Key terms:
- Pastiche – Work of art, drama, literature, music, or architecture that imitates the work of a previous artist
- Parody – A work or performance that imitates another work with irony or ridicule.
- Bricolage – A creation from the diverse selection of items within the world.
- Intertextuality – A link/relationship set up to deliberately bring two texts together.
- Referential – A piece containing references or allusions to another piece.
- Surface and style over substance and content –
- Metanarrative – A piece that contains narratives of history, experience, knowledge or grand ideas.
- Hyperreality – Distinguishing the real from the signifier of reality.
- Simulation (sometimes termed by Baudrillard as ‘Simulacrum’) – A representation or imitation of a person or thing.
- Consumerist Society – The high value of items which people buy, despite not needing them.
- Fragmentary Identities –
- Alienation – A state of being alone and without company.
- Implosion – Something violently collapsing.
- cultural appropriation –
- Reflexivity –
Postmodernism: The truth is slowly depleting, as everything in the world becomes a slightly changed duplicate of another, we are going to live in a duplicated world with no real solid values beneath it.
The truth no longer is the truth, it is a pastiche of it.
3 Example of parody in “Love Box in your living room:
Lord Wreath played by Paul Whitehouse
The “Peaky Blinders” scene played by Paul Whitehouse and Harry Enfield, “AND HAIR CUTS” obvious joke about The Peaky Blinders.
The play on “Top Gear’s Smallest car episode” with the small 1 seater car joke.
| Pastiche | Re-creation of a western film in the barn scene with infected pod. |
| Parody | Parody of the film within the film. |
| Bricolage | Many different times within the film, 1950s, 1997, |
| Intertextuality | The link between each game being obviously set out, i.e.. the make out scene in the back of the game room “Building up emotional tension for the next game”, the diseased bio pod within the barn scene that came with them to the ski resort scene to be set on fire, the killing game creator from the story to the real film world. |
| Referential | Itself. Actors speak about the film story in the film. At the end in the circle of game testers, describing their characters and what they did/if they were satisfied. |
| Surface and style over substance and content | |
| Metanarrative | Each scene seemed to be in a different era, the gas station scene was to be in the 1950s, midnight, big green trucks, nothing too advanced. 1997, where the film was made and where the testers are set to be. 1970s with the game room scene, very retro game room, looking like the very first game shops that originated in the 70s |
| Hyperreality | The actors can’t distinguish the game from real life, after many scenes of different very realistic scenes, they kill people, stab people, fight, make out, set fire to things. Then when it comes out the final scene, the dog isn’t what they think it is, it actually has 2 pistols strapped to its body, then when they kill the “game creator” the other “players” do not react, no screaming, no scares, they are not coded to, apart from the one character (the Chinese man) who was “coded” to react. This is an obvious indication that they are still in the game, its an “unfinished game playtest” so no wonder some of the characters don’t react, or have bad dialog, or bad accents or need their name screamed at them for attention or the specific voice line to move the game forward. |
| Simulation (sometimes termed by Baudrillard as ‘Simulacrum’) | The whole film is a imitation of itself, each scene having something to do with the last however being set in a different place and time every time. Sometimes a gas station, a hotel room, a ski resort, a church hall. All the scenes have a the same actors and people but they have different characters and plots. |
| Consumerist Society | The characters within the game and the testers, actually don’t need that game sim, they don’t need any sort of games, however they’re still there trying it, wanting to buy it. |
| Fragmentary Identities | Allegra plays different characters along the whole film, a assertive female, a excited teenager, assassin, nervous murderer. |
| Alienation | |
| Implosion | The way it very quickly goes from trying to figure out what’s going on within the “game” to losing trust and killing everyone in the idea of winning and then at the final scene, killing the “creator”. |
| cultural appropriation | |
| Reflexivity |
Revision (How it applies):
Gears of war:
Simulation:
Hyperreality: