Postmodernism theory when associated with films can be represented as the delay of skepticism audience is broken in order to free public understanding of the work of the director. Small alterations are made to create a different and important meaning in the vision of the public. The director has created a work of art that takes the audience of conventional and emotional attachment to the subject, creating a new point of view.
Postmodern films make use of different concepts a room simulation, reuse styles, typically drawing irony to the new style; prefabrication, illustrating closer attention to existing scenes and use them in narrative movies or dialogue; intertextuality, using text that has already been used and, finally, DIY,
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making a movie based on a collage of several other styles and film genres. Quentin Tarantino, the director of famous film, screenwriter, producer, cinematographer and actor followed his passion since attempts age. He did not watch the movies as a child and teenager, but most of his films are related to his life. Tarantino, although he may contradict his films fall into the category of postmodernism, is a variety of genres and styles from other movies, usually of his childhood. Tarantino is based on the martial arts genre, kung Fu, grind-house, and spaghetti western movies. Often beginning his films, Tarantino opens with "our Presentation feature" calling immediate attention to the audience, transporting them in time to his days of childhood and adolescence. A director is an artist, Tarantino, although he created earlier works of other artists, is one too.
He adds his own touch of his films in order to create a new, different and precursor film. Tarantino uses the DIY (do it yourself) method to fuse genres together in an original fantasy story as with the exaggerated confrontation scenes and violence. Reservoir dogs, directed and written by Quentin Tarantino first debuted in October 1992. It covers the story of a group of criminals who were hired for a job to recover diamonds from a jewelry store. Things did not go as planned during the robbery and the gang think there may be a disguised police the group. But who could be Mr. Pink, Mr. Orange, Mr. White, Mr. Brown, Mr. Blue, Mr. Blonde, Nice Guy Eddie, or even head gang leader, Joe Cabot strangers to one another, Joe (Lawrence Tierney ) gives each member a color-coded alias. The film begins with a rather curious scene all gang members sitting at a table at a dinner party, while Mr. Brown (Quentin Tarantino) explains his interpretation of Madonna's song 'Like a Virgin'. Men continue to discuss the value and meaning of popular songs, particularly bringing songs of the 1970s while this dialogue is not very important, it shows the intricate look Tarantino to …show more content…
detail. It's funny to see Tarantino trying to explain the song of Madonna as it is their intention to prepare the ground for interpretation of the public of the film. Mr. Brown explains sexual encounters Madonna, as she still remember the first time she lost her virginity and the pain she had to find. Tarantino plans to Reservoir Dogs have many interpretations, and can be considered that the gang members have to be redeemed through pain and suffering. The styles we can see the whole movie overuse confrontation and violence. After the dinner scene, the film continues with a take "Men in Black" of the bandits who walk in direction the camera. Mr. White (Harvey Keitel) and Mr. Orange (Tim Roth) are now trying to distance the assault, as things do not go as planned as the cops showed up unexpectedly. Running walk, they stop a car and the owner and driver shoots Mr. Orange in the abdomen. For the rest of the film, Mr. Orange put on the warehouse floor bleeding profusely in excruciating pain. The pain Mr. Orange faced throughout the film is the interpretation that Tarantino was intended to show the public the same suffering that Madonna passed. Mr. Orange (Roth) was the undercover mole that was commissioned to bust the head of the operation, Joe Cabot (Tierney). Aside for Tarantino’s significance of popular songs, he also used images inter-dispersed throughout the film; Silver Surfer comic and the Get Christie Love! TV show. These are a few examples of how Reservoir Dogs falls into the category of being a postmodern film through the usage of image and text, posing as in intricate part to media and society. Reservoir Dogs, a postmodern film, includes the use of criminals who fall; showing a crime and gangster movie. It also uses the formula of a western movie. Although, usually in a traditional Western there is a guy who keeps law and order, Tarantino covers several things about Western genres including when the style of his films. Reservoir Dogs western usage is slightly different, rather than an individual; there is a group of men trying to restore the order that has left out of control to provide a logical explanation and concluded that the informant may be possible. Tarantino's unique about his films, he does not intend to let them represent real life, but imitating other films. In Reservoir Dogs opening scene, the men are sitting in the cafeteria, a very similar scene to Woody Allen film Hannah and Her Sisters (1986), when they are also sitting at table in a restaurant. Woody's film is considered a romantic comedy drama, where Tarantino, though not considering Woody to create the scene, not create a romantic comedy drama film, but a film that fits in the category