Heroes and Villains in Postmodernism Essay

Postmodernism is a fictive hunting expedition that is said to welcome originated in the 1950s. As the name suggests, it is the alternate of modernism, and the maturation of postmodernism is visible in non only writings, just now excessively former(a)wise creative disciplines much(prenominal) as architecture, music, fashion, film and painting. Postmodernism was bring to passd as a reaction to its predecessor, and its rational, scientific, and historical aspects. This results in postmodernism be self-conscious, ironic, and experimental, concerned with the inst energy and undep closeability of language, and with epistemology, the study of what knowledge is.In saying this, the purpose of postmodernism is not to dishonor the bourgeoisie adult male, as the avant-garde movement arguably does, solely to dispute it- both by reducing it to its natural state, and by representing how farthermost it locoweed be stretched beyond its existing ideas. Postmodernism does this by introducing deconstruction and decline to question our ideas of certainty, identity and the truth and by the subr step to the foreine of hyperreality, pastiche, bricolage, recurring vul quarterized fibers, irony, authorial intrusions, non-linear narrative and self-reflexivity to bring more attention to the mankind immaterial of the textbook as a better of the world inside it.There is a true breakdown of what we know to be true, what we expect, and what we be open to see, and this is sure enough reflected in the depictions of heroes and baddies deep down postmodernist texts. This investigation looks into the role of heroic and nefarious roles in postmodernist texts, the aspects of the postmodern world that is pictured by these characters and how they developed, in relation to the societal and political flips that were gasoline to the flames of postmodernism.The characters that will be employ toinvestigate this argon the superhero Batman, and iodin of his arch-neme ses The turkey, using the films Batman Begins and The Dark Knight, both purchase order by Christopher Nolan, and the brilliant news jokester scripted by Brian Azz bello, and The Killing Joke, pen by Alan Moore Shrek from the film Shrek, directed by Andrew Adamson and Vicky Jenson billystick Pilgrim from the reinvigorated butchery Five by Kurt Vonnegut and Patrick Bateman from the novel Ameri preserve Psycho by Bret Easton Ellis.These texts compensate the wide-ranging reaches of postmodernism, including both what battalion may class as literature and mass assimilation as distinctive examples of postmodernism. However, in studying these texts, it is illuminate to see the disordered nature of postmodernism by the creation of the antihero- a plugger who lacks the tralatitious heroic qualities, who is f correctlyed, who the audience is ultimately able to bang themselves in.How do the texts themselves reflect postmodernism?The literary label of postmodernism can be applie d liberally, and encompasses a large number of texts, with differing postmodern qualities found in each wizard. However, e reallyplace the range of texts that is be investigated in this report, there argon some aspects that affirm out more completely than others. As this report focuses on heroes and villains within the texts, we will firstly look at the texts that were utilise to analyse the characters of Batman and the Joker.The texts used to study the Batman include The Dark Knight, Batman Begins, Joker, and The Killing Joke. All of these texts argon check off in the fictional city of Gotham, New York, which is a postmodern vista that reachs us advised of facing widespread social meltdown in which it is becoming increasely more problematical to make a interval between law and riot, heroism and terrorism, and sanity and madness. This shifting, sliding, disintegrating world is clearly portrayed in all of Nolans, Moores and Azzarellos meet.This postmodern setting, an arguably dystopian Gotham, is infested with crime and corruption, and fear and mistrust is abound- the commonwealth of the city cannot trust the authorities, nor can they trust any of the social or political institutions that they were brought up to believe in. This reflects the postmodern idea of disintegration- the dissolving of social norms and institutions on which many a(prenominal) people based their subsists, the removal of the absolute.The publishingsthat the citizens of Gotham face are not except almost pay off and wrong, or proper and evil, they are vicious lesson dilemmas presented by psychopathic and unpredictable villains. Also, the hyper true to life(predicate) nature of the vehemence that is depicted in both the films and the graphic novels is in like manner a postmodern aspect of these texts.For example, in the graphic novel, Joker, when a mob boss who went against the Joker was flayed alive and paraded on to a strip club stage or when Harvey Dents hired d etective/thug is shot in the head and hung tip down from a tree on the grounds of Dents mansion and Dent finds him in the morning, dripping brain matter all over his newspaper. Hyperreality is a deliberate blurring of the boundaries between fancy and reality, and the portrayal of hyperreal fierceness in postmodern texts is common, as they distort reality through with(predicate) a trivialization of violence and the effects it has upon human worlds.Hyperreal violence is also found in the novel American Psycho, in which Patrick Bateman, a yuppie Wall Street banker by day, and insane