EXAM QUESTION
To what extent can S1 episode 1 of Life on Mars be seen as a postmodernist text ? ( 15 )
Which of the following postmodernist techniques and attitudes does it use , refer to or follow in its narrative , mise-en-scene, performance, visual/audio codes etc. ?
Intertextuality ( explicit specific reference to another media product or genre )
Gary Cooper (high noon) Poster in jean hunts office. Jean relates to Gary as the good sheriff
Parody and pastiche ( whole scene or settings in the style of another media product or genre) Life on mars is a pastiche to other 70s cop shows such as the Sweeney. This is shown by how they assault criminals and police chases.
Bricolage ( the idea that the entire meaning of a media text is totally created by the fragments and references that make it up) Life on mars has many fragments within that have very similar references towards shows
Irony ( less serious in tone, moral/social issues not explicitly discussed in text)
Ambiguity ( no single meaning or message )
Reflexivity ( drawing attention to itself as a media text , deliberately artificial, breaking the fourth wall)
Hyper reality ( an artificial reality made up of layers of media representations that Baudrillard claimed we are all now living in )
Simulacra ( the artificial objects, people and settings that make up an artificial hyperreality )
Fragmented narrative ( nonlinear or confusing narrative elements and structure)
Life on Mars uses a lot of intertextuality. The name of the series is a reference to the 1973 David Bowie song of the same name. A news article Sam sees briefly references the politician Enoch Powell. There is also a poster for a 1950s western movie. The episode is very disconnected from the world of 1970s policing, despite revolving around it as a plot. This is because the episode acts more as a pastiche of 70s crime shows such as The Sweeney's more than as an accurately documented example of real life police investigation in 1973.
Bricolage is another trope of post-modernism. The episode is a great example of this because the whole thing can be broken down into different parts inspired by or referencing other media. Time travel has been done in almost every sci fi series that has run for long enough, and the many expected tropes of crime, including the weary detective and the sidekick who plays off him. Much of the crime genre aspects, as mentioned above, are based off depictions of police from 70s crime shows.
social context is not explicitly discussed, but it does acknowledge the treatment of race and gender in the episode. The only main female character is constantly belittled by other characters because she is a woman, and the pub owner reveals that he has created a facade in order to please his white customers.
Despite the time travel, the episode follows a linear narrative.
It matches the post-modernist narrative in the sense of not knowing what is real and what is fantasy, however only Sam experiences this while the audience have no doubt what is real or fake.
The series takes place in a hyper reality. It is very separated from actual 1970s police work.
To what extent can S1 episode 1 of Life on Mars be seen as a postmodernist text ? ( 15 )
Which of the following postmodernist techniques and attitudes does it use , refer to or follow in its narrative , mise-en-scene, performance, visual/audio codes etc. ?
Intertextuality ( explicit specific reference to another media product or genre )
Gary Cooper (high noon) Poster in jean hunts office. Jean relates to Gary as the good sheriff
Parody and pastiche ( whole scene or settings in the style of another media product or genre) Life on mars is a pastiche to other 70s cop shows such as the Sweeney. This is shown by how they assault criminals and police chases.
Bricolage ( the idea that the entire meaning of a media text is totally created by the fragments and references that make it up) Life on mars has many fragments within that have very similar references towards shows
Irony ( less serious in tone, moral/social issues not explicitly discussed in text)
Ambiguity ( no single meaning or message )
Reflexivity ( drawing attention to itself as a media text , deliberately artificial, breaking the fourth wall)
Hyper reality ( an artificial reality made up of layers of media representations that Baudrillard claimed we are all now living in )
Simulacra ( the artificial objects, people and settings that make up an artificial hyperreality )
Fragmented narrative ( nonlinear or confusing narrative elements and structure)
Life on Mars uses a lot of intertextuality. The name of the series is a reference to the 1973 David Bowie song of the same name. A news article Sam sees briefly references the politician Enoch Powell. There is also a poster for a 1950s western movie. The episode is very disconnected from the world of 1970s policing, despite revolving around it as a plot. This is because the episode acts more as a pastiche of 70s crime shows such as The Sweeney's more than as an accurately documented example of real life police investigation in 1973.
Bricolage is another trope of post-modernism. The episode is a great example of this because the whole thing can be broken down into different parts inspired by or referencing other media. Time travel has been done in almost every sci fi series that has run for long enough, and the many expected tropes of crime, including the weary detective and the sidekick who plays off him. Much of the crime genre aspects, as mentioned above, are based off depictions of police from 70s crime shows.
social context is not explicitly discussed, but it does acknowledge the treatment of race and gender in the episode. The only main female character is constantly belittled by other characters because she is a woman, and the pub owner reveals that he has created a facade in order to please his white customers.
Despite the time travel, the episode follows a linear narrative.
It matches the post-modernist narrative in the sense of not knowing what is real and what is fantasy, however only Sam experiences this while the audience have no doubt what is real or fake.
The series takes place in a hyper reality. It is very separated from actual 1970s police work.
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