Matthew Flisfeder introduces readers to key concepts in postmodern theory and demonstrates how it can be used for a critical interpretation and analysis of Blade Runner, arguably 'the greatest science fiction film'. By contextualizing the film within the culture of late 20th and early 21st-century capitalism, Flisfeder provides a valuable guide for both students and scholars interested in learning more about one of the most significant, influential, and controversial concepts in film and cultural studies of the past 40 years.
The "Film Theory in Practice" series fills a gaping hole in the world of film theory. By marrying the explanation of film theory with interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Postmodern Theory and Blade Runner offers a concise introduction to Postmodernism in jargon-free language and shows how this theory can be deployed to interpret Ridley Scott's cult film Blade Runner.

- 185 pages
- English
- PDF
- Available on iOS & Android
eBook - PDF
Postmodern Theory and Blade Runner
About this book
Information
CHAPTERÂ ONE
PostmodernismÂ
andÂ
postmodern theory
TowardÂ
aÂ
theoryÂ
ofÂ
theÂ
postmodern
MyÂ
approachÂ
toÂ
postmodernismÂ
involvesÂ
ďŹrstÂ
providingÂ
aÂ
his-
toricalÂ
sketchÂ
ofÂ
itsÂ
emergence,Â
andÂ
especiallyÂ
itsÂ
relationshipÂ
toÂ
modernism.Â
Since,Â
inÂ
myÂ
view,Â
postmodernismÂ
isÂ
onÂ
theÂ
oneÂ
handÂ
theÂ
productÂ
ofÂ
transformationsÂ
inÂ
theÂ
politicalÂ
economyÂ
ofÂ
capitalism,Â
andÂ
onÂ
theÂ
otherÂ
hand,Â
initiallyÂ
aÂ
reactionÂ
toÂ
theÂ
commodiďŹcation
andÂ
institutionalization
ofÂ
modernism,Â
itÂ
isÂ
necessaryÂ
toÂ
ďŹrstÂ
lookÂ
atÂ
someÂ
ofÂ
theÂ
keyÂ
featuresÂ
ofÂ
modern-
ismÂ
andÂ
modernÂ
culture.Â
AfterÂ
providingÂ
anÂ
initialÂ
sketchÂ
forÂ
theÂ
historicalÂ
emergenceÂ
ofÂ
postmodernism,Â
IÂ goÂ
onÂ
toÂ
explainÂ
itsÂ
chiefÂ
characteristicsÂ
andÂ
themes,Â
andÂ
someÂ
ofÂ
itsÂ
methodsÂ
ofÂ
analysis,Â
includingÂ
categoriesÂ
suchÂ
asÂ
pastiche/parody,Â
irony,Â
double-coding,Â
allegory,Â
itsÂ
conceptionsÂ
ofÂ
subjectivityÂ
andÂ
identity,Â
andÂ
theÂ
conceptÂ
ofÂ
theÂ
hyperreal.Â
BearingÂ
allÂ
ofÂ
thisÂ
inÂ
mind,Â
though,Â
myÂ
centralÂ
argumentÂ
inÂ
whatÂ
followsÂ
isÂ
thatÂ
postmodernismÂ
hasÂ
madeÂ
someÂ
signiďŹcantÂ
gainsÂ
inÂ
termsÂ
ofÂ
itsÂ
critiqueÂ
ofÂ
theÂ
elitism,Â
Eurocentrism,Â
andÂ
phallocentrismÂ
ofÂ
modernÂ
culturalÂ
criticism;Â
itsÂ
theoriesÂ
ofÂ
mediaÂ
andÂ
newÂ
mediaÂ
addÂ
toÂ
ourÂ
understandingÂ
ofÂ
ideologyÂ
andÂ
representation;Â
however,Â
byÂ
disavowingÂ
theÂ
historicalÂ
materialistÂ
approachÂ
toÂ
culture,Â
theÂ
radicalÂ
andÂ
politicalÂ
potentialÂ
ofÂ
postmodernÂ
theoryÂ
andÂ
criticismÂ
isÂ
effectively lost.
Table of contents
- Cover
- Half Title
- Series
- Title
- Copyright
- Contents
- Acknowledgments
- Introduction
- CHAPTER ONE Postmodernism and postmodern theory
- CHAPTER TWO Postmodernism and Blade Runner
- Conclusion Postmodern theory after the end of history
- Further Reading
- Index
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