INDESIGN DOCUMENT

INTRODUCTION

• Postmodern media rejects the idea that any media product or text is of 

• any greater value than another. All judgements of value are merely taste. 

• Anything can be art, anything can deserve to reach an audience, and 

• culture ‘eats itself’ as there is no longer anything new to produce or 

• distribute. 

• The distinction between media and reality has collapsed, and we now 

• live in a ‘reality’ defined by images and representations – a state of 

• simulacrum. Images refer to each other and represent each other as 

• reality rather than some ‘pure’ reality that exists before the image 

• represents it – this is the state of hyper-reality. 

• All ideas of ‘the truth’ are just competing claims – or discourses and 

• what we believe to be the truth at any point is merely the ‘winning’ 

• discourse.

TRANSITION FROM MODERNISM TO POSTMODERNISM

Modernism	Postmodernism
Master Narratives and metanarratives of history, culture and national identity as accepted before WWII (American-European myths of progress). Myths of cultural and ethnic origin accepted as received. Progress accepted as driving force behind history.	Suspicion and rejection of Master Narratives for history and culture; local narratives, ironic deconstruction of master narratives: counter-myths of origin. "Progress" seen as a failed Master Narrative
Faith in "Grand Theory" (totalizing explanations in history, science and culture) to represent all knowledge and explain everything.	Rejection of totalizing theories; pursuit of localizing and contingent theories.
Faith in, and myths of, social and cultural unity, hierarchies of social-class and ethnic/national values, seemingly clear bases for unity.	Social and cultural pluralism, disunity, unclear bases for social/national/ ethnic unity.
Master narrative of progress through science and technology.	Skepticism of idea of progress, anti-technology reactions, neo-Luddism; new age religions.
Sense of unified, centered self; "individualism," unified identity.	Sense of fragmentation and decentered self; multiple, conflicting identities.

KEY CONVENTIONS OF POSTMODERNISM

• Hyperreality
• Bricolage
• Pastiche
• Parody

POSTMODERN THEORISTS

Jean Francois Lyotard
·         French Philosopher, Sociologist and Literary Theorist.
·         Born in 1924, France, died aged 73 due to leukaemia
·           He took part in the May 1968 uprisings (demanding the fall of the government under Charles de Gaulle and therefore the death of  capitalism), however he did not class himself as a Marxist, so he distanced himself by writing ‘Libidinal Economy.’ He did not agree with Marxism’s rigid structuralist approach.
·         Most of his works are identified by the persistent opposition to universals, meta narratives and generality.
·         He doesn’t agree with theories by Karl Marx or Sigmund Freud, claiming they both forget about representations.
·         Lyotard came up with the Postmodern Condition.
Ø  He argues that since World War 2, our technology has become so advanced that we have no need or desire for grand/meta narrative (a big story). A loss of faith in these meta narratives has an effect of how some will view science, art and literature.
Ø  He defines Post Modernism as ‘an incredulity towards meta narratives.’
Ø  He suggested that meta narratives should give way to more modest and localised narratives, which will give the subject more focus.

·        Criticism –
·         Manfred Drank (1988) Lyotard has failed to notice that an underlying condition for agreement is also a condition for the successful communication of his own thought. So, in putting forward a false argument against a rational harmony, Lyotard plays into the hands of the irrational forces that often give rise to injustice and differ ends. Worse, he is then only in a position to testify to that injustice, rather than put forward a just and rational resolution.
Jean Baudrillard
·        Born in 1929, Reims, France
·        He started his studies learning German language and later obtained a doctorate in sociology.·        Simulacra and Simulations: Baudrillard’s work consisted of a book called Simulacra and Simulations, Simulation meaning that it is simulating a process, display or imitating something real, and simulacra meaning the representation of another thing, object, person and any static object. Baudrillard uses these meanings to explain that today’s reality is not real and that we all live in something called a hyper reality. Baudrillard’s definition of hyper reality is ‘The simulation of something that never really existed’. ·         Hyper reality is taking something real, that has an original and natural quality, then exaggerating it to make it look so perfect it could become a fantasy of the imagination. In today’s post-modern culture for example, we have a pine tree at Christmas, but no one wants one from the forest that has been weathered over the years, but a plastic one that has perfectly spread branches and comes in any colour to suit you interior at home. Another example that has become a large issue today is what we are exposed to in magazines, posters and pictures of what an Ideal woman is supposed to look like. A woman that has been touched up with a computer to make her look like the ultimate mans fantasy. Hyper reality is detaching us from any real emotions and we are choosing to make are selves feel happier with the simulation of today’s simulacrum.·         ‘One that reflects a basic reality; one that masks or perverts a basic reality; one that mask the absence of a basic reality; and one that bears no relation to any reality.’( ·         Disneyland:
Baudrillard uses the idea of Disneyland to show simulation and simulacra, he says that Disney land is a perfect model and example of American simulation. The imaginary world that Disney has created is an illusion, a future world and has no physical reality. This pretend world is what makes it so successful it’s a miniaturized real America. There is a huge contrast between being inside the fantasy park and the reality to get to and from it, which enhances the enjoyment you get from being in the hyper real. For example you make the long journey to get to park in you car, you have to queue to get into the car park, you have to park and then queue again to get inside. On the other end of the spectrum you get the atmosphere and affection from the crowd. The actual rides, shows and gadgets are there to maintain this feeling of having that many people together. Baudrillard goes on to say that Disneyland is somewhat a replica of the United States but miniaturized and almost an unreal version. He says that Disneyland is trying to show the American values , there way of life and that it is so good that it is like living in a fantasy, which then makes us believe that the rest of America is like living in the reality, but infact it is not because of the hyper real and simulation. Disneyland is so far from reality that it seems like it has just been created to mask the fact reality today is no longer real. ·         Criticism: ·         Often criticized for his bleak interpretation of postmodern culture. ·         He has been called not postmodern or the other extreme, too postmodern.·         Featherstone is critical towards the approach to consumption and states that the foundation of such critique of mass culture on the part of intellectuals like Baudrillard.

MUSIC VIDEO
TV SHOW
FILM
GAME

CONCLUSION
In conclusion, postmodernity is a very popular and accepted theory in society, as audiences enjoy adapting old ideas into something new. However, I think that this will slowly fade away as newer audiences like things that are completely original and more serious as opposed to old and fun. I do however think that postmodernism will always remain a very influential theory and media texts will continue to stay postmodern.