Postmodernism

How do postmodern media differ from other media?
By Ria Manzanero

The postmodern approach to media is a reaction to the modernist approach to media. Both are very similar often experimenting with a playful style, only modernists had an interest in “the grand narrative” which relates to subjects like science and religion. Postmodernism differs from other media due to its occasional focus on elements such as pastiche and intertextuality; however they don’t intend to mock other artists, but rather celebrate their style, often recreating existing concepts.

Blade Runner (1982, Ridley Scott) is a perfect example of a postmodern text. It has generic hybridity as it combines science fiction and film noir. This film links hugely to Denzin’s “enfacement of boundaries” as the film clearly has no set time period, even though the film is said to be set in 2019. For example, when observing technology, it appears advanced in the way Decard is able to talk to the computer and it directly responding to his orders; however it remains to hold an old fashioned appearance. Jean Baudrillard’s theory of Hyper-reality is toyed with in this film, particularly due to how it is represented through the idea of the identity of the ‘relipcants’. The relicants are a representation of how reality has been replaced with something unreal, as they are programmed with memories, enabling them to evoke emotions. One character named “Tyrell” actually described them to be “more human than human”, as they appear so realistic, the protagonist actually experiences much issue throughout the movie trying to distinguish what is real, what is a representation and what actually matters, forcing the audience to question what the real difference is between a real human being and a replicant.

However, it’s not just films that apply to the postmodern convention of Hyper-reality, its video games also. For example, Lara Croft: Tomb Raider (2013) also uses this by giving the player a sense of escapism in the way the game is set on a deserted exotic island. For the player this is a liberating experience as it takes them out of their comfort zone, however, Baudrillard states the danger of this means the player begins to ignore the loss of ‘real’ and the world’s shift into simulation. The first person perspective of the game demands the player’s participation. The level of immersion becomes even more compelling when the gamer is able to do unusual things such as swinging from ropes and shooting villain’s, forcing them to ignore their own personal abilities. Lyotards “death of the grand narrative” applies here, as in the game there are many different routes a player can take, each one leading to a different micro-narrative; reiterating how gaming doesn’t have one set story, it’s down to the gamer to determine what happens next.

The “death of the grand narrative” is also evident in TV programmes now too, for example Family Guy (1999, Seth McFarlane). This TV show cleverly rejects any grand storyline by playing with realism using comedic flashbacks and pop culture references. For example, in one particular episode Stewie is held over a balcony by Micheal Jackson. This is an intertextual reference to a real life incident, in which Jackson held his own child over a balcony. This therefore could conform to Jean Baudrillard’s theory of Mediatisation, - where intertextuality causes a loss of history, as audiences forget the real life event and only remember the media’s reconstruction of the event.

Another way Family Guy differs from regular media products is in its confident approach to reflect sensitive subjects, other media forms would avoid, such as sex, violence and racism – breaking social norms and boundaries. This could be proved in how Peter Griffin’s (protagonist) friends all represent a different issue. For example, Brian is an alcoholic, Joe is handicapped, Quagmire is a sexual deviant and Cleaveland is black. In season 5, episode 14 Peter says to Joe: “you and your kind aren’t welcome here”. This would usually be deemed inappropriate and offensive, but family guy manages to make it a comical moment by using irony and black comedy, in the way it breaks the fourth wall to acknowledge it’s “only an animated show”.

Other media products are also beginning to reject originality and take on the idea of intertextuality. For example, Eminem’s music video “Just Lose It”. A high angle shot of Eminem dressed as Micheal Jackson and stepping on floor paves that light up directly links to Micheal Jackson’s music video Billie Jean. For these references to be understood, the music video heavily relies on the Active Audience. This is where the audience use their social knowledge to deconstruct the references and understand the pastiche. This helps the video make sense and makes viewers want to watch on to see how many other references they can recognise correctly. Jean Baudrillard’s idea that there is no difference between reality and it’s representing image (simulacrum) applies when watching this video. This is because it states that the meaning behind a media text is dismissed, as it is just the visuals that hold importance. This is evident in the way the audience members appear entertained or offended by the cluster of scenes involving interetextual, pop culture references, regardless of its lack of meaning.

