This document discusses two key facets of postmodernism: intertextuality and the death of representation. It defines intertextuality as an author borrowing from prior texts and transforming them. While intertextuality is often considered postmodern, the document notes that many classic works also incorporated intertextuality. Regarding the death of representation, postmodern texts are said to use fragments from other media to compose representations, rather than attempting to convey reality. Examples discussed include the film Moulin Rouge and the Eminem song "We Made You."

1. Post-Modernism Session 4 Thursday 1st October 2009 Learning Objective: To understand 2 facets of postmodernism: intertextuality and the death of representation

2. Intertextuality An author’s borrowing and transformation of prior text. This can be a case of taking a whole text and transforming it in some way. Or borrowing small elements of a text and using in collaboration (often with intertextual elements from elsewhere) to make a completely different text.

3. Transformation of Texts Parody Pastiche What is the difference?

4. Pastiche Monsters vs. Aliens Jackie Brown

5. Parody The Songs of Weird Al Yankovic e.g. ‘Smells Like Nirvana’ White and Nerdy Hot Shots!

6. But is this intertextuality truly a postmodern phenomenon? It has long been argued that there are only 7 basic plots: Overcoming the monster Rags to riches The quest Voyage and return Comedy Tragedy Rebirth

7. Works full of intertextuality: Paradise Lost – Milton (1667) The Wasteland - T.S Eliot (1922) All of Shakespeare’s plays Even the Bible – New Testament referencing and borrowing for the Old Testament

8. If we consider Shakespeare’s “Romeo and Juliet”: Primary source for Romeo and Juliet: a poem by Arthur Brooke called The TragicallHistorye of Romeus and Iuliet, written in 1562. He also could have known the popular tale of Romeo and Juliet from a collection by William Painter, entitled The Palace of Pleasure, which was written sometime before 1580. Shakespeare also likely read the three sources on which Brooke's poem and Painter's story were based -- namely, Giuliettae Romeo, a novella by the Italian author Matteo Bandello, written in 1554; a story in a collection called Il Novellio, by the widely-popular fifteenth-century writer MasuccioSalernitano; and the HistoriaNovellamenteRitrovatadi Due NobiliAmanti or A Story Newly Found of two Noble Lovers, written by Luigi Da Porto and published in 1530. Brooke's chief contribution is his emphasis on the power of the 'blyndfoldgoddesse' 'fierce 'Fortune' throughout the story, providing a perspective which distinctly recalls Chaucer, and without which the verbal borrowings or echoes would have little significance.

9. So intertextuality certainly isn’t a new phenomenon, but does that mean it isn’t postmodern? It depends how we define ‘postmodernism’. Simply a reaction to modernism? Or more complex relationship?

10. Fragmentation and thedeath of representation As we’ve seen so far in this course, postmodern texts use a range of fragments from other texts, genres and cultural influences; this ‘fragmentation’ also applies to representation. Some people argue that modern audiences are so used to reading media signs and messages through film, television, advertising and, most recently, the Internet, that reading media representations has become the dominant way of making sense of ‘reality’. In other words, we ‘read’ the world not through any essential first-hand knowledge or experience, but through media representations – which themselves increasingly refer to other representations.

11. Can you think of any examples? Make a list of texts that you think are removed from reality as they are composed of other texts – they no longer attempt to try to convey reality, but are made of other texts.

12. Moulin Rouge The first time Satine (Nicole Kidman) is introduced to the audience, she is represented (by means of her clothes, camera angles and her vocals) as a mixture of Marlene Dietrich, Marilyn Monroe and Madonna – all of whom are themselves, constructed personas. Do you consider this to be successful or not?

13. Gamer Trailer Review Whilst listening to review consider: What are the postmodern aspects of this film? How postmodern is this review?

14. To what extent does Gamer seem to be a failure due to the death of representation? Are there any other factors? (According to Kermode)

15. EminemWe Made You Spot the references – there are a lot!

16. References Jessica Simpson – Dukes of Hazzard – visual comment on weight and Tony Romo (American Football player, Simpsons ex) Bret Micheals – was lead singer of 80’s rock band ‘Poison’; starred in VH1 Reality dating show ‘Rock of Love’ Star Trek Lindsay Lohan and Samantha Ronson Transformers Kim Kardashian – star of reality TV show – but what is she famous for? Famous for being famous Himself - ‘The enforcer, looking for more women to torture’ – comment on own portrayal by the media Britney Spears

17. References Portia di Rossi and Ellen DeGeneres Sarah Palin – played by porn star ‘Lisa Ann’ who played Palin in ‘Who’s Nailin’ Palin?’ “say hello to my little friend” – quote from Tony Montana (Al Pacino) in ‘Scarface’ – commonly referenced line Rainman – when dressed in suits/casino Psycho shower scene Elvis - Jailhouse Rock Jennifer Aniston and John Mayer Jessica Alba and husband, Cash Warren Superman Amy Winehouse and Blake Fielder-Civil

18. So what? What do the references have in common? What point is made about representation?

19. Some postmodern writers claim that we increasingly make sense of the world and our lives through reference to media constructions and imitations. Jack, the narrator in David Fincher’s Fight Club, explicitly draws our attention to this notion: standing beside a photocopier he observes of life that, ‘Everything’s just a copy, of a copy, of a copy.’

20. The Death of Represenation What’s you point of view? Is ‘the death of representation’: inevitable of interest (and gratification) to the activeaudience? a sad state: loss of originality andmovement towards a virtual world, wherewe lose our grasp of all that is ‘real’?