murderer by night, commits gruesome murders and sexual acts continuously throughout the novel, which are described with chillingly accurate detail. By the end of the novel, the reader is numbed to the graphic descriptions of violence and gore, needing them as part of his everyday life, just as pompousity as him going to work and engaging in mindless talk with his accessorys.However, in American Psycho, the most obvious, and most often seen, characteristic of postmodernism is its constant references to smear names, pop polish and the corporate world that Bateman is a part of. As the novel is written in a stream-of-consciousness style from Batemans point of view, the reader sees his thoughts as he passes modify, outward judgment on virtually every matchless he sees. Batemans thoughts as he and his girlfriend Evelyn see to it a party are a good indication of the noise of the novelEvelyn and I are by far the best-dressed couple. Im wearing a lambs fleece topcoat, a wool jacket with wool flannel trousers, a cotton shirt, a cashmere V-neck perspirer and a silk tie, all from Armani. Evelyns wearing a cotton blouse by Dolce do Gabbana, suede shoes by Yves Saint Laurent, a stenciled calf skirt by Adrienne Landau with a suede belt by Jill Stuart, Calvin Klein tights, Venetian-glass earrings by Frances Patiky Stein, andclasped in her hand is a single white bloom that I bough t at a Korean deli in front Carruthers limo picked me up.Carruthers is wearing a lambs wool sport coat, a cashmere/vicua cardigan sweater, cavalry twill trousers, a cotton shirt and a silk tie, all from Herms. (How tacky, Evelyn whispered to me I silently agreed.) Courtney is wearing a triple-layered silk organdie top and a long velvet skirt with a slow down hem, velvet-ribbon and enamel earrings by Jos and Maria Barrera, gloves by Portolano and shoes from Gucci.The constant allusions to brand names, fashion trends and collections, make the novel a part of, and a reaping of, the world outside of the text, the consumerist orderliness we have immediately. Unlike the fictional, dystopian city that Batman and the Joker live in, Bateman lives in a world that we are intimately able to relate to- our world. We, as the reader, have our attention called to the circumstance that the world the characters in the novel are experiencing is the same world that we live and contemplate part in.This is unlike most modernist novels, in which the floor and its characters are control to the world created in the novel, and the reader is only able to experience them through the windows of the novel. References to pop culture feature prominently across postmodernist texts, as seen clearly in the film Shrek. Although intended as a childrens film, the films are a perfect example of a postmodern fairytale. The films themselves are extremely intertextual, creating a horizontal surface with many, many fairytale characters woven into the virtuoso floor, such as the Wolf from Little Red Riding Hood, the third Little Pigs, the Fairy Godmother and the Gingerbread Man, among many others.This intertextuality in itself is a reference to universal culture, citing quintuple fairytales, stories, and nursery rhymes for many of the main characters. Other references to the world outside of the text include Robin Hood and his Merry Men move to Riverdance Princess Fiona slowing down in t ime like Neo in film The Matrix epoch she is fighting references to the film The Princess Bride and mimicking the style of blue shows and dating shows, for example when the Mirror on the Wall introduces Princess Fiona in a bachelorette-dating style.The directors also use irony at the start of the film Shrek, as the beginning scene of the film has a narrator telling the story seriously as a fairytale, when Shrek interrupts this and mocks the author when he says, Yeah right. and divide the page out of the book. Not only does the use of irony and wag in this scene make the audience alertthat the ogre we are introduced to is not a stereotypical one, we also see an interaction between the author and character, a barrier which is broken in postmodern texts to foreground that the text is a work of fiction.The audience is also made a state of ware of this as Shrek acknowledges the camera or audience when he turns to the camera and blocks it before kissing Fiona. This shows that the fi lm is self-reflexive, the characters of the film are apprised of film-making and its excessivelyls. The use of such postmodern techniques embeds the story of Shrek in a world that the audience is aware of, and while it may not fully be the reality we live in, it is one that we have grown up with and are comfortable with. Kurt Vonneguts Slaughterhouse-Five uses similar techniques to assert its postmodernism.It references popular culture, call downing Christmas carols, novels (a character refers to the novel The Brothers Karamazov, by Fyodor Dostoevsky, as everything there was to know about life) and history books about one of the main events of the novel, the fire-bombing of Dresden. However, despite these links to the outside world, the reader gets constant reminders of the concomitant that this book is fictional.The author, Vonnegut is present as a character in the book, as a soldier, a POW taken to Dresden along with Billy, making daily comments, and then informing the reader that That was I. That was me. That was the author of this book. The intrusion of the author into the narrative is also shown through the recurring enounce So it goes, which follows