In conclusion, postmodern media products take a more playful humoured approach. They often interrupt any story with a flashback or an intertextual reference, often leaving audiences wonder what they just watched and whether or not they gained anything from it. Whereas, regular media products will put much focus on a grand narrative that constitutes some meaning. I feel the future of postmodern media holds great opportunity, as people are begining to wonder if everything has been done. Therefore, postmodernism can be used to turn the ‘old’ into the ‘new’ by recreating current products.

MY POSTMODERNIST CASE STUDIES

Family Guy as a Postmodern product

By Ria Manzanero

Family guy began in 1999 and was cleverly created by Seth McFarlane. The non-linear narrative structure of Family Guy uses the post-modern convention of playing with realism by using numerous comedic flashbacks, and frequently uses references taken from popular culture. The show is a reference to the family sitcom genre in which stories revolve around a bricolage of nuclear families. The genre conventions are mocked due to the dysfunctional twist in that the main character Peter Griffin is lazy, overweight and dumb. Family Guy finds most of its humour by intertextuality and pastiche using references from other TV shows and movies familiar, as the target audience for the show will have a knowledge on many other media products, allowing them to be able to deconstruct the many references within the show. Family Guy often breaks the fourth wall by acknowledging it is ‘only’ an animated show. Family Guys constant inter-textual references, boundary blurring, distortion of reality, time confusions and bricolage are all features best described as postmodern.

The show is often considered as daring and dangerous as it attempts to portray sensitive subjects. In the case of Family Guy, these topics could be anything from racism to terrorism to sex. This instantly portrays the show as postmodern, as its breaking society’s boundaries, and not bothering to avoid topics that some people might find displeasing .In many ways, this is what makes the show so popular, as it is so shocking at some points, even audience's feel uncomfortable watching. One line that is often heard when watching Family Guy is "How did they get away with that?!" purely due to their outrageous and often offending use of parody and also, honesty.

Peter Griffin’s friends all represent sensitive topics that are played with throughout the series’. For example, Cleveland is black and is often racially discriminated. This lays a foundation for the producers of the show to find moments within each episode to fit in a few racist or stereotypical jokes. In some cases people have been very offended and felt discriminated against due to this sort of material. However, perspectives differ as some feel they make a mockery of racial stereotypes, highlighting how ignorant they are. For example, when Peter tried to hide the words "Black chick" from the two random citizens. For the audience, Peter looks ridiculous for acting in this way, therefore highlighting the stupidity of racism, in a comedic manner.

Another character within the show that allows a loop hole for mockery is Joe, as he is in a wheel chair. Disability is also a element that is not expressed freely in public as it is very sensitive and people are weary of how people might react. However, in Family Guy, this is not considered. For example, in Season 5, Episode 14, Peter tells Joe that he cannot eat at an establishment because he has no legs. He refers to him as ‘you and your kind’. This is discriminating towards the handicapped community, however, the audience do not take it offensively, due to the joke that follows when Joe gets pushed over after saying “but we’re not going to go down easy”. This turns a possible offensive situation into a laughable one.

In terms of intertextuality, the show is simply riddled with them. There are often parodies of pop culture icons such as Michael Jackson. For example, the episode in which Stewie is held over a balcony by Michael Jackson. This is a direct reference to the historical event where Michael Jackson held his own son over the balcony. This was such a scandal, which might be why the producers chose to touch on it, as they felt positive audiences would be able to deconstruct the reference. This however, could link to Jean Baudrillard’s theory of Mediatisation. Which is where the media re-creates an actual historical event, causing a loss of history, as audience from then just remember the reconstruction from a media product.

The Inbetweeners as a Postmodern product

Television is often viewed and classed as postmodern due to four main themes used throughout Television. The main recurring postmodern themes in television are; Pastiche, Spectacle, Faux TV, Mystery. But Television can also include other postmodern aspects such as hyper reality, brocolage and parody. Pastiche is the most common as it is in almost every TV show, such as The Simpsons, Family Guy and Futurama. Intertextuality is also a massive part of television as many TV shows dedicate whole episodes to a TV or film reference or recreation of a popular film or other media text. Most shows can be described as postmodern because so many shows borrow ideas and themes from other shows; this is partly because almost everything has already been done.

