Thursday, 25 February 2010

Postmodern Media... 2nd Part

Intertextuality--- Tarantino--> Leone
Blood Simple [1984]
Shots that home seen used on
Other fims-- Shallow Grave, re used it.

Eg, Sergio Leone- Pioneered many shots/styles for western. Once Upon a Time in the West...intertextualised over 30 westerns.

AUTEURS-
definition: An author/creator with personalised vision/style whose style is highly recognisable.
Leone
Tarantino
Coen Bro's (these 3 all surrounding postmodern texts...not representing the real world, representing the film world)
Hitchcock
Speilburg
Winterbottom

... Winterbottom similarly being a postmodern Auteur, directing films such as
In This World [2002]
Green Grass
The Bourne Trilogy

... Coen Brothers- Burn After Reading with George Clooney and Brad Pitt; A list actors where the postmodernism becomes prominent because the A list actors bring their previous roles to the role they play.
Similarly, in Tarantino's Pulp Fiction,this same trait is brought through in the dance sequence when John Travolta and Uma Therman dance in the 50's Diner... he is parodying himself and relating himself to previous roles where he has danced for example, Grease and Saturday Night Fever [1979]. This creates quite a hyper real situation, where the audience uses their own intertextual knowledge to relate to the dance sequence. Without that previous intertextual knowledge, it would not be perhaps as humorous for the audience.

In fact, Tarinto's production company, so named 'A Band Apart' is intertextual in itself and is related to Jean Luc Goddard's iconic French Film, 'Bande a part' [1960's] where there is a dance sequence similar to the dance sequence portrayed by Travolta in Pulp Fiction.
The importance of a media saturated world- becomes difficult to distinguish between reality and the media reality.

Thursday, 4 February 2010

Introduction to the origins of Postmodernism

C. BEFORE 1500
THE DARK AGES
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ENLIGHTENMENT
agreement about best way forward for mankind because Protestants believed God was within... belief in progress through knowledge
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MODERNS - progress through knowledge & reason... Paintings, Picasso, Dali etc represent this new outlook.
&
ANCIENTS- reverting back to old ideas from the Romans, Greeks and Egyptians

Chandler's Model... RECEPTION (AUDIENCE)--REFERENT (SEMIOTICS)--PRODUCTION

Baudrillard-->> Hyperreality.

Sunday, 31 January 2010

Postmodernism- The Mighty Boosh (HW)

Postmodernism defies easy definition; dictionaries do not do it justice but it generally comprises of a set of core ideas and key concepts that work collaboratively to shape it. Enter The Mighty Boosh: two zoo keepers, one owner, one shaman and a gorilla. Here are some of the factors involved...

1) ECLECTICISM - a wide range of influences, contributions and techniques

Eclecticism shines through the varied characters they portray and the range of musical styles they adopt. Put simply: you never know what you are going to get.

2) INTERTEXTUALITY - an author's borrowing and transformation of a prior text

Parallels are regularly made between the Boosh, Monty Python, Spaced, The Goodies and The League of Gentlemen with their individual brands of surrealist humour and sporadic happenings.

3) PARODY - a humorous or satirical imitation of a text

The Boosh is scattered with parodies from the generic (see Mutants for a take on the Sci-Fi, Horror genres), musical (see hard rock parodied in Bollo's Monkey Hell) or textual (see 'The Nightmare of Milky Joe' for a take on Castaway).

4) BRICOLAGE - A technique where works are constructed from various materials available

Mighty Boosh can be viewed as a bricolage of many already tried-and-tested formulas but does this make it less original?

5) ACTS AGAINST MODERNISM - Postmodernism... - Postmodernism acts against reason, orthodoxy and logic to bring us a text that is rich with surrealism and unpredictability

A talking gorilla, a Mexican jazz-fusion guitarist with a door in his afro, a man made of cheese- a celebration of the medium of television that allows the Boosh to pick and choose from a history of tried-and-tested formulas.

