Poststructuralism and Postmodernism
PART I: Freedom! '90" George Michael
The music video for "Freedom! '90" by George Michael is a visually iconic and cinematic piece directed by David Fincher. Released in 1990, the video is known for its stylish and memorable scenes. The video does not feature George Michael himself; instead, it showcases five of the era's top supermodels: Naomi Campbell, Linda Evangelista, Christy Turlington, Cindy Crawford, and Tatjana Patitz. The supermodels lip-sync the lyrics of the song and perform various scenes. The video is a departure from Michael's earlier image and marks a significant moment in his career. It symbolizes his decision to step away from the spotlight and let his music speak for itself. The models, who were at the peak of their fame, are shown mouthing the lyrics, highlighting a transition from the image-driven phase of George Michael's career to a focus on his music and artistic expression. The video has a chic and glamorous aesthetic, combining visually stunning scenes of the models in rooms of an abandoned house, posing through streaks of sunlight and hues of blueshimmering on their faces, glimpses of water, and modern means for musical transmission.
Thinking in terms of Deleuze’s theory on repetition, multiple mediums of audio transmission can be seen throughout the music video. At 0:0:14, one of the models uses a laser to turn on a futuristic vinyl stereo setup, then the shot pans to a vhs tape player. The shot switches between these two music playing set ups and turns to a cd cover of george michael’s album “Listen Without Prejudice”. This emphasis on the continued auditory media as a means of communication suggests the duplication of the same ideas transcending generations of innovation, as well as creating and distributing music throughout multiple mediums to send a message. This evolution of technology containing an evolving idea of transmitting auditory media to the masses represents Deleuze’s idea that replication is a means to transform the meaning of an idea. The more these technological devices evolve, the more efficient and optimized listening to music can be, the more capabilities are possible and the more people can be reached via music.
Through the perspective of Baudrillard, it can be interpreted that Michael is creating a new hyperreality for himself in the video. By using specific signs throughout the development of the shots, Michael distorts and solidifies new meanings of objects within the space. For instance, at 0:2:18, a motorcycle jacket is seen burning on its hanger. Delving into the meaning in real life, the BSA jacket shown in the video was an iconic piece that Michael wore during the Faith tour, where he experienced huge commercial success as a pop star. By burning the jacket, Michael metaphorically sheds his old identity and embraces a new sense of freedom and authenticity. The act of burning the jacket serves as a symbolic rebirth and a declaration of independence from the expectations of the music industry. Using Baudrillard’s terms, the burning of the jacket, as a form of simulacra, denotes the destruction of the reality Michael was currently in, and the creation of simulation through Michael’s autonomy of creative direction. Through another analysis of the signs in the video, the different forms of electronic mass media, Baudrillard’s theory suggests these signs maintain the illusion of reality.
At 0:0:45, Naomi Campbell is seen listening to the song through headphones, on top of the other mediums of media transmission previously mentioned. In addition, the main feature of the video is all of the models lip synching the song instead of Michael himself. Baudrillard’s theory applies to how mass media, especially in the form of electronics, maintains the illusion of reality. These auditory devices in essence “control” the models in this hyperreality, using them as the means to convey the message of the song. The video begins with them turning on the devices, and ends with them conveying the same lyrics that were being played by the electronics.
Finally, examining the video utilizing the theories of Jameson’s postmodernism, the video can be interpreted through symbols used of the shallow nature of commercialization and consumer culture. Jameson's criticism of postmodernism includes the notion of "empty signifiers," where cultural products lack depth and critical engagement. In the video, the glamorous and stylish representation of supermodels, although visually striking, may be seen as lacking in substantive content. The emphasis on aesthetics and surface-level appeal aligns with Jameson's critique of the shallowness in postmodern cultural production. Though this may be true just looking at the visual elements in the video, the lyrical message behind the song tells another story. Famousky, Michael sings the line “sometimes the clothes do not make the man”. Meaning that one may be satisfied with a material means of happiness, but they are a shallow representation of the individual beyond their capitalistic idealization. The use of models in the video highlights the need to use commercially accepted visions of beauty and glamor to convey messages to the masses, because this is used by the ruling class. The main theme of the song is Michael’s desire to distance himself from the highly commercial pop star image of himself, singing “But today the way I play the game is not the same, No way, Think I’m gonna get myself happy”. He rejects the emptiness of his previous images, and wants to pursue genuine happiness through feeling genuine in his artistry. Models are often used as surface level vessels to promote brands and corporations, it can be interpreted that Michael uses them to convey the messages of “Freedom” to encourage people to break free from the shackles of consumer culture and pursue happiness outside of material gain.