One postmodern trait of ‘The Inbetweeners’ is that it parodies other school based TV shows such as Grange Hill. Both shows focus on the lives of a group of students at a school, the settings and themes are very similar and it is very clear that The Inbetweeners show got its principle concepts from Grange Hill. However the Inbetweeners is much more daring and rude, by far. The Inbetweeners swear very freely and loosely, they aren't at all ashamed to talk about sex and also appear naked in several episodes. This varies hugely from the wholesome Grange Hill which would never do any of that. The show also includes aspects of Bricolage as it mixes different genres such as comedy, romance and slapstick. It also varies greatly in the character types and the show also features numerous intertextual references, such as 'Run DMC', 'Take That' and 'Supersize Me'.

Series 3, Episode 1 "The Fashion Show" could be deemed as postmodern due to the way it contradicts typical stereotypes of people with a disability. We are conditioned to feel sympathy for those in a wheelchair or with any type of disability, particularly in media products. However, in this case, the stereotype for this character is reversed as the disabled student is portrayed as a scheming bully, who tries to separate Will from his crush Charlotte - who is in the fashion show.

Series 3, Episode 2, “Gig and the Girlfriend” uses the intertextual reference to the band 'Take That'. By mentioning that Simon has been to see them with his mum instantly allows the audience to associate 'Take That' with an older audience, asserting the idea that they are not a 'cool' band to see. This cleverly ridicules 'Take That' and allows audiences to understand parodies and comical references throughout the episode.

Intertexual references are used to allow audiences to familiarise themselves with settings, props, locations, characters, plots & link it to their own personal experiences. For example, RUN DMC posters in the background of the common room. Bricolage ensures that audiences can get everything they possibly can out of the product. For example, the mixture of so many genres in The Inbetweeners, including; romance, comedy, slapstick etc... Allowing the show to attract such a broad audience by providing a topic of interest for everyone. Narration is also seen within the show, as there is direct interaction with the audience from Will's character. This is postmodern as it gives the illusion that he is watching the show with you and therefore, you feel a closer connection to the characters.

The show is widely popular due to its comedy moments, for example the flair gun being shot off the boat when they're just a meter away from the pavement ('The Field Trip' Epidode 1, Series 2). Also, the ongoing romance storyline between Simon and Carli - Will they, won’t they?

The show also could be used for escapism as students get to escape their boring school lives by enduring in a humorous one. On the other hand, older audiences get to be brought back to their childhood, and remember secondary school days. Therefore, social relationships will be formed through the show, as people will watch the show and then talk about it amongst friends and other people.

The Inbetweeners has not just succeeded in the UK, but also appeals to audiences in the US. The US only shows cut down versions of the series - implying that perhaps they didn't feel the show would be successful over there. However, judging from reviews and viewing ratings, the show clearly is a success internationally. As for the US remake, ratings and reviews suggest that it is "the weaker cousin". This is due to the fact that "it offers nothing unique for the culture that spawned what the UK show subverted.". This review reflects that the US take on the series is very postmodern, due to it being completely intertextual, creating its whole series through pastiche. In other words, it completely copied to the UK original.

So why was it not successful, if the UK version was?

People might say it failed as British productions usually follow a very gritty and realistic route, whereas America tends to take on the glamorous approach, filming in locations such as sunny beaches. The element that makes The Inbetweeners so British is its focus on Will as a character - who essentially represents the typical stereotype of an English man e.g. not the best looking but incredibly intelligent.

Why are your case studies postmodern?
By Ria Manzanero

Postmodernism is a general wide ranging term applied to many disciplines. Post modernists attitude is playful with a sense of history; this is due to their strong focus on pastiche and intertextuality. However, postmodernist artists do not mock other artist’s work and styles, they celebrate it. Postmodernists do not like big narratives, this was reinforced by Lyotard as he said: “Incredulity toward metanarrative”. For example, stories of science or religion might be frowned upon by postmodernists. Postmodernists are the opposite of modernists (who view the world as scientific, religious and purposeful); as they believe the world is identified through language.