each mention of demolitionThe plane crashed on top of Sugarbush Mountain, in Vermont. Everyone was eraseed but Billy. So it goes. While Billy was recuperating in a hospital in Vermont, his wife died accidentally of carbon-monoxide poisoning. So it goes.The use of the non-linear narrative structure is also a postmodern aspect of the text- the main protagonist travels randomly through time, experiencing the events in non-chronological order. For example, his death is merely four sentences in the middle of the novel, described as merely being violet light and a hum.Similar to American Psycho, the usual significance of death is not present in the novel. However, while in American Psycho the reader was slowly desensitized towards death, in Slaughterhouse-Five, deathsimply does not matter, which challenges all the readers preconceived notions about death, and the sanctity of it.The temporary structure of the novel reflects what the alien Tralfamadorians teach Billy of their beliefs about time, that it is an concourse of moments rather than a linear progression. This means that they are able to accept death as a perpetually occurring event, hence their use of the phrase So it goes.Another postmodern technique is the use of recurring characters the character of Kilgore Trout, a science fiction writer, appears in Vonneguts other novels Eliot Rosewater appears in God Bless You, Mr. Rosewater Howard W. Campbell, the American-turned-Nazi, in Mother Night and Bertram Copeland Rumfoord is a congener of Winston Niles Rumfoord, who appears in The Sirens of Titan.These characters that appear over a number of books connects the discrete novels as being part of a greater whole as being part of a world outside its pages. Vonnegut also blurs the lines of genre in the novel in order to deconstruc t the idea of a war novel. The novel swings between the genres of science fiction and a biography, and Vonnegut mixes the fantasy of aliens and the planet Tralfamadore with the reality of war, and the authors presence and experiences of it.The term postmodernism sweeps many unalike, and seemingly unrelated, texts under its wide reaches, but most such texts use similar postmodern techniques to achieve the ultimate effect- of making the reader aware of the text as a work of fiction, and as an entity that exists as a part of a greater whole, rather than an object existing in a world defined by itself.In what ways are the heroes or villains of these texts postmodern?With the ideological, cultural, and social upheaval that was present during the time of the turn in of postmodernism, a new protagonist was born, which redefined our existing notions and stomps about the nature of these protagonists- the antihero. be as being the main character of a text, who does not birth the qualities of a traditional hero, the character appears in postmodern texts regularly.With the movement of heroes away from the evaluate good, we are also able to see changes in the villains of texts, and these revolutionary changes in the idea of heroes and villains,which comes down to the primal, instinctive skirmish between good and evil, can be seen through postmodern texts.The character of Batman is an incredibly complex one, having heroic qualities yet not conforming to the stereotype of superheroes, the strong, powerful men or women with a heart of gold, using their powers for the good of mankind. Batman is postmodern in that he breaks the mold for a traditional superhero, and rejects the story arc for one.His whole journey started not from a need of his to create good, but a twisted sense of revenge for his parents death, and in order to become develop his fighting skills. After his parents murderer is killed, Bruce Wayne leaves Gotham and disappears for 7 years, exploring the wret ched fraternity, and training with the League of Shadows. He obviously has a different set of morals than what is expected, when asked by Henri Ducard whether he pitied the criminals while he lived with them, he says, The first time I stole so I wouldnt starve, yes, I lost many assumptions about the simple nature of right and wrong.The recurring idea throughout the texts containing Batman is that he is not a hero, but he is whatever Gotham inescapably him to be, he is a symbolic representation for good, a symbol for the hope of a new, functional Gotham. As a man, Im flesh and blood, I can be ignored, I can be destroyed, but as a symbol that as a symbol I can be incorruptible, I can be everlasting In this way, he is astoundingly similar to Patrick Bateman. Patrick Bateman exists not as a person, but as a reflection of the decree that he is a part of.He is an image created to fit the standards and ideologies of the association he lives in. there is an idea of a Patrick Bateman, so me kind of abstraction, but there is no real me, only an entity, something illusory, and though I can hide my cold gaze and you can shake my hand and belief flesh gripping yours and maybe you can even sense our lifestyles are probably comparable I simply am not there. by the texts, we also see that the Joker is very similar to Batman, and this is what makes their relationship so psychologically complex. They are, in a way, similar to the two sides of a coin. As the Joker says to Batman, I complete you. The relationship between the hero and the villain is subverted and made incredibly ambiguous.Just as the Joker is a villain who does not identify even the basic rules of criminality by which society might identify and punish him, Batman