The Development of Postmodernism, and its Influence on Art and Media
Postmodernism is not, and has never been a fixed notion. It’s inherent fluidity means that defining it fully is impossible. However, certain common denominators allow us to pin down a few characteristics that can aid in interpreting what is ultimately a multi-faceted attitude.
Firstly, Postmodernism was partly a response to Modernism, and its precursors. Society was disappointed with Modernism’s failure to prevail many of its key utopian themes. These included grand narratives such as creating a better world, through technological supremacy, and the introduction of Communism; a hopeful new societal structure. Postmodernism challenged this by introducing the notion of relativity, and nuance within perspective.
Modernism can be split into three different terms; Modern, Modernity, and Modernism. Firstly, the word Modern is used to describe a new idea, or attitude. Modernism was exactly this, and entertained a brand new way of life, optimistic and positive, providing an answer to society’s problems. Modernity dictates the quality of being modern, and Modernism is the movement itself.
The introduction and subsequent development of art and media heavily relied upon society’s growing lack of interest in realist works, prevalent throughout the 19th century. Artists of this time were preoccupied with achieving mirror like fidelity, and any philosophical depth was thus unattainable. The invention of photography meant that this competition became obsolescent, and the objectives of art and media were shifted entirely.
Photography was considered the Postmodernist art. The popular modernist attitude towards an original holding more value than a copy was radically altered. Photography brought value to duplicating.
Surrealism, which became largely influential around the 1920’s, was an art movement that drew in creators from many different backgrounds, including artists, writers, filmmakers, and poets. It was an intriguing and radically different method of creativity which sparked a revolution in the art and media community.
Surrealism can be split into two separate words; ‘realism’, meaning true and accurate, with ‘-sur’, meaning ‘over and above’. It was both a movement, as well as a lens, in which to view the world. It was at this point during the progression of Realism into Modernism, that philosophy became increasingly interlinked.
Surrealism focused on the interpretation of the unconscious as a justifiable form of existence and materiality. At the time, any depictions of sexuality and violence were discouraged, and so rejection of the current rules were heavily endorsed by the movement. There was a sincere desire to reject socially accepted behaviours. “We are still living under the reign of logic…The absolute rationalism that is still in vogue allows us to consider only facts relating directly to our experience. Logical ends, on the contrary, escape us.” Breton, A., 1924. Le Manifeste du Surrealisme. 1st ed.
It could be said that Surrealism, whilst a precursor to postmodernism, acted as a significant aid in its creation and development, with many of its’ characteristics attributed to the former.
Plato believed in a theory that explained society’s willing detachment from reality, by referring to a cave, used as a metaphor for our periphery. Plato explains that a group of prisoners sit inside the cave, facing a blank wall, with only dancing shadows to form their perception of reality. They are held captive by their wilful ignorance of the outside. It is all they have ever known, and their reluctance to experience anything else has left them content with where they reside. At some point, one of the prisoners manages to overcome their shackles of ignorance, in order to leave the cave, only to find themselves unable to comprehend the complexity of the outside world. They are blinded by the sun. However given time, the former prisoner learns to accept the sun, and all that exists beneath it as true. In doing so, he takes pity on the other prisoners, and ventures back to convince them to leave with him. However, his eyes have grown used to the bright conditions of the outside, and can no longer navigate the cave.
Photographs, like much of art and literature, are in many ways the shadows on the wall. Much of our world is perceived through photography. Places and things far out of reach are brought closer due to the vast array of images we, as humankind has collected over the century’s. However, whilst a photograph is the most accurate, and reliable form of evidence, it is still merely an interpretation. What the photographer decided to include and exclude determines the sentiment of the image. In this context, the photographer is the puppeteer, able to distort reality, and broadcast these untruths freely. “Photographs are as much an interpretation of the world than drawings and paintings are.” Sontag, S., 1977. On Photography. 1st ed. New York: Penguin Modern Classics.
This analogy can be linked closely to Modernism, and it’s shift into Postmodernism. In many ways, the grand narratives derived from Modernism, act as the puppeteers, attempting to provide solutions through sweeping assumptions. These include theories such as that history is progress, peace on earth is good, and religious teachings prevalent in the Bible can be used as absolute rules to live by, in order to lead successful lives. The act of leaving the cave, is a symbol of realisation that individual interpretation is an integral part of being human.
David Foster Wallace and the Problem with Postmodernism
David Foster Wallace is known as being one of the most influential writers in recent history, most famous for his creation of the book, Infinite Jest. Before committing suicide in 2008, he criticised Postmodernism, for the negative effects it had on his generation.