6)NOSTALGIC- Celebrates the past and bathes in its glory

7) NARCISSISTIC- Fascination with oneself; excessive self-love; vanity

Evident in the character of Vince Noir who has a fascination with his appearance and a burning passion to become a front man (his idol being Mick Jagger)

...it's the combination of narcissism and nihilism that defines postmodernism

8) AN ACTIVE AUDIENCE -

In this unpredictable, surreal and unreasoning postmodernist world, the audience has no choice but to be an active and aware participant ready to follow whatever twist and turn the text decides to take.

9) HYPER-CONCIOUS - Aware of itself

The Boosh team cleverly use this at the beginning of each episode with Vince and Howard standing in front of stage curtains introducing the show with direct references as to what to look out for. In their live show, postmodernist mix of stand-up, improvisational and theatrical styles.

The Mighty Boosh provides us with an effective framework for postmodernism deconstruction and is bursting with its characteristics from the music, costumes, characters, design, mise-en-scene and dialogue. It provides its active audience with a contemporary variety show that is all knowing, highly aware and above all, a celebration of the medium of television.


Wednesday, 27 January 2010

Postmodernism- Introduction

Bricolage
&
Hyperreality

Playfulness
Aesthetic
Irony
Nihilism

Parody
Intertextuality
Pastiche
Eclectic
Self-referencial

Postmodernism- Notes from Chapter (Holiday HW)

Postmodernism

Where the idea of representation gets 'remixed', played around with through pastiche, parody + intertextual references.

Basic Post modernist ideas:
-Post modern media rejects the idea thant any media productor text is of any greater value than another. Anything can be art.

-Distinction between media and reality has collapsed. We now live in a 'reality' defined by images and representations ... a state of simulacrum. Images refer to each other as reality - this is a state of hyperreality.

-All ideas of 'the truth' are just competing claims and what we believe to be the truth at any point is merely the 'winning' discourse.

Many examples of these texts which are intertextual and self referencial, breaking the rules of realism. They represent media reality.

EXAMPLES:
News reports and images of 9/11
Films - Blade Runner, The Matrix
Auteurs- Michael Winterbottom, The Coen Brothers + Wong Kar-Wai
TV- The Mighty Boosh, Ricky Gervais and The Wire, Echoe Beach/Moving Wallpaper, The Cadbury Gorilla
Games- Grand Theft Auto and Second Life.

Tuesday, 24 November 2009

Notes On Spooks and Cultural Identity represented in Spooks

Glamourous lifestyles- elite, upper class citizens. Large houses, expensive clothing etc
Emphasis on technology- Computers, Phones... used throughout
Patriotic in many senses- relationships with the British government, fighting for Britain etc (can link to Bond in this sense)
Authority and struggles with authority
"Goodies" and "Badies" clearly represented by nationality and general image.
Definite sense of danger- presented by the guns, bombs which are frequent.

Real similarities to how Bond is presented- elite, glamourous and a sense of danger.

Sunday, 22 November 2009

How has the Internet changed our notion of collective identity?

Collective identity is, in principal, a social group that is constructed or that we, ourselves, form. The growth of the Internet has been the biggest change in technology over the past 10 years, and therefore it is inevitable that something as powerful as the Internet is going to chance our vision of society. The Internet has become a central part to our lives; used in a variety of occupations by a huge majority of the population it has become one of the most important communication developments of this century. We now live in an age of transmediality; a migration of content across a vast number of different media forms (the Internet being the solely most important platform for content being portrayed on). Therefore, the Internet has significantly affected the different groups in society causing a sense of fragmentation. Affecting this new generation of people, it is now a real difficulty for the older generations to interact with this new ‘digital’ generation or as often dubbed, ‘digital natives’ (2001, Marc Prensky, ‘Digital Natives, Digital Immigrants’). This younger generation or ‘digital natives’ have grown up with the Internet throughout their lives forcing their perception of the Internet to be a very important element to their lives. In contrast, the older generations or ‘digital immigrants’ have not grown up with the Internet forcing their perception of the Internet to be very limited plainly because they are not used to it and do not know entirely how it works.