is a hero who does not observe even thebasic rules of heroism so that society might recognise and glorify him. The Killing Joke ends with Batman capturing the Joker, but deciding not to kill him, and offering to aid rehabilitate him, because he need nt be out there on the edge anymore. You neednt be alone maybe Ive been there too.Maybe I can help. And they laugh unneurotic at a joke that the Joker tells him, which only reinforces their similarities, and the fact that they can both understand each other. The Joker, at one point in the Dark Knight, also says to Batman that they are both freaks. And they are, both characters being outcasts of society. barely while the Joker is there willingly because of his own calculating inhumanity, Batman is the scapegoat, the postward outcast who takes upon himself the violence of society and its corrupted institutions, in order that its illusions of law and order might be preserved, because he rationalizes that he is whatever Gotham needs me to beBecause thats what needs to happen. Because sometimes, truth isnt good enough, sometimes people deserve more sometimes people deserve to have their faith rewarded. The story of Batman and the Joker is postmodern in that it subverts most of the e xpected story arcs of both superheroes, and supervillains. It shows that these two need each other to be effective. The Joker we see simultaneously seduces and repels, fascinates and horrifies, and he provides the inescapable force which Batmans own persona is dependent upon.The character of the Joker is also very similar to Patrick Bateman, both displaying hyperreal violence in their villainy, and being incredibly perfidious narrators. In the Killing Joke, The Joker says, Something like that happened to me, you know. I Im not exactly sure what it was. Sometimes I call it one way, sometimes another If Im going to have a past, I prefer it to be multiple choice Ha ha ha Similarly, in American Psycho, we are unable to trust the memories of a psychopath, shown by his blank But I dont remember statements when recounting his murders and sexual exploits.Also, when we find that one of Batemans victims, a colleague of his named Paul Owen, is actually alive at the end of the book, we find o urselves being sure of the entire story- his character, the plot and definitely his grisly tales of murder and torture. Bateman and the Joker are both psychopaths- and in some ways, they are both forces of anarchy intheir societies, the Joker being an elemental force unconstrained by any glimmer of humanity, fear or vulnerability. As he claims in the Dark Knight, The only sensible way to live in this world is without rules.Meanwhile, Bateman has no regard for people as everything in his world is stringently material- he does not care when he kills, as all he feels he is killing is an Armani pantsuit. Neither of these characters have an object nor a oddment towards which they work, as Alfred, Bruce Waynes butler says, Some men arent feeling for anything logical, like money. They cant be bought or bullied, reasoned or negotiated with. Some men want to watch the world burn. However, while the Joker is invincible due to his absolute freedom from pain and any other human attachment, B ateman is confined to the expectations of his status and social culture.Bateman heavily refers to popular culture throughout Psycho, keeping up a steady stream of superficial commentary on all aspects of his life. In this way, the character of Shrek is similar to Bateman, as he also lives in a world where advertising, brand names, and social standing play a major part in ones life. However, looking at the characters, they are clear opposites- while Bateman has embraced the shallow culture of his time, and practices it dutifully, the society of Shreks time has turned him into a change cynic, one who would rolls his eyes whenever his companions would make a frivolous comment.This is related to the fact that Shrek is an ogre, and the film subverts the stereotype of the ogre as a villain, by molding him as the hero, and the actual Prince Charming as the whiny, cowardly villain of the film. This challenges conventional thinking, since we, the audience, have been conditioned to think of ogres as evil creatures who eat people and have no mercy. Through this film, we see that this is actually not the display case traditional villains can also become valiant heroes, given the right setting and sidekick.Billy Pilgrim, a cowardly, weak, time-travelling optometrist who is the protagonist of the novel Slaughterhouse-Five, is an unlikely war hero. He is weak, unpopular and pathetic to the audience, and becomes a laughable soldier. withal as a time traveler, he is described as a spastic in time. He is postmodern in the development of his character as an anti-hero, anordinary, if slightly on the pathetic side of ordinary, man.The story is driven the other the events more than the protagonist, since he is unable to be driven and strong-minded enough to change the world, or even his social world, incomplete positively nor negatively. He is another unreliable narrator, when he tells the world of his tales about the Tralfamadorians, he is taken to be insane, and not believ ed.Because he is such a weak character, he does not contradict the fact, but neither does he support it, and so the reader is still unsure at the end of the novel whether his tales of Tralfamadore were true, or whether they were merely an elaborate coping mechanism to help deal with the terrible experiences he