Wednesday, April 14, 2010
Postmodern Cinema (and Television)
We discussed postmodernism in class: the idea that film, literature or art does not have any transcendental meaning but merely rehashes the same ol', same ol' again and again. Some symptoms of this idea are calling attention to the artificiality or fiction of art, abundant allusions, and the disintegration of the distinction between high and low art. Where do you see examples of postmodern in Pierrot le Fou? In Daisies? Do you see these features in other films -- or even television shows? Please make your examples as detailed as you can.
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I think Pierrot le Fou is a perfect example of postmodernism. This trend's aspects can be divided neatly into: allusions and criticism. Pierrot le Fou abundantly criticizes art, riffing abundantly on the overwrought and melodramatic movies common at the time. As Ferdinand travels across France, powerful orchestral scores accompany him, and then suddenly drop out. Playful jabs at the pomposity of art are seen, when for example, Marianne breaks the fourth wall and addresses the audience or when Ferdinand meets a man who he had wronged in the past, and merely has a pleasant conversation. There are also numerous allusions, both to contemporary French films as well as to some we had watched, including His Girl Friday. In doing so, Godard again is able to riff on the dismal state of filmmaking and play with the audience. An outside example of this postmodernism can be seen in the works of Quentin Tarintino. In almost all his movies we see the two main features of postmodernism. In Reservoir Dogs, for example, there are moments of extreme violence (such as one of the protagonists cutting off the ear of a police officer) and a non-chronological plot, both of which differed greatly from typical films. We also see numerous allusions to other movies. In his work Grindhouse, the two shorts featured each played off of low budget films of the 1970's, one describing a zombie invasion and the other a murderous stranger. Each featured many aspects of their inspiration, from brutal violence, contrived endings and shallow characters. So postmodernism is still alive and well.
ReplyDeletePierrot Le Fou uses post modernism to a great extent, especially in the use of ignoring high and low art. High art is considered themes used in movies that receive critical acclaim maybe not for its entertainment value, but for its artistry. Low art is used in those movies that are silly, slap stick movies or unsatisfying action films that are critically panned. Pierrot Le Fou uses a lot of this. The film plays around with low artduring a scene in the gas station. Marianne and Ferdinand are on the run and need to fill up gas. In order not to pay, Ferdinand and Marianne experience a pitiful fist fight that seems unnecessary for the film. Also, the moments in which the actors "break the 4th wall" meaning they physically speak or react to the audience are other ways the film uses low art. When Ferdinand and Marianne are driving along, Ferdinand calls Marianne crazy as if he is talking to himself. Marianne asks who is he talking to and he answers, "the audience." Marianne looks straight into the camera and then is satisfied as if she can actually see us.The film uses high art during the segue to different scenes. As it switches scenes, Ferdinand and Marianne are heard giving a synopsis to what's coming next. But the way they say it is so volatile and wordy that it seems like it is making fun of those movies who are artistically phenomenal but are otherwise boring and over the top.
ReplyDeletePostmodernism is very visible in Pierrot le Fou in scenes such as the early party scene or the reenactment of the Vietnam War. In the latter, Ferdinand and Marianne mime the conflict in Vietnam, acting out highly stereotyped versions of the Americans and Vietnamese (respectively). This scene is in a sense postmodern because it is at the same time a childish play done using ignorant stereotypes and a critique of America’s intervention in Vietnam. It blurs the lines between high and low art because of how it is both of these things at the same time. In Daisies, the protagonists seem to think of themselves as above modern society, breaking rules as they please. Their disregard, or in many cases disdain for societal standards is perhaps postmodern because it portrays what is valued by society as irrelevant and boring. The film also uses scenes that are on the surface incredibly childish, for example the food fight at the end, as a subtle critique of the sociopolitical climate in the late 60s. Good examples of well-executed postmodern film in the current film industry include Shaun of the Dead and Hot Fuzz, two films by Edgar Wright. Though they are ostensibly highly violent and stylized comedies, they artfully (and self-consciously) spoof their own genres. Hot Fuzz is a spoof of “buddy cop” films, where the hardened cop from the big city is assigned to the relaxed one from the country. The first three quarters of the film are spent making subtle references to specific movies and film techniques from the genre, and then they use every single one in the last thirty minutes. Referencing movies like Point Break and Bad Boys II, the easygoing cop asks the experienced one questions like “Have you ever fired two guns whilst jumping through the air?” and “Have you ever fired your gun in the air and yelled ‘Ahhh’?” and the other cop says no. In the culminating action sequence of the film, the characters use literally every single reference they’ve made to previous cop films: it starts with the protagonist riding into town on a horse, chewing a toothpick, and includes lines such as “Playtime’s over” and “It’s time to rock & roll,” both action film clichés. This self-conscious referencing of its own genre is what makes it a successful, albeit silly film that incorporates postmodern elements.
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