Over the past couple of years, it has become clear that the media has changed in a number of different ways. This can be shown by the Media and web 1.0 and Media and web 2.0 ideas. This difference between the old media (web 1.0) and the new media (web 2.0) is that there is now a heavy emphasis on the people rather than media itself. For example, ‘The new media are no longer mass media… sending a limited number of messages to a homogenous audience… the audience itself becomes more selective’ Sabbah, 1985, suggesting that media is run on the audience rather than the mass.

We can see this by the increasing popularity of citizen journalism, which has increased in popularity ever since the Internet was made available to a variety of people through devises such as phones and iPods. Through social networking sites such as Twitter, Facebook and MySpace, it is now easier than ever to update news very quickly, ‘on-the-go’ and has become steadily popular with the ‘digital natives’. For example, the Hudson River plane crash in New York was first reported via a video on a phone which was then placed onto the persons Twitter account. In minutes, it had been reported to the world and is a real example of citizen journalism.

The sense was that the old media (media 1.0) was controlled by oligopolies, individuals such as Rupert Murdoch, who own a number of dominating companies. Now, the sense is that the media is controlled by the producer meaning streams of different opinions and more valuable media.

Marc Prensky’s article, ‘Digital Natives, Digital Immigrants’, 2001 places great emphasis on the collective identities and how they have been affected by the Internet. He states clearly the difference between the ‘Digital Natives’, ‘”native speakers” of the digital language of computers, video games and the Internet’, and the ‘Digital Immigrants’, ‘those who were not born into the digital world but have, at some point, become fascinated by and adopted many or most aspects of the new technology’. He places the population into these two separate groups and suggests that because they both speak different ‘languages’, it is difficult to teach because they no longer understand each other. For example, ‘our Digital Immigrant instructors, who speak an outdated language are struggling to teach a population that speaks an entirely new language’. Prensky says that ‘Digital Natives’ are used to receiving information really fast, thriving on instant gratification and frequent rewards. ‘Digital Immigrants’ have no real care for the skill that the ‘Natives’ have acquired and assume that the ‘Natives’ are the same as they have always been. Through things such as the Internet, the Digital Natives have a real belief that learning should be fun; via games, programmes and other technological delights. The Digital Immigrants, on the other hand, believe that learning shouldn’t and cannot be fun and that there should be emphasis on slow learning- through lectures, books and simple learning.

The Internet has fundamentally changed the ways in which we are to communicate between society. Before the Internet, the only real communication was the birth of telephone. The Internet has enabled communication through so many things such as; email, social networking, blogging, file-sharing sites, Internet chat. All of this is mainly used by the Digital Natives and is an extremely important part of their lives and was only really formed over the past decade. This rise in interaction can also be seen with sites such as Second life, where you play as an avatar and meet new people on the Internet. These sorts of sites have quite an ominous and ambiguous effect- you can pretend to be anyone you want to.

To conclude, the Internet has changed our notion of collective identity. No longer is there a concentration on Web 1.0- where the media is controlled by oligopolies and is very centralised, now the concentration is on Web 2.0- where the media is controlled by the producers through things such as citizen journalism. Collective identity can also be seen in Marc Prensky’s, ‘Digital Natives, Digitals Immigrants’ idea. With the difference between the generations and their perception of the Internet; the Digital Natives having grown up with the internet and is part of their daily life, and the immigrants having to get used to something they are not entirely comfortable with. The Internet has also changed the way us, as the collective identity, communicate with each other. We can be completely different people through avatars on sites such as Second life and Habbo Hotel. The power of the Internet has changed technology, conventions and ultimately our culture.