One of the most presiding cultural forces of his time included television, which he believed had become far too saturated with ideas of Postmodernism, such as deconstruction, and individual interpretation, disregarding modernist traits of sincerity and optimism. Postmodernism had in many ways, shut off our perception of the world through ideas such as; everything is a social construct, there are no absolute truths, only individual perspective matters, and yet simultaneously nothing matters. Tv shows that had previously relied upon human sentimentality in order to keep the viewer occupied were replaced by methods such as irony, causing an influx of shows admitting to themselves of their lesser intelligence. Instead of fighting condemnation, they embraced it, making it almost impossible to criticise them. They became more self referential, and took on a less serious demeanour. Any element of earnest sentimentality was replaced almost entirely by a lack of sincerity.
For Wallace, he recognised the negative effects that this would have. “Irony, entertaining as it is, serves an exclusively negative function. It’s critical and destructive.” Wallace, F, S., 1993. E Unibus Pluram: Television and U.S. Fiction.
Susan Sontag - Against Interpretation
Sontag, prior to her death in 2004, decried the interpretation of film, stating that it aims to provide, no matter how arbitrary, a logical explanation for intentional illogicality. Sontag saw a significant desire to over analyse film, as well as art and literature, to the point where aspects designed to elicit feelings of confusion were solved through rationality, against the will of the artist or writer. She believed that interpretation seeked to ‘manage’ art, and to tell it what was, or was supposed to be.
Sontag found this to have a negative effect on culture at the time. She believed that it impoverished our ability to enjoy art for what it was. She says that our craving to draw links from things we don’t understand represents our dissatisfaction with it, and that we should pay more attention to form. “Interpretation takes the sensory experience of the work of art for granted.” Sontag, S., 1966. Against Interpretation.
Sontag called for the analysis of the physical elements of film, including narrative structure and composition, stating that there is more to be taken in from these aspects. Sontag also believed that doing so would result in a better understanding of the film itself, more-so than interpretation.
This is in many ways, is another criticism of Postmodernism, and the actions it perpetuates. Individual interpretation, and it’s importance within the Postmodern movement was emphasised greatly .
Modernism and the rise and fall of communism are inextricably linked, due to the nature of both movements, and their relationship with one another. Communism defined, states, “The belief in a society without different social classes in which the methods of production are owned and controlled by all its members and everyone works as much as they can and receives what they need.” Cambridge English Dictionary, 2018. It is difficult to say whether or not one began as a result of the other, and which way around this may have been, however the link between the two is definitive.
The Modernist period encouraged broad generalisations of society and the way the people within it behaved, which partly gave way to the Marxist way of life. It wasn’t until Postmodernism began to flourish, that individual identity became the dominant way of life. Postmodernism encouraged people to find and belong to a certain identity, with individual expression becoming more welcomed. This could be the reason for why everyone now has a Facebook profile, advertising their personality, likes, and disinterests. It has now become an integral part of all our identities, where you can now reduce an entire person’s life to a online site. This contrasts with the Modernist era, where society desired the idea of conforming to one ideal. It is now the polar opposite.
Modernism was what propelled society into the future, providing solutions to problems, and altogether forming a more unified, organised society. The idea of communism was an appealing one at this point in time. Yet World War one and two happened, and the realisation that the organisations that would catalyse future technological developments also held the potential to destroy the world with nuclear weapons meant that doubt was cast over the entire situation, giving way to Postmodernism.
On the one hand, Postmodernism has allowed society to develop individual nuances through beliefs, and challenge the sweeping assumptions and generalisations that are perpetuated through Modernism. Postmodernism has developed a new epoch of art and media that catalyses individual expression and identity.
However, like David Foster Wallace mentions, this deconstruction of governing conceptualisation and perpetuation of increasingly significant individual expression has consequently led us down a path of narcissism, cynicism, and ultimately isolation.
By adopting certain traits from both movements, such as the optimism and sincerity of Modernism, and the individual expression and identity of Postmodernism, a symbiotic like relationship could be created, both mutually benefiting from each other.
Breton, A., 1924. Le Manifeste du Surrealisme. 1st ed.
Sontag, S., 1977. On Photography. 1st ed. New York: Penguin Modern Classics.
Wallace, F, S., 1993. E Unibus Pluram: Television and U.S. Fiction.
Sontag, S., 1966. Against Interpretation.
Cambridge English Dictionary, 2018.
