Discuss Two or More Media Texts You Would Describe as Post Modern and Discuss Why You Would Give Them This Label
Discuss two or more media texts you would describe as post modern and discuss why you would give them this label
Moonrise Kingdom, Anderson (2012) is a film which explores a narrative through a combination of high art and kitsch. Anderson tells the story of a scout who flees his camp in order to pursue a love interest with a consistent use of many aesthetic post-modern features, such as nostalgia, parody, eclecticism, pastiche and hyperconsciousness in order to give further depth to the initial story. Anderson constructs a strong nostalgia through attention to detail in the form of props such as books and record players with an affectionate look at the different aspects which construct the 1965 scout camp setting with a wide range of references to various contextual items such as scout rules and the illustrative style of the time. There is a filter placed throughout the film giving the film a saturated style, removing the audience from the film and emphasising the strength of the stylistic nostalgic qualities of the film. Hyperconsciousness is constructed through the use of letter writing between the characters and the creation of joke diegetic simulations of worlds, which is Simulacrum, shown through fluid camera movements which show events unfolding as though the characters are inside a doll house. A stylistic feature Anderson uses throughout many of his film removing the audience from the expected narrative and lineage of a film, creating an extrinsic narration on the film. Moonrise Kingdom also uses Lyotard’s idea of grandnarratives to an extent through the creation of a new family structure at the end of the film. With the Police captain becoming the orphan boys new foster father alone and creating a new equilibrium, with the boy (Sam) being trained to become a Policeman and this being a seemingly happy conclusion for Sam. Whilst the more traditional family structure Suzy has of two parents together is presented as highly problematic and false.
Moonrise Kingdom, Anderson (2012) is a film which explores a narrative through a combination of high art and kitsch. Anderson tells the story of a scout who flees his camp in order to pursue a love interest with a consistent use of many aesthetic post-modern features, such as nostalgia, parody, eclecticism, pastiche and hyperconsciousness in order to give further depth to the initial story. Anderson constructs a strong nostalgia through attention to detail in the form of props such as books and record players with an affectionate look at the different aspects which construct the 1965 scout camp setting with a wide range of references to various contextual items such as scout rules and the illustrative style of the time. There is a filter placed throughout the film giving the film a saturated style, removing the audience from the film and emphasising the strength of the stylistic nostalgic qualities of the film. Hyperconsciousness is constructed through the use of letter writing between the characters and the creation of joke diegetic simulations of worlds, which is Simulacrum, shown through fluid camera movements which show events unfolding as though the characters are inside a doll house. A stylistic feature Anderson uses throughout many of his film removing the audience from the expected narrative and lineage of a film, creating an extrinsic narration on the film. Moonrise Kingdom also uses Lyotard’s idea of grandnarratives to an extent through the creation of a new family structure at the end of the film. With the Police captain becoming the orphan boys new foster father alone and creating a new equilibrium, with the boy (Sam) being trained to become a Policeman and this being a seemingly happy conclusion for Sam. Whilst the more traditional family structure Suzy has of two parents together is presented as highly problematic and false.