of crime, mystery and suspense. Quentin Tarantino uses of earlier artists, not just text and images, but also styles, such as the cinematography. In Reservoir Dogs, Tarantino uses extreme conflict and intense violent scenes. In addition to operating, Tarantino creates a character, Mr. Pink (Steve Buscemi), who is constantly reminding the team that he is acting professional, while everyone else is fighting and not think about the future consequences of their actions. Mr. Pink as well as being a "professional" criminal, is based on the belief that if you are not wearing a uniform you therefore fall under the category "real person." Tarantino, in the course of all his films, Reservoir Dogs, Pulp Fiction (1996) and Kill Bill (2003; 2004), murderers, criminals and law enforcements are all distinguished by their uniforms. Those who are "real people" real wear normal everyday clothing, anything that is unusual. Gang members working for Joe Cabot are all make use of classic black suits with white dress shirts button down and thin black ties. The police make use of the traditional blue uniform. Interestingly, Joe and his son, who in addition to gang operation does not use the "uniform". Most Reservoir Dogs dingy takes place in the warehouse where no gangster becomes a "real person"; they do not undress of their uniforms, so look like a gangster. Although not succeed in becoming real people, they are rescued from being a gangster, death, unlike Mr. Pink, which runs out after going on a "trigger happy frenzy" shooting each other. The idea of the members, including the officer who was caught hostage is a similar idea to that of William Shakespeare, who was considered a remarkable poet and playwright during the 16th century typically, after parts, Shakespeare conclude that all characters be dead. Tarantino, a well-known director in the cinema area and remarkable writer, pulls from such great artists to create an even larger workpiece. Quentin Tarantino, considered a postmodern filmmaker, uses references to earlier films.
He blends genres from A-Z. In Reservoir Dogs, he uses many references from the French new wave directors, who were highly influential to his Production Company as well as his work. François Truffaut and Jean-Luc Godard were influential; he named his production company “A Band Apart”. In Reservoir Dogs, Tarantino named the jewelry store “Karina’s” after Anna Karina, star from Bande apart (Band of Outsiders, 1964).
Postmodernism is a concept that encompasses several different genres, and it's Reservoir Dogs Quentin Tarantino first begin your journey as a director and going to use this style of creativity and expression.
Now, we entertain ourselves with concerts, movies, Broadway, radio and television. It is these social media that people like Quentin Tarantino create for our pleasure. Pulling in our
childhood memories, familiarity, comfort, and the most important clues to other important images of our past, bring a deeper appreciation for the work and creativity that was
produced.
The auteur theory is a view on filmmaking that consists of three equally important premises: technical competence, interior meaning, and personal signature of the director. Auteur is a French word for author. The auteur theory was developed by Andrew Sarris, a well-known American film critic. Technical competence of the Auteur deals with how the director films the movie in their own style. Personal signature includes recurring themes that are present within the director’s line of work with characteristics of style, which serve as a signature. The third and ultimate premise of the Auteur theory is the interior meaning which is basically the main theme behind the film.
Aside from its acting, the other major influence which Mean Streets had upon American film-makers was through it's use of a rock n' roll soundtrack (almost perfectly integrated with the images), and in its depiction of a new kind of screen violence. Unexpected, volatile, explosive and wholly senseless, yet, for all that, undeniably cinematic violence. The way in which Scorsese blends these two - the rock and roll and the violence - shows that he understood instinctively, better than anyone else until then, that cinema (or at least this kind of cinema, the kinetic, visceral kind) and rock n' roll are both expressions of revolutionary instincts, and that they are as inherently destructive as they are creative. This simple device - brutal outbreaks of violence combined with an upbeat soundtrack - has been taken up by both the mainstream cinema at large and by many individual `auteurs', all of whom are in Scorsese's debt - Stone and Tarantino coming at once to mind.
Postmodernism can be defined as a rejection of the idea that there are certain unequivocal truths or grand narratives (such as capitalism, faith or science) and as a belief that there are multiple ways of understanding anything, whether it be it culture, philosophy, art, literature, films, etc, or even television... Television reflects the mass-produced society we live in and certain shows exhibit many of the archetypes of postmodernism that have become prevalent in other art forms. Postmodernism can be useful for understanding contemporary television it can help us to relate to the ever-changing world we live in. Television shows like ABC’s Lost (ABC, 2004-2010) dabble in matters of intertextuality, questioning of grand narratives and, amongst others, a manipulation of time through use of flashbacks, flash-forwards and, uniquely to Lost, the flash-sideways.