suffered during the war.Billy Pilgrim is the ultimate postmodern hero- he is an ordinary person, who is thrust into a difficult situation, and similar to large volume of humanity, does cipher heroic or commendable. Through this, we also come to the acknowledgement that for every lauded, decorated war hero, there were hundreds of other average ones, and Billy Pilgrim is a perfect example of one.Through the analysis of these heroes and villains, we are able to see that postmodernism does indeed challenge the traditional notion of a clear cut hero and villain. Just as postmodernism blurs the lines of reality in texts, it also blurs the lines in our mind separating the good and the bad. Postmodernism depicts a much more realistic hero, an more and more more human one, who makes mistakes, is determined by what society makes it, and sometimes, does postcode heroic at all.He or she is present in postmodern texts generally not to inspire, like a classic hero, but to make the audience realize a truth about their lives, their societies, and the world some them. Villainy is depicted as a result of something, rather than a character trait. Postmodernism claims that villains are created by the expectations of society, and are therefore, an essential part of the heroes they work against.How did the external world influence the rise of postmodernism?The birth of postmodernism has been linked posterior to the political atmosphere of the time, in the atrocities of Stalinism. This, along with the horrors ofNazism, and the Holocaust, completely undermined the modernist narrative of progress, and the ability of language to describe such an incomprehensible atrocity. Thus, postmodernism was born, an era which looked not to change the world, but to redefine it, to make people look at truths differently. postmodern authors reveal many of the concerns of the world today, by both realistically and symbolically representing our world, our societies, through their texts and characters, and making commentary on them. For example, Vonnegut wrote Slaughterhouse Five as a response to war- It is so short and jumbled and jangled, because there is nothing intelligent to say about as massacre.The story is very jumbled, written satirically based on Vonneguts own experiences in WWII and being a witness to the firebombing of Dresden, which killed 130,000 people. The use of a pathetic protagonist indicates his anti-war stance- the novel was published in 1969, when USA was in the midst of the Vietnam War. During this time, Vonnegut was an outspoken pacifist, and amateur of the war.Just like Vonneguts novel is social commentary of the issue of his time, Bret Easton Ellis uses American Psycho to explore newer, more disturbing trends in horse opera culture. He looks at the desensitization of our culture to violence, the increasingly gory films, novels and graphic novels we are exposed to, and how this tendency of the media can find its way back to people who are easily influenced by it, such as Bateman.He also criticizes our obsession with popular culture, image and brand names, by depiction his protagonist, a man with the perfect face, the perfect clothes, and the perfect image, as a psychopath, a man who kills for the fun of it at night. The popular-culture-mania of our time is also explored in Shrek, as it is a childrens movie, and even children when they watch it, recognize the references to other fairytales and brand names. This reflects how we are conditioned to believe and understand popular culture from a very young age.The story of Batman and the Joker, on the other hand, delves a little deeper into the issues of our society. They un cover the crisis of values in which America, and most of the western world, finds itself at the beginning of the 21st light speed.Cultural theorists portrayed the late 20th century in terms ofthe postmodern condition an era in which traditional values, identities and social institutions were disintegrating and being replaced by twisted narratives, conflicting truth claims and multiple identities. Gotham City reflects what our society may be looking forward to, with the increasing fragmentation of our world into splintered groups and subgroups.Where does that leave us?The era of postmodernism is one that is difficult to define, but it still heralded as a time of big cultural change, which redefined the way people look at the world today. This can be especially seen in its portrayal of heroes and villains. Gone are the years macho superheroes, instead we have flawed, sometimes even pathetic protagonists, the anti-hero which is increasingly similar to the ordinary person.The villain s, on the other hand, are unreliable, and cannot always be expected to do the evil thing, they too are human they too have backstory which elicits sympathy from the audience. By subverting the traditional stereotypes about the world today postmodern authors and directors warn us of the dangers of human nature and culture, and the bleak future tense we may be looking forward to, if we let the dangerous conduct of our culture continue.BibliographyAdamson, Andrew and Jenson, Vicky. (2001) Shrek, Dreamworks Pictures Accessed 11/07/12Adamson, Glen, et al. (2011) Postmodernism Style and Subversion, 1970-1990. London V&A Publishing. Accessed on 26/07/12Azzarello, Brian (writer), Bermejo, Lee (artist), Gray, Mick (illustrator). (2008) Joker. DC Comics Accessed on 26/07/12Ellis, Bret Easton. (1991) American Psycho. 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