This week I read Chapter 6: “Enter Postmodernism” in Chris Barker’s Cultural Studies. There seems to be a lot of overlapping of Modernism and Postmodernism, and different theorists’ view appear to both concur and differ. The chapter is both dense and relatively lengthy—a attentive read took me about three hours; therefore, for my own edification, I would like review the chapter to reinforce what I learned and be able to embed the salient parts in my mind. In addition, I see on our syllabus that we will possibly be watching Woody Allen’s film Manhattan and and discuss it in terms of Postmodernity. One of our recommended texts, Romantic Comedy, by Tamar Jeffers McDonald discusses this particular movie and length, so I plan to revisit that particular chapter also. Actually, when I learned we would be watching Manhattan, I purchased the DVD a few weeks ago. Although I had seen it forty some odd years ago, I thought it was time to see it again. I’ll defer further comments until we watch the academy award winning film as a class and have an informative discussion how it related to Postmodernism and radical romantic comedy.
According to Barker, Modernism is engendered by enlightenment philosophers such of Rousseau and Bacon, economic theorists such as Marx, Weber, and Habermas, and novelists such as Joyce, Kafka, and Brecht; whereas, postmodernism films include Blue Velvet, Blade Runner, novelists such as E.L. Doctorow and Salman Rushdie, and philosophical thinkers as diverse as Lyotard, Buadrillard, Foucault, Rorty, and Bauman. According to Giddens, modernity started after the Middle Ages with the advent of industrialism, surveillance, capitalism, and military power achieved through industrialization. He points out that the nation-states are a relatively recent modern contrivance wherein the inhabitants identify with their respective state machinery. Technology’s benefits and dangers are embedded in both modernism and postmodernism. Self-identity is modernistic peroson’s “reflexive Project.” Faust is one of the emblematic modern figures. (Barker 182). This is all very interesting to me because this information contrasts with what I have perceived in my English literature classes. Barker refers to Baudelaire’s flaneur as a crucial figure of modernism (Barker 183).
Some of the optimistic self-image of modernism conflicts with the darker sides as Barker points out on pages 183 & 184. He maintains that “modernism rejects the idea that it is possible to represent the ‘real’ in any straight manner” (185). He goes on to discuss problems pf realism (185-188). I believe Barker says that the enlightenment belief that reason can add to progress can help demystify and illuminate intrinsically leads to modernism; however, the nuclear era has probably contributed to the postmodern era. A critique enlightenment by Horkheimer contends that while its ”logic leads not only to industrialization but also to concentration camps of Auschwitz and Belsen” ( 191).
Barker maintains that Foucault’s work has been very influential within cultural studies and expounds on it (192-193). Barker Illustrates how Foucault breaks with thepremises of classical enlightenment on pages 194-195. Foucault feels truth is complicated and elusive and differs with the interpretation of progress. Postmodernism questions the value of epistemology (196). Rorty’s, Gergen’s and Bauman’s thinking are articulated on pages 196-197 and thereafter. Bauman offers if the promise of postmodernism is modernity as an unfinished project (197 on). Habermas gives a sobering view of the public sphere and the deleterious effects of advertising, public relations industries, and the state as taking over our lives economically and in education (199).
Barker posits that the “emancipatory project of modernity is best served by a commitment to ‘postmodern’ public spheres based on difference, diversity and solidarity” (200). A discussion on “the reflexive postmodern” on page 201 underscores that the postmodern culture invites the ‘other’ of modernity and seeks out its voices in terms of feminism, ethnic diasporas, ecologists, ravers and travelers (201). On page 202 the modernist ‘regime of signification’ is contrasted with the postmodern “figural’ (202). Historical blurring of post modern culture in which the past and present are displayed together is given the name “bricolage” (202-203). Intertextuality is very relevant in film and literature of the postmodern era. Further markers of postmodern are bulleted on page 204, and film and television programs are illustrated as reflections of postmodern era. South Park (205) is case in point, and I see that South Park is one of the last texts we will be analyzing in our Popular Culture class.
Culture jamming (205-206) or “subverting mass media messages, especially advertising, through artistic satire is discussed. It seeks to resist consumerism by refiguring logos, fashion statements and product images in order to raise concerns about consumption, environmental damage and inequitable social practices” 206). Barker goes on to give some humorous examples of this with Barbie Liberation Organization and G.I. Joe dolls. Baudrillard on page 207 is discussed in terms of simulations, hyperreality, and the “schizophrenic” effect of saturation of world of communication. (208). Jameson discusses late capitalism, simulacrum, (209), and “transgressive postmodernism is broached at the chapter’s ending on page 210, finally ending with Chambers posits on late capitalism. The chapter entails blurring, overlapping, agreements, disagreements, and contradictions almost; it is a lot to cover and I realize this is an unusual reflection. However, I written it to help me for a future review and class discussion to ensue.
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