Pomo PEEL Paras

L.O: To construct effective PEEL
paras on Last Friday Night and
Structured Reality
Reflection:
• What did we find hard about creating the PEEL
paras in the last lesson?

• Terminology Brainstorm
What key words did we
include in the paras?
“Explain how certain kinds of media can be
defined as postmodern.”
• Intro: Explain that both LFN and SR can be considered to be pomo.
• P: LFN by KP can be considered to be pomo because it contains many intertextual references to
the conventions of films.
• E: Institutional, characterisation, narrative, cinematogrpahy
• For example, it begins with an establishing shot that pans across a typical American suburban
street and tracks a paperboy throwing newspapers onto people’s lawns. It also has opening credits,
including institutional details and the name of the song layered over the image like a movie title.
• E: Music videos do not normally include these elements thus this inclusion of film conventions
into a music video can be seen to be postmodern because intertextual referencing and playing with
the “rules” of media texts is one of the key features of postmodern media. The director, Marc
Klasfeld, says the video was inspired by "all those great '80s high school movies” and that the
blooper outtakes during the ending credits was influenced by a similar idea in the film The
Cannonball Run.
• L: The audience derive pleasure from this intertextual merging of conventions because they enjoy
recognising that one type of media convention is being applied to a different context. It gives them
a sense that they understand the media and appreciate both its “rules” and the breaking of these
“rules”.
• P: Another way in which LFN can be seen to be postmodern is
through its ironic use of celebrities.
• E: For example, Rebecca Black….
• E: Explanation of why Rebecca Black is included and how this is
pomo. Relies on cultural understanding of RB and how she is
perceived.
• E: Iconic stars from the 1980s are also included in the video.
Debbie Gibson and Corey Feldman. Corey’s Lost Boys reference.
• E: This is postmodern because…..(self-referencing, recycling
culture etc).
• L: Audience – why they like this, relies on cultural understanding
(some missed by target audience), covering all bases with stars
from different decades.
Merging of time periods
• P:
• E:
• E:
• L:
Hyperreal promotion
• P:
• E:
• E:
• L:
Can you rewrite our notes into a PEE para?
• Structured reality is the evolution of reality tv such as Big Brother.
• With structured reality audience doesn’t know what’s real and what’s
constructed.
• This challenges the relationship between producer and audience. We
normally have a clear distinction between what is a real text and what is
fictional.
• We are meant to think it’s all real yet we know some of it must be fake.
• It is hyperreal because it is real – these are real people – yet not real at the
same time.
• Some of the interactions and coincidences (like people bumping into each
other) are too obvious to be real.
• Its “reality” is reinforced through other media texts. Gossip magazines treat
the storylines as real news.
• The stars themselves also reinforce this reality by tweeting about events.
Structured reality
• P: Another media text that utilises the postmodern
notion of hyperreality, is structured reality
programmes such as The Only Way is Essex and
Geordie Shore. These programmes blur the
boundary between what is real and what is not real.
• E:
• E: State of hyperreality reinforced on other media
platforms, eg twitter, Heat magazine.
• L: Reworks producer/audience dynamic. Audience
is left actively questioning.

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