Postmodernism in film is very difficult to identify, however there are many elements that are easily spotted. For example, in a postmodernist film identity is fluid. This means that the sense of self is not fixed. Another element is the concept of surrealism; films that are postmodern will try to make it difficult for the audience to distinguish what is real and what is simulated. Typical conventions of postmodern film are things such as the flattening affect/hybridity – a loss of historical events, mediatisation, confusion of reality and its simulacrum.

My first independent case study is Kick Ass (2010, Matthew Vaughn). This is because the film takes the ‘Superhero’ genre and plays with it, forming comedy moments. This generic hybridity is what allows audience to deconstruct the genre, and realise that although it does contain elements from the typical comic book superhero style film, it also contradicts it. It does this by consciously revealing all the incomplete and artificial aspects of the superhero myth.

The film also contains elements such as pastiche, as it clearly takes on the same narrative as Spiderman – geeky boy becomes superhero through his own accord. However, it takes this pastiche and parodies it. This is done by taking a comic book genre’s audiences usual act of ignoring the fact superheroes aren’t real and drawing their attention to that very fact, highlighting how unbelievable it really is. This is done through funny elements of a bad costume, superheroes falling off buildings rather than flying. This is done in order to highlight the playful style of the film, as superheroes are shown to have no superpowers, nor any motive. This is interesting as it portrays how superheroes are not invincible, rather than strong, and unbeatable, like typical superhero films.

The intertextuality within the film is what forms it as a whole. It clearly links itself to other films such as ‘Batman’ and ‘Spiderman’. This is due to how the lm relies on the audiences knowledge of superhero films in order to deconstruct the film – resulting in them feeling pleased when they understand the references within it. Aspects such as comic style typography are even used to further highlight the superhero aspect. There are links to social networking websites such as MySpace and Facebook and other internet sites such as YouTube. This situates the film within the current cultural zeitgeist as it’s considering modern aspects of society’s life.

A character that is extremely postmodern is Hit Girl/ Mindy (Chloe Mortetz). She is a young girl who has been trained by her father to be a lethal superhero and assassin. Throughout the film she uses foul language and discusses topics that wouldn’t be known by a girl of her age. She contradicts usual action/superhero films that will often use young girls as the ‘damsel in distresses. Whereas in this film, she could be perceived as a villain, or one of the most dangerous characters.

The Moulin Rouge (2001, Baz Luhrman) was created in the style of a postmodern film, in order to appear visually extravagant and exotic. In terms of genre, there is the sense of mixing of genres, not just as the film combines musical with drama and comedy etc... But also because the actors are primarily actors not singers and all received singing training. The film also mixes fantasy-like animation quality, making it more surreal and less like a realistic story. For example, Kylie Minogue appears as a green fairy. This film could be portrayed as a generic hybridity - as there is a mixture of elements, which are not necessarily always put together. For example, the uses of comedy in a tragic love story, or the combination of animation with real life actors.

Lyotards famous description of the postmodern condition: “Incredulity towards metanarratives”, applies to this film, due to the way the actual storyline isn't of any importance and it relies heavily on visual image and intertextuality to make up the content.

This film also links to Jean Baudrillard’s theory on postmodernism, that there is no difference between reality and its simulacrum (representing image). This is due to the way the film is echoing writer’s words and will continually use flashbacks and forwards to go back through the fictional story and what is actually happening. The Flattening affect is when old and new elements are combined; this also links to Baudrillard’s idea of Mediatisation, creating a loss of historical content. This is evident throughout the film as it is set during 1899, in France. However, the modern elements such as song choices and use of CGI animation such as the moon and the fairy prevent it from appearing to be set within this time period.

Blade Runner (1982, Ridley Scott) is postmodern in every sense of the word. To begin with, its genre is a combination of science fiction and film noir. This is evident in the way the film is set in 2019, which means it is made based in the future. The film portrays this with its extreme setting of a busy Los Angeles, where buildings are skyscrapers and cars can fly, in other words a dystopian city – which is a very common setting for postmodernist movies. The setting is actually a direct descendant of Fritz Lang's "Metropolis" (which was also the inspiration for Star Wars). Which is intertextuality and pastiche as the director Ridley Scott is copying another artist’s work. The dystopian setting also conforms to Jean Baudrillard's theory of Hyperreality - this is because 'reality' has been replaced.

