new hollywood film foundation degree jameson & postmodernism
TRANSCRIPT
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New HollywoodFilm Foundation Degree
Jameson & Postmodernism
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Today’s lesson
• Introduce David Lynch• Blue Velvet as a postmodern text• Introduce Frederic Jameson• Apply Jameson’s ideas to Blue Velvet
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A Pair of Shoes Van Gogh, 1886
Diamond Dust ShoesAndy Warhol, 1980
Human story Social meaning Image contextualisedDust: Symbolic of the hard life of the labourerRepresentation of individuality and hardship
Collection of shoesSparkle of glitterNo social contextConsumer qualityDesigner brandsImpersonal clonesSuperficiality and indulgence
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WHO IS DAVID LYNCH?
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https://www.youtube.com/watch?v=fjxGkHPlDl8&list=PL620B9D37D8AB1392&index=3Documentary – Part 3
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painter
photographer
sculptor
Advertising Director
cryptic narratives
Intertextual references:classical Hollywood
mystery & imagination
musician
musician
unique visuals
surrealism
plays with genre
Where ideas come from ?https://www.youtube.com/watch?v=Fxr-7O1Bfxg&app=desktop0
dreams
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Lynch’s film are tragedies about the overwhelming tendency for people to
condemn themselves to a world of darkness and
confusion, by succumbing to violence and the desire to
control others
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Lynch’s Influences
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Six Men Getting Sick
http://www.lynchnet.com/ads/
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https://www.youtube.com/playlist?list=PL620B9D37D8AB1392
25 Things You Didn't Know About 'Blue Velvet'
http://news.moviefone.com/2011/11/08/25-things-you-didnt-know-about-blue-velvet
/
Mysteries of Love: Documentary on Lynch and
Blue Velvet
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HOW IS LYNCH RELATED TO POSTMODERNISM?
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Postmodern Style
Surface style and appearance
Creating meaning through inter-textuality
Bricolage
Rejects boundaries and certainties
Fragmentation of linear narrative
EMPHASIS ON STYLE OVER NARRATIVE CAUSALITY
Irony
Blending High Art & Popular Culture
Eclectic
hybridity
Camp
PasticheParody
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Frederic Jameson
Critique of modernism and postmodernism from a Marxist point of view
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WHAT ARE JAMESON VIEWS ON POSTMODERNISM & FILMS?
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Postmodernism is expressed in
“cultural forms developed in a
capitalist society”
Postmodern mode of
production
cultural dominant
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”depthlessness" “pastiche"
“waning of affect"
“fragmentation of affect"
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A Pair of Shoes Van Gogh, 1886
Diamond Dust ShoesAndy Warhol, 1980
Human story Social meaning Image contextualisedDust: Symbolic of the hard life of the labourerRepresentation of individuality and hardshipModern invites to interpretation
Collection of shoesSparkle of glitterNo social contextConsumer qualityDesigner brandsImpersonal clonesSuperficiality and indulgencePostmodernism: what you see is what you get
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DEPHTLESSNESS“Postmodernism rejects traditional model of the depth” (i.e.Freud)
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WANNING OF AFFECT
“Subject has lost the ability to create a sense of continuity between past and future, and organise existence
into one coherent experience"
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FRAGMENTATION OF SOCIETY
“eclectic piles of fragment"
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PASTICHE
“with the fragmentation of subjectivity, postmodern artists cannot create new styles, but
imitate dead styles, without creating new meaning”
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NOSTALGIA FILMS “Do not attempt to recapture or represent the “real” past but are structured around certain cultural myths and stereotypes
about the past
They offer “false realism:” films about other films, representations of other representations, films “in
which the history of aesthetic styles displaces
“real” history”
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HISTORICISM
“random cannibalism of pasty styles"
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POP HISTORY: “AMERICAN TV AND HOLLYWOOD
CULTURE"
American culture is the source of postmodernism
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FILMMAKING LOOKS AT THE PAST FOR INSPIRATION
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Nostalgia Films or 'la mode retro'
Historical films Films that reinvent the past Films that are set in the present that evoke the past
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1. Historical films 2. Films that reinvent the past3. Films set in the present that evoke the past ?
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Historical Films
‘Nostalgia Film’ or ‘La Mode Retro’
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Films that reinvent the past
‘Nostalgia Film’ or ‘La Mode Retro’
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Films set in the present that evoke the past
‘Nostalgia Film’ or ‘La Mode Retro’
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Lack of historical depth: depthlessness
Simulates the past through references to older films in a way that erases historical depth—with stylistic gestures without deeper meaning—and thus fails to recreate a "real" past
Chinatown (1974)
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THE FILMANALYSIS & DISCUSSION
.