This is The End - Postmodern Film

This is The End (2013) - Research

Directed by: Evan Goldberg and Seth Rogen

Written by: Seth Rogen and Evan Goldberg

Produced by: Evan Goldberg, Seth Rogen and James Weaver

Starring:

James Franco, Seth Rogen, Jonah Hill, Jay Baruchel, Craig Robinson, Danny McBride

Also featuring:

Michael Cera, Emma Watson, Mindy Kaling, Rihanna, Paul Rudd, Channing Tatum, Jason Segel (uncredited) and Backstreet Boys

Production Company: Columbia Pictures



Evan Goldberg, co-writer and co-director (with Seth Rogen) of This is the End, acknowledges Being John Malkovich as an influence. "If you drilled down to the core of what I do, it's just ripping off little bits of Charlie Kaufman. Seth and I always loved The Larry Sanders Show too. And the popularity of reality television now also feeds into that idea of whether what we're watching is actually real. We thought working with our friends in that situation would be awesome because they're all comedians willing to take stabs at themselves."
http://www.theguardian.com/film/2013/jun/06/this-is-the-end-actors-play-themselves 

"The question was simple: What's the biggest movie they could make with the smallest budget? The answer, once they hit on it, seemed genius: a story about the end of the world, shot mostly in one room. The resulting short, made back in 2006, starred Seth Rogen and Jay Baruchel, and it was such a blast to make that soon the idea took hold: Let's turn it into a feature film! And let's cast all our friends in it, playing themselves!"

The result is one of our favorite comedies in a long, long time. This Is the End plays on many levels—"part meta-satire," as Baruchel puts it, "part group therapy." The cast members were encouraged to go off script, spoofing one another's images and their own with glee. "If I had a nickel for every time I heard that I play myself in every movie, I wouldn't have to act in movies anymore," says Rogen. "I wouldn't have to play myself in movies anymore! This lets us be in on the joke, you know?"

Kevin Hart: They said, "Kevin, we want you to be a part of this project, and we promise we will break protocol and not kill you first as the black guy in this movie."
http://www.gq.com/entertainment/movies-and-tv/201306/james-franco-this-is-the-end-june-2013 

"Nobody puts Jay in the corner"

https://www.youtube.com/watch?v=Y-M4o-5IYwo 
https://www.youtube.com/watch?v=Af8OCWfwsRo
https://www.youtube.com/watch?v=K3K-2BO-aGQ

Baudrillard - 5 Minutes

Baudrillard's theories of hyperreality have influenced postmodernism in the media. In his book Simulacra and Simulation, Baudrillard defined the term 'simulacra' as a simulation of a simulation. In other words, simulacra is a copy of a copy. Baudrillard believed that, eventually, the world would reach a point where there was no real. Everything would be a simulation or 'copy'. We would be living in a 'hyperreality'. It is argued that we already live in a hyperreality, where we have a greater emotional connection to virtual realities (e.g. social networks such as Facebook and Twitter) than we do real life. In many fictional media texts, such as movies, Baudrillard's theories take on a much more literal meaning. No example is more literally related to Baudrillard's hyperreality than The Matrix. In the film, Morpheus explains to Neo that life is a simulation. It is a virtual reality that everyone believes to be real as they have not experienced true reality. The film is so closely linked to the theory, that several references are made. In fact, Neo is seen with a copy of the book at the beginning of the movie.
Alternatively, Baudrillard's theory can be linked less literally. For example, reality TV shows, such as The X Factor, simulate real processes. Eventually, due to a show's popularity, people can begin to see the simulation as far more real than the reality. Talent shows such as The X Factor and The Voice are now seen as the 'easiest' or 'most common' way to get into the music industry, when in fact these shows only simulate the real process. Similarly, shows such as Next Top Model and Project Runway simulate the process of breaking into the modelling/fashion industry, but are more widely known paths to success in their respective fields.