A key feature that makes this movie highly postmodern is the portrayal of technology. It could be perceived that it is a negative, due to the replicas being ‘out of control’ and essentially the enemy in this movie. As the film is set in 2019, the audience expects to see advanced technology. However, there is essentially hybridity when looking at this aspect, which means confusion between old and new elements. This is because although the technology appears advanced, for example when Decard is talking to the computer and it is zooming into an image, it remains to have an old fashioned appearance.

This supports theorist Denzin’s concept of an “effacement of boundaries”. This reinforces that there is no clear time period, even though it says its set in 2019 there are factors that present it to be set within the 80's, for example, the hairstyles of characters, the representation of punks, the 'advanced' technology that doesn't appear futuristic. He also says postmodern films locate terror in the nostalgia for the past. Blade Runner has many signifiers of the past. For example, Rachel, part of a species to be eliminated, dresses in a 50s manner. This highlights that the film appears to be going “forward and backwards at the same time.”

One theory on the movie states that the replicas are the race minorities that are discriminated against. This could be down to their fight to be accepted into society as normal; however, they always stand out and are treated badly due to this. Blade Runner describes the replicas as manufactured organisms designed to carry out work too boring, dangerous, or distasteful for humans. Chapman 1995 stated that this echoes the experiences of the slave trade, when Africans were brought to America to do the work that the natives did not want to do. The questioning of whether Decard is in fact a replica is thrown in throughout the film. This forms many questions: can emotions be manufactured? Can humanity be manufactured? Which are actually the same questions asked by the postmodern philosophers about the hyper real and how we cope with a world where the image overrides the individual.

Postmodernism is also evident in other forms of media products, not just film. An example of this is Eminem’s music video for the song – ‘Just Lose It.’ The music video is simply full of intertextual references. One very obvious one is the opening high angle shot of Eminem dressed as Michael Jackson, stepping on floor paves that light up – which is a direct link to Jackson’s music video “Billie Jean”. Another reference is where Eminem is dressed as MC Hammer – wearing gold baggy trousers and uses a direct intertextual reference to his lyrics – “STOP – ITS PAJAMA TIME”. This is mocking the line “STOP – ITS HAMMER TIME”. There is also a link to Madonna, as Eminem is later dressed in a light pink cone bra – which was shown to be worn by Madonna in her Blonde Ambition Tour. As well as other music artist, Eminem uses links to films such as “Everything looks like its 8 mile now”, which is a direct link to his own movie 8 Mile. Also, a link to Bad Santa is used as Eminem is sat with a child on his lap whilst being dressed as Santa; this film was released shortly after the release of his music video. This highlights how his music video is solely a celebration of pop culture, and relies heavily on audiences to deconstruct the references in order for it to be understood and deemed entertaining. This reinforces Lyotards famous quote: “Incredibility towards metanarrative” –as the audience watch sequences of references and witty/insulting parodies, however there is no overall message or story.

In order to understand these intertextual references the music video relies on the postmodern theory of The Active Audience. This is where the audience are required to deconstruct the music video, using their knowledge of social events to understand the jokes and pastiche. This is very important, as not only does it help make the video make sense, but audiences will feel pleased every time they understand a reference, which will give them more of an intention to keep watching.

Hybridity is evident throughout, as Eminem uses intertextual references from the past, mixing it with his current day music video. These elements would be all the references I have previously mentioned. He contradicts the past by dressing in Tracksuit bottoms and wears modern day clothing, which contradicts past elements such as Michael Jackson and MC Hammer.

This music video heavily applies to Jean Baudilliard, as his theories are evident within the content of the film. For example, his theory that there is no difference between reality and simulacrum (representing image) is evident. This is because audience members are entertained or offended by the images on screen, however, remain watching the video even though the meaning and the story are not separated. This links to Baudrillard’s theory of Mediatisation. This is because there is a loss of history as Eminem takes other artist’s historical moments and makes them “retro”. For example, the loss of Jackson’s nose is shown within the video as it falls off in a club and someone stands on it. This mediatises the moment within Jackson’s life where he actually got a nose job; this is because the audience do not remember this when watching the visual images on screen.

