The Postmodernism in the Macedonian Film – part II

/, Gallery, Blesok no. 28/The Postmodernism in the Macedonian Film – part II

The Postmodernism in the Macedonian Film – part II

eclecticism

#3 A significant creative integration of the different tradition types appears because of the new eclectic approach towards the author’s originality and the art-deed, as well as towards the genre and style. Abandoning the imperative of the new and the original, the eclecticism in this meaning uses all means that are available. It quotes all the known styles of the era. That’s why this postmodern film works are of multi-genre nature. They begin from an ideology of mistrust towards all values; it is a theory of the exhaustion and decay when everything is already said, so we can only quote and re-tell what’s already said.

pastiche

#2 The pastiche is the most used eclectic form in this films (French: pastiche – a mixture, an imitation of some author’s or some poetics’ manner of work or structure with intention to be presented as the real thing, a deception, false presentation, a forgery; pastiche – a text made by the means and structures of the another, imitation). Because there is no subject or author’s individuality and there is nothing new or any linear history, a postmodern space is being created, in which all practices and styles are allowed. In that freed game of “choices” doesn’t exist any determining system that would create any priorities or build any hierarchy of meaningful values. All the elements and codes are present in a relieving and uninteresting sense, freed if any modernistic imperative. The use of the pastiches in the postmodern art relieves the styles not only of their specific context, but also of their historical sense. In that direction, Goodbye to the 20th Century is functioning as a mixture of pastiches – of post-apocalyptic drama, family tragedy, futurist spectacle and black & white documentary… They are mixed with no regards to their real historical-art context, but they also enter in some kind of the post-historical space, in which all practices are allowed, all styles and strategies from the past, and in which even the chronotop (with no matter how directly determined it is) doesn’t seem familiar and fixed into the concrete time & place. It’s about the apocalyptic conscience of the postmodern, which looks upon the history as upon a ruin (Killb, 1988:24), or as a paranoid conspiracy theory, like in Maklabas.

2018-08-21T17:23:36+00:00 October 1st, 2002|Categories: Reviews, Gallery, Blesok no. 28|0 Comments