Twin Peaks as a postmodernist text David Lynch employs parody and hyperrealism in his hit 1990s Tv series, Twin Peaks: a detective story that melts into a soap opera with hints of sitcom. Twin Peaks (which is apparently set in modern day but somehow incorporates elements of 50s style and dress) fully embodies the potentialities of postmodernism through its humorous and hyperbolic portrayal of characters and themes. 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 …show more content…
Intertextuality describes the inclusion of texts that refer to or reflect each other, in other words a text within another media text. However in this television drama it might not be obvious to the audience when intertextuality appears. It is introduced mostly through character names which are taken from existing beings, for example the series murder victim Laura is loosely based around a character from the 1950’s noir film ‘Laura’ (Sheen and Davison, 2004). Twin Peaks resembles, and at the same time parodies, film noir, and in particular this film noir text, in several ways. Firstly, it is based on an investigative narrative structure in which a male detective embarks upon a moral quest in search of a rational explanation to the irrational world in which he has been plunged by his quest (Reeves, J. L. et al 2005). It incorporates the traditional noir character archetypes, including the femme fatale, and other, less interesting women cast in the role of the victim. It features flashbacks and voice over: Agent Cooper’s taped conversations with Diane can be seen as a parody of traditional film noir voiceover, and numerous shifts in point of view “where a single woman is seen from several viewpoints-either by different characters (as in 1950’s ‘Laura’) or at different moments in time producing a fractured image” (Gledhill: Sheen and Davison, 2004). The characterisation of the heroine in Twin Peaks is distinctly noir, as it incorporates various role and character switches, behind which the personality of the femme fatale remains clouded in mystery (Sheen and Davison, 2004). Twin Peaks also resembles film noir in certain aspects of its visual style, eg the opposing forces of good and evil through the contrast of light and
An example of intertextuality is in West Side Story. Although this is a play, I could connect it back to Romeo and Juliet. The musical is a modern day version of the Shakespeare book, so there was a lot of intertextuality between the two. When watching the play, I noticed that two gangs have always been enemies and are fighting for control over the area. This is much like the on going battle between the Capulets and Montagues. Knowing this helped me see the rivalry between the two gangs. On top of this, one of the gang members falls in love with a rival’s sister. Again, having read Romeo and Juliet,I could relate this part to it. The both have the same theme of wanting something you can’t have. Another example
Macey, David. “Postmodernity.” The Penguin Dictionary of Critical Theory. London: Penguin Books, 2001. 307-309. Print.
Films that are classified as being in the film noir genre all share some basic characteristics. There is generally a voice-over throughout the film in order to guide the audience's perceptions. These movies also involve a crime and a detective who is trying to figure out the truth in the situation. This detective usually encounters a femme fatale who seduces him. However, the most distinctive feature of the film noir genre is the abundance of darkness.
Post-Modernism, the absence of any certainty, discredits the values of modernism, opposing the fixed principles of meaning and value. It is built on countless theories about society, the media and knowledge of the world, but it is also aware that there is no ultimate way of making sense of humanity. Ondaatje embraces aspects of post-modernism, by creating a novel that breaks away from the traditional narrative, thereby giving readers a greater perspective on the novel. One learns that any story is simply a storyteller's construction, and is never unbiased.
TELOTTE, J. P. (1989). Voices in the dark: the narrative patterns of film noir. Urbana, University of Illinois Press.
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.
REFERENCESJean Baudrillard Simulations--1983 Semiotext[e]. America--1988 (English Edition) Verso. Seduction--1990 (English Edition) St. Martin’s Press. The Illusion of the End--1994 (English Edition) Stanford University Press. Simulacra and Simualtion--1994 (English Edition) University of Michigan Press. Jean-Francois Lyotard The Postmodern Condition: A Report on Knowledge--1984 (English Edition) University of Minnesota Press. The Postmodern Exaplained--1993 (English Edition) University of Minnesota Press. Michel Foucault Madness and Civilization--1973 Vintage Books. Discipline and Punish: The Birth of the Prison--1977 Vintage Books. The History of Sexuality--1980 Vintage Books. Linda Hutcheon A Poetics of Postmodernism: History, Thoery Fiction--1988 Routledge. The Politics or Postmodernism--1989 Routledge.
From John Wayne and the western motif to William Shatner and the science fiction motif, Hollywood has been obsessed with the notion of frontier, taking this notion from an American ideology that encourages men to forge ahead into the unknown. Often, though, it seems these men are more running away from society than really running to the unknown. And in The Truman Show, that is what Truman is truly doing- running to the unknown in order to escape the responsibilities of his current life. Thus The Truman Show, which looks to be a hip postmodern film about subjectivity, is actually a modernist film tying into the frontier metanarrative in which society represents a binding world, and the frontier embodies the male escapist fantasy of no responsibility.
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.
In the 1950s, authors tended to follow common themes, these themes were summed up in an art called postmodernism. Postmodernism took place after the Cold War, themes changed drastically, and boundaries were broken down. Postmodern authors defined themselves by “avoiding traditional closure of themes or situations” (Postmodernism). Postmodernism tends to play with the mind, and give a new meaning to things, “Postmodern art often makes it a point of demonstrating in an obvious way the instability of meaning (Clayton)”. What makes postmodernism most unique is its unpredictable nature and “think o...
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.
The Walking Dead is an allegory for the real world. It presents audiences, the controversies of the conventional postmodern society amidst a post-apocalyptic drama. The series portrayal of dissolving humanity in unfeigned bleakness both reflects and inflames our societal perceptions and fears. Through an inhuman fallacy, (the zombie) The Walking Dead humanises the hopeless actualization of our corrupted world in all its postmodern traits. Therefore, the ambition for The Walking Dead is to exhibit a world pursuing a favourable equilibrium of peace and liberty but never achieving it as it is entirely a Sisyphean. In this essay, I will argue how cinema and humankind has fed into corruption within postmodernism.
Tim O’Brien, author of The Things They Carried, expresses his journey throughout the Vietnam War via a series of short stories. The novel uses storytelling to express the emotional toll the men encountered, as well as elucidate their intense experiences faced during the war. The literary theory, postmodernism, looks at these war experiences and questions their subjectivity, objectivity, and truth in a literary setting. It allows the reader to look through a lens that deepens the meaning of a work by looking past what is written and discovering the various truths. O’Brien used the storytelling process to illustrate the bleeding frame of truth. Through his unique writing style, he articulates the central idea of postmodernism to demonstrate the
Postmodernism attempts to call into question or challenge the notion of a single absolute unified master narrative without simply replacing it with another. It is a paradoxical, recursive, and problematic method of critique.