Lyotard - 1 Minute

Lyotard defines postmodernism, in short, as "incredulity towards meta-narrative". This means that postmodernists are generally skeptical of large, overarching 'truth claims'. For example, science, religion and Freud's psychodynamic approach to psychology. Lyotard proposed that in order for the world to progress, small micronarratives would be far more beneficial.
In postmodern films, TV and other media texts, this skepticism of metanarrative is shown through a negative portrayal of metanarrative. Often, parody imitations of the metanarrative are used to undermine its credibility.
From this, Lyotard characterizes postmodernism through fragmentation. This is a technique seen frequently in postmodern media. There are many ways this can be done, for example, through intertextual referencing (making references to popular culture) or an unconventional narrative structure. For example, through flashbacks or jumping backwards and forwards in time.
Lyotard's postmodern theory has been largely criticised for being contradictory. The theory states that there should be no metanarratives. Yet, in this way, the theory is essentially proposing a grand, overarching theory that should apply to everything. It is another truth claim.

Jean Baudrillard and Jean Francois Lyotard

The Purge - Postmodern Film

The Purge (2013, Dir. James DeMonaco) is a horror/thriller set in a future America. One night of every year, all crime is legal for 12 hours. This is intended to lower crime rates throughout the rest of the year.
The film’s concept uses the postmodern idea of the flattening of affect to create a future false utopian society in which people ‘purge’ their hatred through murdering the less fortunate. 

Irony plays a large part in establishing the world in which the film is set. The film begins with a montage sequence, in which, shots of ‘the purge’ are presented to the audience. The non-diegetic classical music alongside this creates a sense of irony, as the soothing and calm orchestral sound juxtaposes the violent images edited to look like grainy security camera footage.                              

Following this, the audience are presented with a man driving through an idyllic neighbourhood, reminiscent of Stepford Wives (2004). Through the radio in his car, the flattening of affect is established through the media. Again, there is a sense of irony in the way the radio presenter talks about the poor being in danger during ‘the purge’ with such an upbeat tone of voice. In fact, everything from the weather to the setting is of an ironically positive nature. For example, the frequent use of the phrase “have a safe night”.

The family the film follows is stereotypical, with a husband, wife and two teenage children, a boy and girl. When the boy disarms the house’s security system and lets in a man off the street, the film opens up a political debate and suggests there is an element of postmodern paranoia.

The man is found to be homeless and being chased by a group of over-privileged teenagers. This represents the political issue raised by the film; that ‘the purge’ is the government’s way of eradicating the poor and boosting the economy. This gives the film a paranoid message, particularly as it is set in the future, in the year 2022. The film suggests ‘the purge’ is a reaction to the current rates of crime and poverty in the US, for example the parents tell their children “you don’t know what it was like”. The paranoid message is implicit, as the more prominent explanation for ‘the purge’ is to rid people of the hatred and anger that they hold onto during the rest of the year.

The over-privileged teenagers create the strongest sense of irony in the film. The costumes are smart and conservative; the boys wearing suits and the girls wearing long, white, flowing dresses. Furthermore, the teenagers wear smiling masks and only one of them removes it. However, the boy’s face is just as happy as the masks the others wear. This juxtaposes their keen desire for violence, something that has much more horrific and serious connotations. This chilling and sadistic portrayal helps to support the film’s paranoid message.

Overall, The Purge is a paranoid portrayal of the future that presents the emptiness of it through the flattening of affect. The film is extremely ironic, compounding this sense of emptiness through juxtaposing the violence of ‘the purge’ with the supposed utopia in which it is set.

Narrative Paragraph

Tim O'Sullivan (1998) suggests that media texts offer a way of telling stories about our culture. My music video for 'Mirrors' by Justin Timberlake aims to comment on the insecurities many people face in modern day society. The linear, parallel narrative structure follows the story of four separate characters, each of which represent a different but very common insecurity. The use of parallel narrative aims to highlight the idea that everyone experiences some form of insecurity. Furthermore, the omniscient narrative displays to the audeince the similarities between them and this is furhter reinforced by following Todorov's theory of equilibrium-disruption-new equilibrium through each of the four plotlines. Also, using Levi-Strauss' theory of binary opposites as all characters are struggling with the binary opposite of security vs. insecurity.

Genre Paragraph

Roland Barthes distinction between the two types of pleasure links to the intended effect of my video. I challenged convention and expectation by ending the video in a worse state than it began. Therefore, I intended to create jouissance in parts of my video. This means my video doesn't conform to a particular stage in Schatz' cycle, containing elements from both the classical and deconstruction phases. My video raises important social questions to do with ideas of acceptance and belonging, and doing so is a stereotypical convention of genre.

