2. Post Modernism
• Postmodernism rejects the idea that any media product or text is of
greater value than another. All criticism’s are simply traced back to
tastes. Anything can be Art and everything is deserving to reach an
audience. A distinction between media and reality has disappeared and
reality is defined by images and representations. Images refer to each
other and as a collective represent reality rather than the reality that
exists before the image exists to represent it. This is known as a state
of hyper reality.
• The significant changes in poster design in the 20th century was
between the international typographical style which support the
modernist tradition and the postmodern design which was represented
by a Swiss designer Wolfgang Weingart. The style include interesting
interpretations of arts, culture, history etc. post modernism is a
movement against modernism and are marked by the revival of
historical elements and techniques.
POSTMODERN DESIGN
3. Relating the postmodern
theory to our production
• The image we used as part of our main poster production is a
representational medium. It reconstructs the everyday reality that
viewers cannot experience themselves. The Photography that
has been done to produce our poster is an indexical sign
signifying truth. However applying effects and edits to them
differentiates the poster to the reality in which the viewer
perceives it to be, making it look more appealing. Within Krystin
Arnesons representation through documentary: a post modern
assessment she talks about how a documentary is a subjective
device and not an objective device. You could suggest that we
are showing our subjectivity through the poster of the
documentary due us believing that the chainsaw represents a
creative environment. This is our own subjective opinion on what
represents the creative industries.
4. Relating the postmodern theory
to our production Cont.
• She also suggests that “in every image we must remember who
speaks” “the three main problems with the representation of
everyday by documentaries. The first is a problem addressed
earlier: that of interpretation during documentary construction.” We
have followed this post modern style by showing different
interpretations and the subjective manor of postmodern style. This
has been done through the new equilibrium that “creativity is
different for everyone.” This comes across in the postmodern style of
our poster and the use of the chainsaw to represent the creative
industries which helps show that creativity is different to everyone
because some people may not see a chainsaw as an icon for the
creative industries while others like us the creators do. This comes
back to the point Krystin Arneson makes that “in every image we
must remember who speaks”. By applying reception analysis we can
argue that viewers of the poster are not forced to accept this but
take an observational reading through subjective manor that
Arneson spoke about earlier.
5. Representations
• We have applied postmodern through the
representations in the poster. A conventional
representation of the creative industries would be a
pencil for example or a paint brush as this follows
audience expectations.
• By having a chainsaw represent the creative industries
we are applying a postmodern representation as it does
not conform to traditional representations but instead
gives a representation that needs more thought than a
conventional paint brush may need.
6. Creative theory
• The chainsaw is a stereotypical tool to represent the creative
industries therefore we can link it to David Gauntlet making
and doing culture of everyone possessing creative potential
as with the use of the chainsaw we are highlighting the fact
that creativity is not just pen and paper but involves a wider
set of people such as perhaps craftsmen and video makers.
This was the idea of our posters. By having objects such as
smart phones and Lego being the subject shows how
creativity can be used through a variety of different tools such
as Lego which is what David gauntlet talks about in his
representing identities studies. It is the idea that everyday
creativity through the use of these tools such as a smart
phone allows us to make our own mark on the world.
7. Improvements to our
poster
• In terms of creative theory we have not put any sort of
web 2.0 advertisements on the poster. Web 2.0 sites
such as twitter and Facebook could have been included
in our production through a username for example or a
simple find us on Facebook message. Instead we have
only conformed to web 1.0 by using a web address to
advertise our website.