Through Deleuze's theory on repetition, the use of multiple mediums for audio transmission symbolizes the evolution of technology and the transformative power of replicating ideas across generations. In Baudrillard's lens, the video becomes a narrative of Michael creating a new reality for himself by distorting and solidifying meanings of objects, especially through the symbolic act of burning his iconic jacket. Baudrillard's hyperreality concept is evident in the models being controlled by electronic mass media, maintaining the illusion of reality. Furthermore, Jameson's postmodernism critique unveils a juxtaposition between the visually glamorous representation of supermodels and the song's deeper message, revealing the emptiness of commercialization and consumer culture. The video challenges the superficiality of postmodern cultural production by using models as vessels to convey a message urging people to break free from the constraints of a consumerist society that controls them.
What scenes in the video stood out to you in terms of commercialism/consumerism, how does Michael portray this?
Do you think George Michael is truly breaking free from a commercialized pop star when he continues to release music within the culture industry?
PART II: "1979" The Smashing Pumpkins
The music video for "1979" by the Smashing Pumpkins, a popular 90s Rock song depicts the lives of suburban youth in the 1970s. It features a series of seemingly random and disconnected snapshots that capture the experiences of teenage life, including house parties, driving around town, and various interactions. The video conveys a sense of nostalgia and the carefree spirit of youth, emphasizing the themes of rebellion, friendship, and the search for identity. The visual style is characterized by a documentary-like approach, with a mix of intimate moments and energetic scenes, reflecting the diversity and complexity of youth culture, along with an idealization of being young. The scenes are depicted in snapshots like memories that fill the viewer with a sense of yearning for a time gone by. Overall, the video complements the song's themes and provides a visual narrative that resonates with the song's exploration of the teenage experience in 1979.
Fredric Jameson in his article “Postmodernism and Consumerist Society,” delves into the transformations in social, economic, and cultural realms instigated by postmodernism. It challenges the conventional idea of a 'post-industrial' phase and underscores the heightened dominance of capitalism. Jameson critiques the perspectives of thinkers like Daniel Bell, contending that capitalism has solidified its influence. The reading explores how shifts in capitalism's mode of production align with novel forms of cultural expression. It characterizes postmodernism in literature, music, film, and environments by its emphasis on surface, pastiche, and paranoia. Jameson examines pastiche in postmodernism, defining it as a neutral form of aestheticism devoid of parody's satirical impulse. This reflects a move towards stylistic diversity and heterogeneity. Additionally, he addresses the "death of the subject" in postmodernism, challenging the notion of unique personal identities and individualism as central tenets of classical modernism. Through this perspective, the music video for “1979”, complemented with the lyricism, engages with nostalgia coupled with an idealization of consumer culture associated with youth culture. For instance, the video features several scenes of teens driving in a vintage car (first seen at 0:0:23). The car is associated with teenage freedom and a sense of identity, leading to endless possibilities and activities that the teens take advantage of. It's also the very function of the fleeting nature of youth itself The suburban setting also provides an easy showcase for consumerist culture. According to Jameson, while talking about the movie Body Heat, he explains “One begins to realise after a while that the small town setting has a crucial strategic function: it allows the film to do without most of the signals and references which we might associate with the contemporary world, with consumer society - the appliances and artifacts, the high rises, the object world of late capitalism (170)” (1). All of the images shown throughout the video, the cars, the long streets to cruise, the band, and the parties are placed among a suburban setting, as the singer sits in the back of a car reflecting and longing for the image of a “simpler time”. This simplicity however, encourages the material exchange of money for experience, dimming the sense of uniqueness that is commodified by the feeling of youth. Thus, youth culture and consumer culture go hand in hand. Youths think that their experience is shaped by a series of unique memories, but really the subconscious influence of materialism is showcased right in front of their eyes. Overall, the video and lyrics depict a constructed, simulated representation of youth culture and nostalgia, reflecting the influence of media and cultural simulations on our perceptions of reality.