... movie stars like royalty or mythical gods and goddesses, viewing the drama between great archetypal characters in a personal psychic realm. By considering the statements made and their societal impact from a Marxist perspective, Benjamin’s method is highly effective, as it does not simply consider art in terms of pure aesthetics anymore, but considers art’s place in a society capable of mechanically reproducing and endlessly duplicating film, photography, and digital art. His qualm with losing the aura and mystique of an original work is negated by the cult of movie stars, the adoration of fame, the incorporation of soundtracks which embody a particular time period, cinematographic allusions, and time-capsule-like qualities of a film such as Basquiat, a 90s tribute to the 80s, produced both as a part of and resulting from the art movements and trends it addresses.
‘Our interest in the parallels between the adaptation inter-texts is further enhanced by consideration of their marked differences in textual form,’
The Analysis of Quentin Tarantino as a Director The director I have chosen to look at is Quentin Tarantino. His films have achieved a cult ang global status and I dont think anyone is going to argue that he is not an auteur. I am more interested in examining his style and seeing how this makes him an auteur and if it has changed when he was receiving a higher budget. Tarantino was born in Noxville Tennessee on 27th march 1963. Tony
Postmodernism is characterized by a complex fusion of “reality” and “unreality.” Today, consumer goods, and mass media, have created a uniquely complex cultural world where signs routinely take on multiple meanings or have no stable meaning at all. A great example of postmodernism would be the film by Quentin Tarantino, Pulp Fiction. The film is about three storylines told out of chronological order, which tells the story of a robbery couple, a boxer who is running way from the mob, and two gangsters protecting a briefcase. Throughout the film, people can see Jean-Francois Lyotard and Jean Baudrillard theories on postmodernism. I will be using the works of Lyotard and Baudrillard to react to the film.
Ten years before Tarantino made Pulp Fiction, the academic and critic Frederic Jameson identified some of the key features of postmodernism, and debated whether these were a true departure from modernism, or just a continuation of the same rebellious themes. His paper on postmodernism tends towards the latter view, but at the same time prophetically pinpointed the essential departures that postmodernism has made from what has gone before. Tarantino’s film does not continue the debate in an academic way, but instead presents a virtuoso visual performance of the ideas that Jameson could only dimly perceive. These ideas include pastiche, a crisis in historicity and a blurring of the distinction between high culture and low culture.
Postmodernism is a vague term that can describe a variety of disciplines that include, architecture, art, music, film, fashion, literature…etc. (Klages). In the case of “Videotape”, postmodern literature would be the main focus or area of study. This type of literature emerged in the era that succeeded World War II and relies heavily on the use of techniques such as, fragmentation, the creation of paradoxes, and questionable protagonists. Furthermore, postmodern literature also exudes ambiguity and critical thinking where the focus is mainly on the reader and his/her experience of the work rather than the content and form. Building upon that, the selected passag...
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Postmodernism revels in comedy and exalts the spirit of play; it cheerfully deviates from generic genre conventions, incorporates intertextuality, and, above all else, is ironic. Lehman describes Twin Peaks as “An American television series combining the elements of a murder mystery, a soap opera, a parody of a murder mystery, and
Quentin Tarantino’s auteur is one that speaks of gore, racism, and certain shot techniques. Above all, the aspect that Tarantino is best known for in his long history of filmmaking is the fact that he only uses traditional, or analog, filmmaking techniques. In fact, Tarantino believes that digital cameras used to shoot film will lead to the eventual demise of filmmaking. His views and ideas of digital vs. traditional filmmaking and how his films could be impacted if they were shot in a digital format are explored.
Postmodernism is a difficult term to define but characteristics such as discarding master narratives and any notion of enlightenment, hyperrreality, fiction and reality and the relationship between them, intertextuality, bricolage, imitation, video games, schizoid postmodernism and film noir are commonly visible in films described as “postmodern.” I will attempt in this paper to show how these characteristics are incorporated into the films Existenz, Scott Pilgrim Vs the World and Mulholland Drive and how these films can be considered “postmodern” in accordance with Lyotard’s, Baudrillard’s and Jameson’s theories of postmodernism. Jean-François Lyotard, a French philosopher, defined postmodernism as incredulity towards all metanarratives meaning
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
During that time, he began writing and collaborating on screenplays and scripts including the films Natural Born Killers and True Romance. He acts in some of his own films and had a part impersonating Elvis in the sitcom The Golden Girls. Reservoir Dogs, Pulp Fiction, Kill Bill: Vol. I and II, Inglorious Bastards and Django Unchained are several of his better known movies. (Quentin Tarantino Biography, n.d.). “His films are characterized by non-linear storylines, satirical subject matter, an aestheticization of violence, references to pop culture, their soundtracks, and features of neo-noir film” (Quentin Tarantino,