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Week 12

Week 12. Paradigm shift? Postmodernism. Hollywood’s Recovery, Desperately Seeking Meta Theory and the Deconstructed Image: Scott, Stone, Lynch, Borden, Seidelman.

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Week 12

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  1. Week 12 Paradigm shift? Postmodernism

  2. Hollywood’s Recovery, Desperately Seeking Meta Theory and the Deconstructed Image: Scott, Stone, Lynch, Borden, Seidelman. Readings: Thompson & Bordwell, Part Six Chapter 27 American Cinema and the Entertainment Economy: The 1980’s and after. pp 680-703

  3. Screening Screening: Eraserhead (1976) David Lynch; Taxi Driver(1976) Martin Scorsese;or Bladerunner(1982) Ridley Scott; The Decline and Fall of the American Empire (1986) Denys Arcand.

  4. Lecture Plan 1) Introduction: 2) Who is afraid of postmodernism? 3) An impressionistic Overview: Modernist/Postmodernist and Modernism/ Postmodernism distinctions and privileged terms. 4) Focus: A Reading of Scott’s Bladerunner (1982). 5) Conclusion.

  5. [Modernism/Postmodernism] Pomo Ridley Scott’s Bladerunner (1982)

  6. Sources Sources:Ihab Hassan, Matei Calinescu, Madun Sarap, J-F Lyotard, Fred Jameson, Jean Baudrillard, Hal Foster, Christopher Norris, Terry Eagleton, Andrew Parkin, Bruce Barber, et. al. Select Bibliography: (handout).

  7. Introduction The 1980’sushered in what some writers (among them J-F Lyotard, Jean Baudrillard and Fred Jameson have referred to as a paradigm shift, temperature change - a move from the modern to the postmodern era; “an epistemological tear along the fabric of modernity” (Friedberg, Anne. 1995:60).

  8. 'Postism' a problem? Several theorists: Jurgen Habermas, Christopher Norris, Alex Callinicos, doubt the existence of post(-)modernism, either with, or without, the hyphen. And then there is Bruno Latour’s: “We have never been modern” (1992).

  9. Computer manipulated image for a book cover of Will Self's Great Apes

  10. Periodisation Pomo-ism (post-modernism with or without the hyphen) wasinstituted at different times for various disciplines: history 1950’s ; architecture, 1972; Sociology, 1960’s; literature mid 1960’s; visual arts, 1980’s, and film 1980’s.

  11. History The historian Arnold Toynbee introduced the epithet/term post-modern in the early 1950's arguing that modernism ended with the C19th or even earlier and postmodernism began in the C20th.

  12. Sociology David Riesman's The Lonely Crowd;

  13. Literature • The 1960's -but possibly in the 1930's with Federic de Onis’use of the term postmodernismo; and writers Corvalan, Harry Levin, Irving Howe (1967), “Mass society and postmodern fiction” Partisan Review .Other authors: Leslie Fiedler, George Steiner.

  14. Irving Howe (1967), “Mass society and postmodern fiction”

  15. Architecture 1972: a precise date!! The destruction of themodernist (form follows function) Pruitt Igoe Estate (described as a ghetto) in Philadelphia on July 15th, 1972 at 3.30pm

  16. Visual Arts (1980’s) Publications by October magazine writers Craig Owens, Douglas Crimp,Hal Foster and many others.

  17. Postism According to Madan Sarup, 1989Postmodernism’ exhibits four principal critiques:

  18. 1)Critique of the subject The Cartesian cogito knowable, conscious reasoning self is questioned. Structuralism (Claude Levi Strauss) called the human subject -the centre of being - and "the spoilt brat of philosophy." Some post-structuralists wished to `dissolve' the subject' thus implicitly privileging structure at the expense of the subject. For others, subject hood and identity is everything!

  19. 2) Critique of historicism That there is no overall pattern or evolution to history (e.g. historical materialism); that is no single vector to history but historiesherstories (pl); and possibly, no history!

  20. 3)Critique of meaning Semiotic theory leading toward the analysis/interpretation of meta-textuality/ sliding signifieds. For example Derrida's system of floating signifiers and Umberto Eco's “Open Text”.

  21. 4)Critique of philosophy Structuralism recognizes meaning within or behind texts (immanent meaning) which has to be closed, while post-structuralism stresses the interaction of the reader and text as the basis for the production of meaning.

  22. General distinctions (and privileged terms) Modernity / Postmodernity and Modernism/ Postmodernism. [Modernism] [Postmodernism]

  23. General/Economy Nuclear Threat Environmental Threat Industrialism Post-Industrialism Resource Economy Information Economy Fordism Post-Fordism Corporate Capitalism Multi-National capitalism Mass production Micro-marketing Class Struggle No historically privileged revolutionary subject

  24. History/Social Movements Nationalism Localism/globalism World Revolution Local resistances History single vector Histories (plural) Homogeneity Heterogeneity/pluralism Class politics Identity politics Hetero-culturalism Multi- culturalism; pluralism

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