Libby Tuft

Explain how certain types of media can be defined as

postmodern Improved version

Media texts such as those in film and music can be defined as postmodern
through the ways in which it has been presented and developed in a way
that subverts typical conventions. This could be through the implication of
elements such as bricolage, simulacrums that defy mainstream
conventions and self-referential jokes or references.

A modernist approach to media texts such as film and music could be

considered mainstream in the sense that they adhere to the typical
conventions and structures that would be expected from a product within
its genre, for example, a typical superhero film would conventionally
consist of a good-looking hero who saves the girl from the evil villain
whilst saving the community or world that he lives in during the process,
eg: Superman (1978 directed by Richard Donner). In terms of music,
conventionally an artist would adhere to whatever appeared mainstream
at the time, whether it is the style of music they produce, the way they
perform or how they appear through their simulacrum if they choose to
have one. Texts that follow the current conventions such as this would be
considered modernist as they dont challenge any kind of convention
typically and they are concerned with what is current within society rather
than the future developments that may or may not occur.

The 2016 film Deadpool (directed by Tim Miller) could be classed as a

postmodern text as it contains elements that challenge, reconstruct and
question the typical expectations of a film in its genre. The genre
classification for this film alone could class it as postmodern as it crosses
over into multiple genres of film such as action, romance, comedy and
superhero which Ritzer suggests is postmodern as it breaks down the
barriers between genres and styles. The films plot itself also rejects the
typical expectations of a modern superhero movie (which it primarily is) as
the protagonist, Deadpool, is more of an anti-hero character through
the ways that he behaves towards others such as in the
beginning of the film where he fights the gang of bad guys in the
car. He acts as though he enjoys the suffering he is delivering to
the bad guys, making comments like good Deadpool to himself
after shooting men in the head. The use of humour initially masks
the brutality of his actions; however, the behaviour demonstrates
is very controversial when considered alongside other superhero
characters. Deadpool gains superhuman powers that destroy his
conventional good looks (also subverting from the typical superhero
appearance). He wants to save his girlfriend, fix his deformed figure and
kill the bad guy. Whilst the plot appears somewhat modernist through the
conventions used, the way in which Deadpool carries out his quest has
been warped and reconstructed in way that is crude, gratuitous and gory.
For example, Deadpool gains the attention of his enemy, Francis,
by spelling out the antagonists name in the brutally maimed
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bodies of his soldiers, a method that subverts all of the typical

conventions of superhero movies. Deadpool is aware of this
throughout the film and even breaks the fourth wall (which is
postmodern in itself) and tells the audience to look away when he
tortures and murders the agent who sent him to Francis. Because
of the Marvel universe that surrounds Deadpool, this separates him even
more from the rest of the superheroes as he acts in a way that is
unconventional of a superhero, from his language, to his actions and the
way in which his moral compass seems to work. The narrative structure of
Deadpool also supports the idea that is it a postmodern text as it is a
non-linear structure and makes multiple references both to past events in
the movie and to other films and characters from the Marvel universe,
such as the indirect, satirical references to Wolverine made throughout,
highlighting the extreme differences between the relationships
that Deadpool has with others that contrast to the relationships
presented by other superheroes. For example, In the 2015 film
Avengers: Age of Ultron, directed by Joss Whedon, the all-
American hero Captain America uses the phrase son of a bitch
and is essentially told off by philanthropist playboy, Tony Stark. In
Deadpool, the insults and exclamations resulting in
approximately 40 uses of the F word and its derivatives. Through
the use of flashbacks and fast-forwarding throughout the whole film in
order to explain the backstory of Deadpool and in order for the character
himself to be self-reflexive, the film could indeed be classed as
postmodern because of its fragmented narrative. In terms of audience
and consumption of postmodern film and other media texts, the
introduction of platforms such as Netflix and Amazon Prime allow the
audience to consume the products in the comfort of their own home and
they do not have to actively go to a cinema to see a film. This allows the
audience member to become a hyper-spectator as they can seek
their own texts at their own leisure and become well versed in
film so that they understand the conventions and recognise
subversions more frequently as postmodern theorist Cohen
suggests is typical of a postmodern audience member.

In terms of postmodernism in the music industry, Marilyn Manson (Brian

Hugh Warner) conforms to the conventions of postmodernism as he
blends genres together with his own unique take on musical expectations,
subverting them and making them his own. By doing this, he is adhering
to Kramers theory of blending genres together. There is also a sense of
bricolage created here as Marilyn Manson as a simulacrum embraces
contradictions through the merging of the two pop culture icons, Marilyn
Monroe (a beloved sex icon and Hollywood star from the 50s/60s) and
Charles Manson (an infamous criminal and known murderer). The creation
of Marilyn Manson as a character or simulacrum is a contradiction is itself,
which Kramer also suggests is typical of a postmodern artist. Manson also
samples and reconstructs material from his influences, Robert Smith,
David Bowie, Alice Cooper etc, and changes their sound, appearance and
messages so that they become a darker, warped image that reflects his
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own macabre simulacrum. This challenges audiences who consume his

work as he likes to take common values and morals and flip them upside
down, meaning that the audience cannot remain passive as consumers
as they are challenged by the messages and images that Manson
portrays. For example, in his music video for Disposable Teens, a scene is
shown that represents that of the iconic painting of the Last Supper,
depicting Jesus and his disciples. However, the food on the table appears
rotten and the guests look shrivelled and near to death, frozen in time
with little life or colour. Manson appears in the video as a priest who rises
from a lake with dark/goth like makeup and monster like teeth, inferring
that he is closer to hell than to heaven. This embraces contradictions as
Kramer suggests but also challenges and breaks down the boundaries
between high and low culture through the combination of the religious
aspects in the video combined with the demonic tones and lyrics that
could be associated with rock music which is classed as a low culture
genre. Manson does this for the shock factor, taking inspiration from real
political, social events such as the assassination of John F. Kennedy in the
music video for Coma White and through the way that he presents his
warped version of morality and society during his vulgar performances
and questionable videos.

The future of postmodernism concerning film and music are filled with
possibility due to the technologies that are available and the ways in
which audiences are changing and adapting to postmodernist ideas such
as the use of bricolage, breaking the fourth wall and embracing
contradictions. In terms of film, postmodern elements may be required to
further the potential in film such as the use of CGI for actors who are
deceased to continue to continue to create modern films and franchises
such as Carrie Fisher as Leia in Star Wars and Leonard Nimoy
(Spok) and Anton Yelchin (Chekov) Star Trek. In terms of
postmodernism in music, it can allow for artists to challenge conventions
more openly and use contradiction and the merging of genres to further
their simulacrum and gain more of an active audience, perhaps creating a
new generation of hyper-spectators.

In conclusion, media texts such as Deadpool as a film and Marilyn

Manson as a musical artist can be defined as postmodern through their
use of contradictions and subversions of genre and the ways that they
portray themselves in order to challenge audience expectations.

3 Textual references
1 Theory