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Essay / Research Paper Abstract
A 7 page paper which examines the 2001 film from postmodern and feminist perspectives, emphasizing its postmodern characteristics and how feminism represents a form of postmodern expression, discusses how the film is part of contemporary French cinema and evaluates whether or not it complements the genre. Bibliography lists 8 sources.
Page Count:
7 pages (~225 words per page)
File: TG15_TGampost.rtf
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Unformatted sample text from the term paper:
It is, to paraphrase singer and songwriter Lou Reed, a cultural "walk on the Western wild side." It has proven to be elusive and difficult to characterize, because the
rules seem to be a contradictory, "There are no rules." Postmodernism began as a reaction against the scientific technology that defined twentieth-century modernism, but the traditional social boundaries within
which it flourished were seriously challenged by French philosophers during the late 70s and early 80s, which were subsequently expressed in art, literature and cinema. By removing the barriers
of conformity, postmodernism considers the world and the people in it not through rational thought, but through the transitory concepts established by popular culture, which can be easily and effortlessly
disposed of when another fad comes along. Cinematically speaking, postmodernism in terms of French cinema, have often been featured in futuristic films or
quirky modern-day fairy tales that are influenced by the ever-changing trends of popular culture. Early forays into postmodern cinema emphasized what feminists described as a gendered gaze, or revealed
perceptions that were predominantly male and indicative of a continuing social patriarchy (Humm 7). Gradually, French feminism began making its presence known in postmodern films beginning in the late
1970s because it was a significant way of breaking down the stifling barrier of gender and challenged the "false notions" associated with it (Humm 7). Feminism has evolved into
an essential component of postmodernism because instead of telling a traditional gender story, it has chosen to explore the collapse of traditional parental roles (primarily described by gender), and elects
to tell stories that are heavy on parody or some type of exaggerated burlesque (Humm 142). It relies heavily upon visual elements that allow both protagonist and viewer to
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