Moulin Rouge – Why is it postmodern?

The Moulin Rouge (2001, Baz Luhrman) was created in the style of a postmodern film, in order to appear visually extravagant and exotic. The film is visually flamboyant with the details of the set and costume. This gives the style of the film a visual pastiche as the intense colours and the Bohemian Utopia of the Moulin Rouge are clearly portrayed. . In some ways this film could be seen as style over substance, as most of the key scenes (Elephant love medley, Can-can, The tango...) revolve around the visual quality of the costume and set, as well as the auditory quality of modern music juxtaposed with the 19th century setting. There is also the mixture of cultures such as using characters from low classes however presenting them to have expensive clothing and jewels, also the mix of the Parisian culture with the Bollywood styled musical of 'Spectacular Spectacular’.

In terms of genre, there is the sense of mixing of genres, not just as the film combines musical with drama and comedy etc... But also because the actors are primarily actors not singers and all received singing training. The film also mixes fantasy-like animation quality, making it more surreal and less like a realistic story. For example, Kylie Monogue appears as a green fairy. This film could be portrayed as a generic hybridity - as there is a mixture of elements, which are not necessarily always put together. For example, the uses of comedy in a tragic love story, or the combination of animation with real life actors.

The Moulin Rouge relies heavily on the theory of the "Active Audience". This is due to the way the many parody's and intertextual references are in need of being decoded and understood by the audience, as a lot of the messages within the film are hidden and not obvious - needing to be revealed. Lyotards famous description of the postmodern condition: “Incredulity towards metanarratives”, applies to this film, due to the way the actual storyline isn't of any importance and it relies heavily on visual image and intertextuality to make up the content.

This film also links to Jean Baudrillard’s theory on postmodernism, that there is no difference between reality and its simulacrum (representing image). This is due to the way the film is echoing writer’s words and will continually use flashbacks and forwards to go back through the fictional story and what is actually happening. The Flattening affect is when old and new elements are combined, this also links to Baudrillard’s idea of Mediatisation, creating a loss of historical content. This is evident throughout the film as it is set during 1899, in France. However, the modern elements such as song choices and use of CGI animation such as the moon and the fairy prevent it from appearing to be set within this time period.

An important postmodern element that should be considered when looking at this film is its high concern and consideration over globalisation. Baz Luhrman wanted to create a global natured film, with actors from around the world - rather than the typical all American cast. Ewan McGregor was born in Scotland before rising in prominence in England. And Nicole Kidman was born in Hawaii and grew up in Australia. Allison Felus noticed this element, commenting: “One of the most significant things about 'Moulin Rouge' is how it brings Bollywood sensibilities to Hollywood audiences: The anything-goes tone, the bare bones plot, the spontaneous eruptions of song and dance numbers come straight out of popular Hindi cinema. And that they're blended together with Paris and contemporary music so seamlessly surely proves the globalisation of the film".

Why is blade runner postmodern?

Blade Runner (1982, Ridley Scott) is postmodern in every sense of the word. To begin with, its genre is a combination of science fiction and film noir. This is evident in the way the film is set in 2019, which means it is made based in the future. The film portrays this with its extreme setting of a busy Los Angeles, where buildings are skyscrapers and cars can fly, in other words a dystopian city – which is a very common setting for postmodernist movies. The setting is actually a direct descendant of Fritz Lang's "Metropolis" (which was also the inspiration for Star Wars). Which is intertextuality and pastiche as the director Ridley Scott is copying another artist’s work. The dystopian setting also conforms to Jean Baudrillard's theory of Hyper reality - this is because 'reality' has been replaced.

Through the use of mise-en-scene and cinematography the director was able to foreshadow events as well as to portray the cold and dark attitudes and feelings of the future. Lighting and colours are an important aspect in mise-en-scene. The opening scene starts out by panning slowly over the dark and foggy city. Mountains of fire are spit up into the air. The use of light, in this scene, helps to set the feeling for the entire movie. The city is dark and foggy like the Nexus characters. The fire spitting into the air gives the viewer a feeling of war.

