: Reflecting
post war anxieties,
British Crime followed
Film Noir conventions
charting the darker side
of civilian life. E.g.
Brighton Rock (1947)
and The Third Man
(1949).
Crime Capers: Reflected the
economic and social
optimism of the ‘swinging
60s’, with light hearted
narratives and ‘loveable
rogues’. E.g. Oceans 11
(1960)
British Crime Caper:
Mixes comedy with the
heist movie using
‘cheeky cockney’
characters of the Ealing
Comedy era, romantic
European settings and
the original ‘cliff-
hanger’ ending. The
Italian Job (1969)
Gritty Gangster Epic: Reflected
the economic depression of
1970s with hard hitting Dons
and drug pushing. E.g. The
Godfather (1972).
Blaxploitation Films: mainly all
black casts dealing with issues
of racism, drugs and
prostitution.
Gritty British Crime:
Emerged from the harsh
downturn from the late
60s and early 70s. E.g.
Get Carter (1971)
Postmodern Crime: Reflects the
Postmodern age where society
today is overloaded with ideas,
Hybrid genres, heavily stylised
and blurred representations. E.g
Pulp Fiction (1994),
British Postmodern
Gangster: Borrowing
ideas from past
British Crime
iconography, often
reflecting the ‘New
Laddism’ of the
1990s, E.g. Lock, Stock
and Two Smoking
Barrels (1998),

19. The Italian Job Trailer
AnalyseThe remake of the Italian job is itself a pastiche of the 60’s original with
one major twist. To the left we see the rich, romantic and affluent setting
that we expect, we see below the scouting of their intended target and
the high tech machinery that can be used to steal the gold.
However unlike the original the clothes, cars and attitudes have had a
20th centre spin to make them more modern. This makes this film much
more appealing to a younger audience.
The film opens with a group of high class criminals being assembled
to pull off the heist of their lives in a traditional manor (however
they are using cutting edge technology). The props that you see are
conventional for this genre; guns, phones, briefcases and high tech
explosives.
The atmosphere that this scene creates is
intense and puts the audience on the edge
of their seats

20. The Italian Job Trailer
AnalyseTheir methods of procuring the safe are modern but are however
predictable and are expected in this type of film, there is a large escape
scene through the teaming streets of Venice which is usual for this type of
film. These high art explosions help to create an action packed and deviant
atmosphere.
The difference is that after the heist has been
completed they are betrayed by one of their own,
who steals the prize and kills the lead member of
the team, this single action fuels the teams revenge
which is the main focus of this film.
Throughout the film the lighting is bright which is strange for a crime
film normally they are dark and gritty whereas this film opens to a
bright and vibrant city, however the film focuses on a more urban
setting later in the film. The setting in Venice is useful in creating a
wealthy atmosphere, the use of speedboats and cars though-out
creates a fast paced adrenaline packed trailer

21. The Italian Job Trailer
Analyse
After a few years the group re-joins still rippling with anger towards their
betrayer and they again plan to take it back by whatever means
necessary, this incudes a large amount of explosions high tech hacking of
the traffic lights causing chaos to cover up their crime and a high speed
chase.
Throughout the film the setting that are chosen perfect to we
see a busy city, whilst undercover the team is hard at work.
However the iconic mini is still present. There
camera angle choices through-out the trailer
are clever as they make you feel part of the
action rather than creating a watcher
environment.

22. Snatch Trailer Analysis
NARRATIVE
Equilibrium diamond heist by American gang (voice over by the protagonist)
Disruption “where is the stone” and “you’re going down” hint that its going to
be a rigged fight and that the stone is in a dog.
Last section introduces the spaghetti western-influenced graphic sequence
with further hints at attempts to ‘fix’ the disruption
EDITING
Post modern – time remapping accentuates action scenes and excite
audiences
Still framing – anti-narrative to highlight key frames in action, coupled with
film noir voice over tp drive key narrative
Highlight key characters using high art graphics, referencing the Graphic novel
styles and spaghetti western fonts

23. CAMERA AND MISE ENSCENE
Skewed framing– Postmodern sense of unease pioneered by Hitchcock,
with the feel of noir
Props – generic iconography
Low key lighting – noir quality
Costume – to establish obvious stereotypes in narrative, testing
representations
Sets – establish bleak underworld (illegal bare knuckle boxing ring)
SOUND
Voice over – set narrative theme and plot. Antihero
with cheeky cockney drawl. Establishes ‘crime caper’
element
Remixed dance – drives action. Sets frantic pace
Remix 70s music – incredible Bongo Bands ‘Apache’
Diegetic – dialogue from key characters
Non diegetic – fast rewind used as visuals/editing
speed up
Snatch Trailer Analysis

24. Bibliography
• http://www.youtube.com/
• http://www.imdb.com/
• http://www.sociology.org.uk/pcpmod.pdf
• http://media.edusites.co.uk/category/c/postmodern-theory/
• http://www.google.com/imgres?imgurl=http://