Billy Raybould

Postmodern Media Breaks the Rules Of Representation Discuss. [50]

Postmodern texts deliberately play with meaning, and subsequently break the rules of representation. With more literate audiences in mind (in reference to the way in which postmodern texts are made) postmodern texts will use images and ideas that are alien to their original function in order to create something new, that is of an obvious difference to whatever it may be loosely based on and thus breaking or playing with different ideas of representation. A key, generic convention of postmodern texts is one of self reflexivity, which is used to show that the text is indeed fake and bears no ties to reality, or does indeed not try to convince the audience that it is reality or in any way real. An example of postmodern media that is self reflexive is Quentin Tarantinos 2009 offering Inglorious Basterds. During the film, the scene in which we are shown Shoshanna and the process in which she is getting ready for the premier of the German war film Nations Pride, the scene is staged and shot in such a way that from the camera panning over the top of the set, during its course reveals the bearing and set up of the stage in which the filming is taking place again breaking the walls down between reality and what is staged for the audiences entertainment. This also serves as a reminder that the characters that the audience have begun to connect with throughout the film are there for their own entertainment only. This can be backed by the theory of hyperreality (Baudrillard) as the audience are actively seeking simulated stimuli from within the constructed copy world in which Tarantino has produced for his audience. The audience become consciously aware of the fantasy going ons within Inglorious Basterds. The same film could also be viewed as breaking representations through challenging the boundaries between genres, Inglorious Basterds on the surface appears to be a a war film with a serious message, however it actually carries a overwhelming comedic appeal not typical of texts within the war/drama genre, again this is backed up by Tarantinos choice of music that accompanies the visuals. Referring back to the scene in which Shoshanna is filmed preparing herself for the premier, a David Bowie 1980s track Cat People overlays the scene - a song from an obviously different era & time period, again playing with peoples ideas of the representation of the period when the film is set, within 1940. Certain texts that are displayed within the film would also reference children's stories, for example once upon a time in Nazi occupied France that opens the film and the constant references to individual chapters (much like a childs book) would give connotations of fairytales and children's stories, and it is only when the heavy violence sets that reminds audiences that are still indeed watching a war/action film. Also, Tarantino plays on peoples ideas of representation in regards to the look & style of the soldiers, it would be almost impossible for a solider to look well presented on the battlefield, however in his version of events his soldiers - Aldo Reign, Hans Landa always appear to be immaculate, even after being dragged to the floor, Aldo Reigns white jacket appears to be untouched, this therefore shows that Tarantino is breaking the rules of true representation. The characters in Inglorious Basterds can all be said to be over the top as Tarantino makes it obvious that the accents and the look of each character has been emphasised a great deal - again blurring the line between what is real and the fantasy

Billy Raybould world that Tarantino has created for the purpose of the film, another example of postmodern media bending the rules of representation. Another example of a postmodern text that breaks representation through the use of hyperreality is Nicolas Winding Refn Drive as through his film he challenges his audience to create a parallel universe from their own through his postmodern text, drawing from their own experiences. The film is very slow is terms of its pace, shot selections an there is very little dialogue between the characters so again challenges peoples own thoughts of representation about certain places etc. It is also argued that Drive is heavily reminiscent of a number of video games, particularly Grand Theft Auto and is apparent through the heavy emphasis on cars, violence and the text used on screen in the film, all factors present in the popular GTA game series. This again creates another construct or representation for the audience. Here it shows the use of pastiche as the works of Drive are very similar to that of Grand Theft Auto in regards to the backdrop and backgrounds seen throughout the film that again are a similar imitation to that of Los Angeles, shown to us at a greater scale due to the choice of cameras shots and angles (bird eye views and long shots generally follow the direction of the Kid and his car as he travels) which is very similar to those of video games with a particular intertextual reference to the GTA series. The way in which Refn challenges his audiences ideas of the real world Los Angeles is a theme throughout the entirety of the film as Refn shows LA to be a very quiet and still place as there a few scenes in which the roads and city spaces in which the Kid vacates are rarely seen as full or busy, as well as the city appearing to be very dull and dark. Also, Refn goes against Angela McRobbies ideologies of how the media present and stereotype genders, as in the film The Kids boss is a very weak and brittle man, who has little control over his situation or how exactly the Kid behaves. He is obviously second to other characters within the film (Nemo etc) and The Kid himself would appear to have more power and control over the man who is his boss and employs him. Here Refn is arguing the fact that men are always seen as superior, as one male character in particular is apparently very vulnerable and weak. American comedy series Flight Of The Conchords follows the lives of New Zealand musical duo Bret McKenzie and Jermaine Clement and their band, fans and manager. Bret and Jermain play false versions of themselves for the purpose of the show, ultimately changing & staging the way in which they act and behave for the purpose of the show, so immediately challenges representation as the version of the duo we see through the programme is completely false and fictional. With a heavy emphasis of comedy the show is ironic in the fact that it is not really how the duo would wish to be presented outside of the programme. The show also references and combines a number of different genres, combining the narratives and story lines typical of a sitcom, with comedic and musical values as we are shown certain sequences in which the pair break out into song and dance - something not so typical of a TV series but of a musical, which in tow breaks the realistic representations of the duo for the audience. In the French art house film Holy Motors directed by Leos Carax, plays with the idea of representation through the fragmented narrative of one Mr. Oscar, presenting a day in the life of as a film crew follow Mr. Oscar and his chauffeur Celine as he prepares for and completes a number of appointments, only each time as a different character. This poses the question then as too who Mr. Oscar really is, what he does and why is he seen in this way, just one way in which Carax breaks the rules of representation through Holy Motors. However it becomes apparent later in the film that Oscar is indeed an actor who is

Billy Raybould however completely unaware of the cameras which proceed to follow him though out the day on a daily basis, whether it be following a rich banker, pictured in the beginning of the film who Mr. Oscar later proceeds to murder, or the swift transformation to a goblin kind of creature who eats flowers from graves and kidnaps a supermodel, in Eva Mendes. Again this shows how Holy Motors breaks the rules of representation as one character is seen as fulfilling more than one identity within its twisted and hard to follow plot. Postmodern music also goes some way in breaking the rules of representation thanks to a number of artists spanning a number of years and genres. Madlib is an example of a postmodern artist who blurs the lines of representation in a number of ways, whether this be through the music he produces or how he presents himself to his audience. Madlib carries a cartoon alter ego in the form of Quasimoto, and this is his first step of breaking the rules of representation as the actual MC who is appearing and producing on the albums is a fictional recreation of Madlib himself. He also pays homage to a great number of different genres through the hip hop in which he produces, particularly to Jazz artists which he says influenced him. For example, Good Morning Sunshine taken from the Quasimoto album The Unseen samples Melvin Van Peebles track of the same name and is just one of a number of examples of how Madlib breaks down the rules of representation between different musical genres - as he is taking the pre existing track and presenting it in a new light to his audience, this is also an example of bricolage from within his work. Postmodern music is backed by Jonathan Kramers theory suggests that postmodern music represents multiple genres and therefore meaning, and Madlib is but one example of artists who do this through their work. Ultimately, postmodern media breaks the rules of representation in a number of different ways through a variety of different platforms and will continue to do so.