Gilles Deleuze's "Introduction: Difference and Repetition" provides a foundation for his philosophical exploration of difference and repetition. Deleuze challenges traditional philosophical concepts by emphasizing the primacy of difference over identity and repetition over representation. He critiques the way Western thought has historically focused on identity and homogeneity, arguing for the significance of diversity, multiplicity, and differentiation. Deleuze introduces the idea of "difference in itself" and explores how difference operates as a creative force, generating new possibilities and forms. He also investigates the concept of repetition, not as a mere duplication of the same but as a transformative and generative process to shape new meaning out of reproduction. The introduction sets the stage for Deleuze's intricate analysis of these themes throughout the rest of the work, challenging conventional philosophical paradigms and paving the way for his unique philosophical perspective. Deleuze's concept of repetition as a transformative process rather than a mere duplication resonates with the themes in "1979." The song and its video capture the repetition of certain experiences in youth culture, such as parties and social interactions. Deleuze's idea of repetition as a creative force that generates novelty. It’s important to note that the video and song was written in the year 1997, yet the video takes place, like the title suggests, in the year 1979. Thus, the video is a repetition of the representation of youth culture in the 1970s. Although not identical, this representation allows for interpretation of what this time period looked like, and develops new meaning from the spectatorship of the viewer. Deleuze emphasizes that repetition of signs, especially relating to the concept of the “self” are not what signs are, but rather their transformative properties of what they can become. Deleuze challenges fixed identities, and the music video portrays a fluid sense of identity within the youth culture it represents. The diverse scenes and interactions showcase a multiplicity of experiences and personalities, resonating with Deleuze's call for an understanding of identity that goes beyond rigid categories. Due to the diverse experiences in the music video, throwing chairs into the pool (0:2:35) and bowling with bottles in the grocery store (0:3:53), these ideas are representative of the heterogeneous culture centered around youth, though unified under one concept of being carefree. All in all, Gilles Deleuze's philosophical theory serves as a philosophical groundwork that challenges conventional notions of identity, emphasizing the transformative nature of difference and repetition. This resonates with the themes in the Smashing Pumpkins' "1979'' music video, where the repetition of youth experiences becomes a creative force generating new meanings. Despite the video being set in 1979, its repetition serves as a representation of the era, allowing for diverse interpretations and emphasizing Deleuze's idea that signs transform and generate novelty. The video's portrayal of fluid and heterogeneous identities aligns with Deleuze's call for understanding beyond rigid categories, showcasing a multiplicity of experiences within a unified concept of carefree youth culture. Through scenes of unconventional activities, the video captures the transformative properties of repetition, illustrating Deleuze's philosophy in the context of youth identity and cultural representation.
Jean Baudrillard's "Simulacra and Simulations" delves into the concept of hyperreality, where simulations and copies come to dominate and replace the original reality they represent. Baudrillard argues that in contemporary society, signs and symbols no longer point to an underlying reality but instead create a self-referential system. He introduces the idea of simulacra, which are copies without an original, and suggests that simulations have become more real and influential than the reality they mimic. Baudrillard explores the impact of media, technology, and consumer culture on shaping our perceptions, challenging traditional notions of reality and representation. The essay delves into the dissolution of boundaries between reality and simulation, questioning the authenticity of experiences and identities in a world increasingly saturated with signs and images. Putting this lens over the analysis of “1979”, a hyperreality is created by the setting of the music video. This simulation capitalizes off of the simplistic nature of youth and creates a feeling of nostalgia and longing for a carefree version of life. Even the lyrics suggest this love of a time gone by coupled with the dread of growing up. “That we don't even care as restless as we are. We feel the pull in the land of a thousand guilts. And poured cement (0:2:08)”. Baudrillard notes this certain draw towards simulations stating that “When the real is no longer what it used to be, nostalgia assumes its full meaning (153)” (2). The music video was made in the 1990s, but about the 1970s, emphasizing that the meaning of the song and music video is a means to cope with the loss of the carefree days of youth. Baudrillard would argue that the video is not a direct reflection of reality but a simulation created by media representations, contributing to the construction of a hyperreal youth culture. Baudrillard's concept of simulacra suggests that in a hyperreal world, identities become fluid and constructed, influenced by media and cultural simulations. The portrayal of youth in the video reflects a simulation of identity influenced by cultural representations rather than an authentic expression of individual experiences. The video itself follows snapshots of youths and experiences reminiscent of memories, from signs like parties to joyrides. However, the simulation created through the music video itself lacks depth, and is a generalization and idealization of youth culture rather than unique experiences. Baudrillard explained the nature of the hyperreal and simulacra, noting “It retains all the features, the whole discourse of traditional production, but it is nothing more than its scaled-down refraction (159)” (3).
The video, set against the backdrop of suburban youth in the 1970s, becomes a centerpiece that showcases both an idealized past and a constructed representation of youth culture. Jameson's critique of postmodernism's emphasis on surface, pastiche, and the "death of the subject" resonates with the video's depiction of fragmented memories that present a shallow and idealized version of youth.
Deleuze's philosophy of difference and repetition aligns with the diverse and tokenized aspects of youth experiences depicted in the video. The repetition of the aura of the year 1979 becomes a creative force, generating new meanings and contributing to a fluid and heterogeneous sense of identity, specifically around youth culture.
Baudrillard's concept of hyperreality and simulacra further deepens the analysis. The video, portraying an idealized version of the 1970s, becomes a hyperreal simulation that blurs the boundaries between reality and representation. The nostalgia felt by the viewer is not for a historical reality but for a carefully constructed and simulated past.
Can people who weren’t living in the 1970s still feel nostalgic about this time? Why or why not?
Are our experiences, especially in youth, a result of consumer culture, or is youth culture detached from consumerism?
Jameson, Fredric, ““Postmodernism and Consumer Society”(New York, NY, Pearson Education Limited: 1992).
Baudrillard, Jean, “Simulacra and Simulations” (New York, NY, Pearson Education Limited: 1992).
Deleuze, Giles, "Introduction: Repetition and Difference" (New York, NY, Columbia University Press: 1994)
