Postmodern media manipulate time and space To what this extent does this definition apply to texts you

have studied?
Postmodern media is generally considered to be anything which openly illustrates to its audience that it is completely unreal. This idea provides a strong basis for the definition that time and space is often manipulated throughout postmodern media; it holds no respect for reality and boundaries of real life. Postmodern films contain many examples of time and space manipulation. Quentin Tarantinos 2009 film Inglorious Basterds manipulates our idea of space by showing us we are literally looking at structures built for a film set. We see this from the very beginning as the camera drops below floorboards to reveal the Jews in hiding; this could not be possible in real space and so the a structure is created, manipulating this space to create a more effectively tense scene. Although the film is a hybrid of genres, it is primarily considered to be a war film. We can apply Fiskes theory that from our understanding of war through previous knowledge such as other war films, programmes or the news we understand that travelling in and to countries in the midst of war to be something of a challenge. Although we have never experienced such events ourselves we have a certain understanding from previous texts that we know of. This allows us to understand that Tarantino manipulates time in Inglorious Basterds by showing no travelling to and from destinations. We can thus apply Levi-Strauss theory of deletion to the travelling as the American soldiers arrive in France with little acknowledgement for their journey or any struggle they may have come across. In comparison to a more realistic war film such as Saving Private Ryan in which travelling is a key part, we see more clearly a manipulation in time from the postmodern Inglorious Basterds. Another manipulation of time can be taken from Tarantinos use of modern music in a film set in the 1940s. The modern music brings the film forward in time in terms of what we understand from the tone it sets. For example the blaxploitation music when a character is introduced draws in our attention so we understand this character is relevant to the plot of the film. We see this again with the David Bowie song Cat People, used to represent a Femme Fatale character style in Shoshanna as she prepares to burn down the cinema. The music doesnt match the time but this style represents our understanding of the character. This applies Baudrillards theory of simulation, although the music isnt relevant to the time the film is set, it is relevant to the present day and the signs and symbols of music we understand as an audience that reinforce our notion of reality. Time is manipulated to increase the audiences understanding of the effects that Tarantino is trying to create. Time and space is further manipulated in the film by the fragmented narrative throughout. This includes the screen freezing when characters are introduced and the writing on the screen during these freezes as well as the distinguishing of chapters throughout the story. It both reminds us of the hyper real part of the film and that it is in fact a fictional story with chapters and so perspectives of time and space are vague and readily controlled by the Director. We also see cutaways with voiceovers, such as the info film about nitrate film. This shot not only cuts to a separate time but also uses an entirely different space; the film is British, taking us to an entirely different place for a few seconds. A further manipulation of the narrative is when slow motion is used as both Frederick and Shoshanna are shot. Time is slowed to emphasise the events unravelling on screen; this enhances the tragic element of the scene. This takes us back to the idea that postmodern media is based on the idea of surface and appearance; the scene appears more tragic because of this postmodern aspect. Kick Ass manipulates time and space by amalgamating comic book fiction and real life. We see a cutaway of a comic book sequence that takes us back in time to explain the back story of Big Daddy and Hit Girl. This fragmentation of the narrative is also used with comic book style captions on the screen during the film. We see further time manipulation during the torture scene of the film. The scene is central to the film with the protagonists life at risk as well as the other heroes. The use of slow motion on top of the strobe lighting draws out and dramatises the scene.

