Jameson, F. (1991) POSTMODERNISM, or, The Cultural Logic of Late Capitalism. Duke University Press: Durham, NC. Available from: http://flawedart.net/courses/articles/Jameson_Postmodernism__cultural_logic_late_capitalism.pdf [Accessed 12th February]

During the research and pre-production stage of creating our transmedia project, it came apparent that Sweet Hostage was becoming a patchwork quilt of various themes and tropes based around the whole fairy tale genre. The Oxford Dictionary’s definition of parody is “an imitation of the style of a specific writer, artist or genre with deliberate exaggeration” and its definition of pastiche is “an artistic work consisting of a medley of pieces imitating various sources”, but Marxist and literary critic, Fredric Jameson reinvents these terms to highlight the movement in film and media from a modernist to a postmodern society.

Jameson believes that in the current postmodern culture, it is impossible to create anything new, that “stylistic innovation is no longer possible” and that postmodern culture is a simple regurgitation of past quotations. This is how he describes pastiche and an example of the postmodern pastiche in film is Star Wars (1997) which he describes as a nostalgia film, which the adult public can use to gratify a craving to relive the nostalgia of their past. Reading POSTMODERNISM, or, The Cultural logic of Late Capitalism alongside this module has helped me to always keep the theme of postmodernity in the back of my mind so that whenever we were creating something together, I would always be trying to think of ways to add to the pastiche effect like deciding the name or logo for an organisation to add in more fairy tale tropes.

It would be cool to be able to call Sweet Hostage a nostalgic transmedia experience and we would hope that both adults and children can play the game, watch the videos, tweet the characters and feel like they are reliving a small piece of their childhood. As well as introducing easily identifiable fairy tale characters such as goldilocks (Goldee), the wolf (Mr. Wolfe), Hansel and Gretel, Little Red etc. we have also brought in ideas from nursery rhymes (three blind mice) and fables (the magic porridge pot, porridge being the main contraband in the forest). We wanted to use lots of concepts and themes from various fairy tales to create familiarity and add humour in a similar way that The Simpson’s pull off when they collaborate with other popular cartoons. I feel as though creating this patchwork quilt, “cannibalisation of the past” (Jameson), would reach out to a wider target audience that just the original 14-21 year old age range because there are so many elements to it that I think anyone can relate to it and hopefully find the humour in it (despite Jameson’s cynical description of the pastiche form and how it lacks sense of humour).

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