Narrative Breakdown: Mirrors - Justin Timberlake Music Video

Lyric Analysis: Mirrors - Justin Timberlake

 

Narrative Analysis

The linear structure of my music video for 'Mirrors' by Justin Timberlake suggests that it is strongly narrative driven. It uses a parallel narrative structure to follow the lives of four characters. This intends to highlight the idea presented in the video that everyone experiences some form of insecurity. Furthermore, the omniscient narrative style displays to the audience the similarities between the characters and each of their narratives. Repetitious cuts to the performer gives the audience a sense that the artist is telling them this message, therefore they are more likely to pay attention to what the music video is trying to portray to them.

Postmodern Music Video Analysis: It's My Birthday - will.i.am and Cody Wise

Postmodernism/Modernism Comparison Chart

 

Postmodern Music Video: It's My Birthday - will.i.am ft. Cody Wise

Question 1B - Representation

Question 1b Representation from Mr Smith

Question 1B - Media Language

Media language from chelseaharper

Question 1B - Genre

Question 1B - Audience

Audience theory from HGAED

Narrative Analysis: Magic - Coldplay

 

 

The music video has a very clear linear narrative structure portrayed in the style of a silent movie. Throughout, the audience are given a restricted viewpoint, meaning the audience are given as much information as the main character (and lead singer). This allows the audience to identify him as the protagonist.

The narrative displays elements of narrative theorists. For example, Claude Levi Strauss’ theory that all narratives are a series of oppositions is seen in this music video. The binary opposite of good vs. bad seen in the protagonist ‘Christophe’ and the antagonist ‘Claude’. Also, rich vs. poor is an idea presented by the narrative as Christophe is merely the woman, Cecile’s, assistant. Claude is a famous magician and a rich man. In this narrative the audience are positioned to view being poor as positive and being rich as negative. The semantic code, a theory suggested by Roland Barthes, emphasises the rich vs. poor divide. Cecile’s costumes, for example the elaborate headpieces and glamorous sunglasses portray the wealth of her husband. More obviously, the black and white nature of the video indicates the time period in which the narrative is set.

Another theorist whose ideas are present in this narrative is TzvetanTodorov. Todorov’s theory of the 5 stages begins with the equilibrium stage. In the music video, this stage is presented as a magician performance from Cecile and Christiophe. This situation and their relationship is portrayed in a particularly positive light. The disruption that follows is depicted in the form of Cecile’s drunken husband Claude. This leads to the recognition stage, in which Christophe notices bruises on Cecile’s arm. The attempt to repair the disruption is the climactic point of the narrative, at which point Christophe floats Claude up in the air out of view using ‘magic’. The new equilibrium is the final of the 5 stages and is very relatable to the original equilibrium, as the video returns to Cecile and Christophe performing a magic act.

It is possible to apply Vladimir Propp’s theory to the narrative, however it is not as closely applicable. The story does feature a hero (Christophe), a villain (Claude) and a princess (Cecile). However, the narrative is simpler and therefore does not include other characters that Propp proposed such as the dispatcher or the father of the princess.

 

The narrative relates to the lyrics of the song, by portraying both metaphorical magic and physical magic. The metaphorical magic is depicted through the relationship between Christophe and Cecile and this portrays the ‘magic’ described in the lyrics of the song. The magic act and the protagonist’s eventual discovery that he can levitate connects more literally to the title of the song ‘Magic’. This requires the audience to be more willing to ‘suspend their disbelief’, as the narrative requires they accept that the character can levitate at will. This partially limits the audience of the music video, as some people may not be willing to accept this as part of the narrative. This physical and supposed ‘real’ magic occurs quite near the end of the story, most likely allowing people to familiarise themselves with the world and establish some degree of verisimilitude the narrative is set in before requiring them to suspend their disbelief further.

 

 



Question 1B - Narrative

Key Concepts 1B

Key Concepts

Postmodernism Definition

A reaction to the assumed certainty of scientific or objective efforts to explain reality. Stems from a recognition that reality is not simply mirrored by human understanding, but is constructed by the mind trying to understand its own personal reality.