2011 film Drive also features a lot of postmodern elements. Similarly to Inglorious Basterds, there are scenes that cutaway to what appears to be a different space entirely. Scenes that feature The Kid and Irene are framed and lit differently to the rest of the film; this gives a sense of a different parallel to the crime aspect the film centres on. The golden filter that we see in these scenes as well as the undisturbed locations contrast heavily to the city life images we get from the birds eye view shots of LA throughout the film. These shots of LA reflect Baudrillards theory that postmodern media is based on surface as oppose to depth. We see images of Los Angeles at night in what we understand to be a crime film and we relate it to our ideas of signs and symbols from what we know about the city from previous Medias; for example Grand Theft Auto. The postmodern idea of hyper reality also features heavily in this film. The simulacrums of LA that we see from the birds eye view shots represent a lively populous city. However the film centres and involves only a select few individuals, disregarding the chaotic space we understand the film to be set within; the unrealistic lack of people in the film is hyper real. Another manipulation of time within the film, again similarly to Inglorious Basterds is the use of music that doesnt match the time period in which it is set. The film uses a lot of retro style music which could be due to the clear inspiration of the film The Driver which was made in the late 1970s. The opening sequence of The Driver is very similar to that of Drive and so setting a similar tone with the music would establish a link with a literate audience. We can also apply Fiskes theory of understanding what we know of certain circumstances only from what we have learnt in previous Medias. Emulating this style at the beginning of the film gives us preconceptions of what we expect from the film as we understand that this music style along with the idea of a getaway driver in LA is reminiscent of films from past decades such as The Driver. The IT Crowd also manipulates time in its opening credits. The theme tune resembles the 8-bit music that would be heard on computer games from the 1980s; the visuals also reflect this time period however the programme is set in the modern day. The link to the 80s in continued in intertextual references such as 80s band Fine Young Cannibals. 80s TV show Emus World is also referenced by Douglas Reyhnam as he answers the door. Using different references from different time periods applies Levi-Strauss theory of bricolage; taking different time periods and manipulating them to be relevant within a modern text. The hyper real pastiche of Jen in a stereotypical Soviet Russia setting manipulates space; particularly when it combines both the Soviet Stereotype and British modern way of living. This is perhaps best seen when she travels on what seems to be an extensive journey in bleak conditions to what is just a British run down Bus Stop for a cigarette. After resolving to stop smoking she returns to a level of reality by shouting for a taxi. This hyperreality is definitively postmodern, as are the stereotypical ideals of Soviet Russia; such as the dull, bleak looking lighting and Russian accent that Jen acquires. A manipulation of time is also seen in Flight of the Conchords with the semi-episodic structure they feature by having on-screen text about what time period we are watching; for example five minutes later. Similarly to both films and the IT Crowd time and space is manipulated with a cutaway scene during the text. This occurs primarily when a song is featured in the programme; time and space are manipulated in this hyper real idea of the band being in a music video that is relevant to what is happening in their reality at that period in the show. Taking us to this manipulated hyper real idea of time and space also introduces further postmodern factors. The fourth wall is broken as Bret and Jermaine address the audience to whom they are performing. Combining two separate situations that involve different concepts and conventions is a key manipulation of time and space in this programme. Postmodern music also manipulates time and space. Kramers theory sights that postmodern music shows disregard structural unity. This can be seen in Jay-Z and Kanye Wests song Niggas in Paris where a quote from the film Blades of Glory interrupts the continuity of the music. Here space is manipulated to represent an opinion of rap music within a rap song. This irony is another postmodern feature from Kramers Theory.

Coldplays album Viva La Vida could also be considered postmodern. It takes factors from different time periods and manipulates them into a current album. For example, the theme of the album is based around the French Revolution, as is the album cover. The title of the album is Spanish with the inspiration taken from Mexican artist Frida Kahlos painting. This bricolage manipulates different time periods to make a contemporary British album. Mixing different cultures is also representative of how postmodern music manipulates time and space. M.I.As song Bad Girls fits into the idea of texts being hybrid; it takes elements of dance, traditional Arabic and electronic music and combines them into an original style. Taking music from different cultures is a manipulation of space. Her music video for this also represents this idea; it is set in what we understand to be a middle-eastern desert but she is seen wearing a much more western style of clothing. This combination of cultures is an example of postmodern media manipulating different spaces. Taking older songs and remixing them into a more contemporary style is a common feature of time manipulating time and space in postmodern music. Artists such as Madeon and Girltalk remix old and new songs to create new music. For example, Madeons Pop Culture track features thirty-nine popular songs mixed together to form a new song. This idea fulfils several of Kramers theories such as it avoids being a totalizing form, includes fragmentations and considers technology to be a key part of production and essence of music. Overall, postmodern media does manipulate time and space. The texts I have looked at reflect this primarily by combining different time periods by manipulating them to make a contemporary text. Fragmented narratives are also a key feature of this definition, and features throughout different types of media.