1. New Hollywood Film Foundation Degree Jameson & Postmodernism

2. Today’s lesson Introduce David Lynch Blue Velvet as a postmodern text Introduce Frederic Jameson Apply Jameson’s ideas to Blue Velvet

3. A Pair of Shoes Van Gogh, 1886 Diamond Dust Shoes Andy Warhol, 1980 Human story Social meaning Image contextualised Dust: Symbolic of the hard life of the labourer Representation of individuality and hardship Collection of shoes Sparkle of glitter No social context Consumer quality Designer brands Impersonal clones Superficiality and indulgence

4. WHO IS DAVID LYNCH?

5. https://www.youtube.com/watch?v=fjxGkHPlDl8&list=PL620B9D37D 8AB1392&index=3 Documentary – Part 3

6. Where ideas come from ? https://www.youtube.com/watch?v= Fxr-7O1Bfxg&app=desktophttps://www.youtube.com/watch?v= Fxr-7O1Bfxg&app=desktop0

8. Lynch’s film are tragedies about the overwhelming tendency for people to condemn themselves to a world of darkness and confusion, by succumbing to violence and the desire to control others

9. Lynch’s Influences

10. http://www.lynchnet.com/ads/

11. https://www.youtube.com/playlist?lis t=PL620B9D37D8AB1392 25 Things You Didn't Know About 'Blue Velvet' http://news.moviefone.com/2011/ 11/08/25-things-you-didnt-know- about-blue-velvet/ Mysteries of Love: Documentary on Lynch and Blue Velvet

12. HOW IS LYNCH RELATED TO POSTMODERNISM?

14. Frederic Jameson Critique of modernism and postmodernism from a Marxist point of view

15. WHAT ARE JAMESON VIEWS ON POSTMODERNISM & FILMS?

16. Postmodernism is expressed in “cultural forms developed in a capitalist society” Postmodern mode of production cultural dominant

17. ”depthlessness" “pastiche" “waning of affect" “fragmentation of affect"

18. A Pair of Shoes Van Gogh, 1886 Diamond Dust Shoes Andy Warhol, 1980 Human story Social meaning Image contextualised Dust: Symbolic of the hard life of the labourer Representation of individuality and hardship Modern invites to interpretation Collection of shoes Sparkle of glitter No social context Consumer quality Designer brands Impersonal clones Superficiality and indulgence Postmodernism: what you see is what you get

19. DEPHTLESSNESS “Postmodernism rejects traditional model of the depth” (i.e.Freud)

20. WANNING OF AFFECT “Subject has lost the ability to create a sense of continuity between past and future, and organise existence into one coherent experience"

21. FRAGMENTATION OF SOCIETY “eclectic piles of fragment"

22. PASTICHE “with the fragmentation of subjectivity, postmodern artists cannot create new styles, but imitate dead styles, without creating new meaning”

23. NOSTALGIA FILMS “Do not attempt to recapture or represent the “real” past but are structured around certain cultural myths and stereotypes about the past They offer “false realism:” films about other films, representations of other representations, films “in which the history of aesthetic styles displaces “real” history”

24. HISTORICISM “random cannibalism of pasty styles"

25. POP HISTORY: “AMERICAN TV AND HOLLYWOOD CULTURE" American culture is the source of postmodernism

26. FILMMAKING LOOKS AT THE PAST FOR INSPIRATION

27.  Historical films  Films that reinvent the past  Films that are set in the present that evoke the past

28. 1.Historical films 2.Films that reinvent the past 3.Films set in the present that evoke the past ?

29. ‘Nostalgia Film’ or ‘La Mode Retro’

32. Lack of historical depth: depthlessness Simulates the past through references to older films in a way that erases historical depth—with stylistic gestures without deeper meaning—and thus fails to recreate a "real" past Chinatown (1974)

33. THE FILM ANALYSIS & DISCUSSION.