Postmodernism can help in our understanding of 'popular' film Essay

Postmodernism can help in our understanding of popular film - Essay ExampleHe went forrad to describe that this ideology of survival of humans was linked to as capitalism. Marxism described capitalism as a notion where there existed labour division among people and class separation was existence in the musical mode that where was a significant difference in power and wealth. As a result, Marxism conjecture was based on capitalism and he linked this aspect to explain how the society works in a cyclic manner. According to Birchall (2008) when Karl Marx theory of capitalism was related to craft, capitalism sought to create a value of some(prenominal) object in terms of money, so art was no exception. With that, art was also reduced to consequence value such that, even if the piece of art was regarded as high art, according to the capitalist theory by Karl Marx , the art definitely had a price value that was attached to it. According to Freeland (2001) Sigmund Freud spoke close t o art as a way to express unconscious feelings that the artist may even deficiency (p. 157). He explained that, The artist is urged on by instinctual needs... he longs to attain honour, power, riches, fame and the love of women but he lacks the means of achieving these gratifications. So like any other with an unsatisfied longing, he turns away from veryity and transfers all his interest, and all his libido, on to the creation of his wishes in the life of fantasy, from which the way might readily lead to neurosis (p. 157). This can be elaborated to mean that Sigmund viewed art as a matter that was related to an urge to produce art and get wealthy and famous but not as a means to express to the society. hash out how Postmodernism can help in our understanding of popular film Postmodernism in the film The Matrix Trilogy Baudrillard Jean was a philosopher who came up with theories related to postmodernism in art and the impact that this art had. Some of his works revealed aspects su ch as Simulacra and Simulations. According to Baudrillard (1994), thesimulacrumis never that which conceals the truth--it is the truth which conceals that there is none. The simulacrum is true (p. 1). He talked about the bearing and use of simulation and simulacra in art such that it would relate to reality. He described it as the extension by models of a real without origin or reality a hyper real. He went out front to describe that a lot of models have been created and simulated in a manner that would look real without doubt whereas the real is produced from miniaturized cells, matrices, and memory banks, models of control-and it can be reproduced an infinite number of times from these (p.2). When Baudrillard Jean verbalise this, he meant that simulation could be produced from aspects such as matrices and the output could also be manipulated and repeated all over and over again until the abstraction of the real object has been produced by the simulation vector. As a result, no clear distinction could be made between the real object or image and the rancid one as they both appeared inspiringly similar. When this methodology of Simulacra and Simulations was translated to the film, The Matrix