Eminem Just Lose It Postmodern Analysis

Postmodern Analysis: Eminem - Just Lose it

This song is a perfect example of a postmodern music video. The artist Eminem is known as a very controversial music artist, often offending and outraging audiences with his music videos and lyrics; however his “I don’t care” attitude is exactly what postmodernists love.

Intertextuality/pastiche: This music video is simply full of intertextual references. To begin with, the video begins with a high angle shot of Eminem dressed as Michael Jackson, stepping on floor paves that light up – which is a direct reference to Michael Jackson’s music video “Billie Jean”. There is also a reference to Michael Jackson’s paedophilia sexual offence accusations that were often talked about in the press. This makes the video outrageous and offensive, which is shocking, alike to many other music videos that are considered as ‘postmodern’ as they are made to engage the audience. The music video also later references MC Hammer, in the form of his outfit and the lyrics also say “STOP. Pyjama time!” This is a mock of the real lyrics to MC Hammer’s song “STOP! It’s hammer time!” There is later a reference to Madonna, when Eminem is dressed in a light peach cone bra during her Blonde Ambition Tour. Eminem also uses references to films, as well as particular people, his lyrics “Everything looks like it’s 8 Mile now” which refers to his own film based on his life. As well as this, the shots of Eminem dressed as Santa, with the child on his lap are linked to the film Bad Santa, which was released not too long before his music video.

Hypridity: This is when there is confusion or a mixture between old and new elements. This is present within this music video as all the intertextual references are from the past: Madonna, MC Hammer, 8 Mile, Michael Jackson etc... This is used to show the differences between current day and previous times. As then there are cuts to Eminem dressed in current modern trends (tracksuit bottoms and matching hoodie) dancing in a studio with lights flashing in the background.

Jean Baudrillard: This music video also links to Jean Baudrillard’s theory on postmodernism, that there is no difference between reality and its simulacrum (representing image). This is because the audience are watching this music video and feeling amused/offended by the images Eminem creates, however does not separate the meaning and the story, but is more just interested in the visual entertainment. This also links to Baudrillard’s idea of Mediatisation, which essentially talks about how TV and the media causes a loss of history by making past events ‘retro’. In the case of this video, Eminem does this, by taking iconic moments from other music artist’s lives and making them ‘retro’. For example, Michael Jackson’s nose is seen to be stood on in this music video, which makes the loss of his nose humorous for the audience, but takes away the historic event of when Michael Jackson got a nose job.

“Incredulity towards metanarratives”: – Lyotards famous description of the postmodern condition applies to “Just Lose It” also. This is due to how the music video provides the audience with no set narrative or story, but rather a collection of witty, insulting, amusing sequences, involving intertextual references to pop culture, however there is no overall message.

The Active Audience: This is a postmodern element that states that the media rely heavily on their audience to deconstruct or decode the media products, in order to understand it. This is evident in this particular postmodern music video as it is clear that the intertextual references to pop culture and icons is what make up the content of the video. However, if the audience did not understand the pastiche, then they would not find the actual music video. For example, the finishing shot of the music video, it Eminem dressed as Michael Jackson, sitting on his bed, whilst young boys dressed in their pyjamas jump on the bed behind him. This would not entertain audiences if they were not aware of the sexual offence accusations towards Michael Jackson.

Postmodern Music Videos - Lady Gaga

Jean Baudrillard's theory

Postmodernist Theorist Jean Baudrillard

Deconstruction of music video

DECONSTRUCTION OF ‘EXPRESS YOURSELF’ - LABRINTH

What is Postmodernism?
Postmodernism literally means 'after the modern'. It is a contradicting word that has many different definitions as it is not agreed upon by everyone. However, it can be described to be a concept that states that no theory/idea/perspective can explain everything, that there are many sets of ideas.

Ria Manzanero G325 - Postmodernism

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Postmodernism

Eminem Just Lose It Postmodern Analysis

Jean Baudrillard's theory

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