Creativity Task - Scott Walker

What is meant by postmodern media?

What is meant by ‘postmodern media’

The Driver (1978) Dir. Walter Hill - The Getaway

The Driver (1978) Dir. Walter Hill - Opening Title Sequence

Violence: A History of Violence (2005) Dir. David Cronenburg

'A History of Violence' is a 2005 American crime thriller film directed by David Cronenberg and written by Josh Olson. It is an adaptation of the 1997 graphic novel of the same name by John Wagner and Vince Locke. The film stars Viggo Mortensen as the owner of a diner who is thrust into the spotlight after killing two robbers in self-defense.

The style of violence is reminiscent to that in Drive. It is visceral and brutal. Is it real or hyperreal? How do you feel when you watch violent scenes like this and why do you feel the way you do? Are your experiences of violence informed by other media texts?

Drive - The Ending Explained

If you're reading this, then you've already had the chance to watch Nicolas Winding Refn's pulpy crime-drama Drive, and hopefully enjoyed it as much as we did (be sure to read out Drive review). 

Though Drive seems like a standard action/thriller (albeit with some art house style and flare), a lot of movie goers have walked away with questions about the movie's final moments, which leave a fair amount of ambiguity over the fate of the 'driver', the character played by Ryan Gosling. 

In the past with out Shutter Island and Inception Ending Explanations, we here at Screen Rant have had to rely on out prowess as movie aficionados in order to form some logical deductions about what transpired in some of our favourite mind-bending movies, and what filmmakers intended with their ambiguous endings. In the case of Drive, however, we were fortunate enough to snag an explanation right from the primary source: director Nicolas Winding Refn.

When we last see Driver - bleeding out while behind the wheel of his car, before pulling himself together and speeding off into the night - there is a certain amount of lingering doubt about the literalness vs. figurativeness of what we are seeing. When I ask Refn first-hand what the ending of Drive was all about, I expected the typically coy filmmaker to hand me an equally coy answer. However, he was surprisingly straight forward in his response:

"Well all my films always have open endings. All of them. Because I believe art is always best when... You talk about it and think about it, so forth. Maybe once in awhile I've gone too far, but I always believe in finding the righ balance. And in 'Drive' he lives on for more and new adventures."

So there you have it - if you were wondering or not the ending of the film was to be taken literally, or was some metaphoric death scene, you at least now know how the director sees it. 

Refn has continuously referred to the film as a modern Grimm fairytale (unlikely hero rises to battle evil king, saves princess) and I for one always saw the ending as the hero saving the girl, while also being denied the "happily ever after" cliche he may want. Indeed the implications of the film are such that Driver will likely speed off into new adventures, as Refn claims, albeit still stuck in the lonely and isolated existence in which we found him. The only difference is: he now knows what kind of hero  he can be. 

Written by Kofi Outlaw

'Drive, or the Hero in Eclipse' by Christopher Sharrett

Click on the above image to find the article posted by Film International on 'Drive' directed by Nicolas Winding Refn. 

'Drive' Soundtrack Tracklist

The soundtrack to Drive includes an original score by Cliff Martinez that was inspired by '80s style synth-pop. In addition to crafting his own compositions, Martinez built the film's sonic landscape from ideas pioneered by European electronic bands, such as Kraftwerk, Other songs in the set - which were recorded and arranged with a similar retro edge - include 'Nightcall' by Kavinsky and Lovefoxx of Brazilian dance-rock outfit CSS, a tune by the Chromatics, and others.

1. Nightcall - Kavinsky & Lovefoxx
2. Under Your Spell - Desire
3. A Real Hero - College Ft. Electric Youth
4. Oh My Love - Riz Ortolani Ft. Katyna Ranieri
5. Tick of the Clock - The Chromatics
6. Rubber Head
7. I Drive
8. He Had a Good Time
9. They Broke His Pelivs
10. Kick Your Teeth
11. Where's the Deluxe Version?
12. See You in Four
13. After the Chase
14. Hammer
15. Wrong Floor
16. Skull Crushing
17. My Name on a Car
18. On the Beach
19. Bride of Deluxe

Tracks 6-19 by Cliff Martinez

POMO Music Task - Childish Gambino (Video)

"Postmodern media manipulates time and space" To what extent does this definition apply to the texts you have studied?

Pomo Essay Time and Space

Postmodern Music Research - Childish Gambino

Childish Gambino POMO

Postmodern Music Task

Postmodernism and Music V4

Postmodern Music Theory

According to Kramer, postmodern music:

1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
2. is, on some level and in some way, ironic
3. does not respect boundaries between sonorities and procedures of the past and of the present
4. challenged barriers between 'high' and 'low' styles
5. shows disdain for the often unquestioned value of structural unity
6. questions the mutual exclusivity of elitist and populist values
7. avoids totalizing forms (e.g. does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
9. includes quotations of or references to music of many traditions and cultures
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
11. embraces contradictions
12. distrusts binary oppositions
13. includes fragmentations and discontinuities 
14. encompasses pluralism and eclecticism
15. presents multiple meaning and multiple temporalities
16. locates meaning and even structure in listeners, more than in scores, performances, or composers