Is Nothing Original Anymore? Postmodernism in the Age of Reboots

Having spoken about franchise fatigue and the final girl trope earlier this month, I’ve been questioning the virtues of originality in cinema and whether it’s even achievable anymore. The very nature of time means that the highest number of films ever made is always going to be this very second, whenever you are reading this. With so many films existing, how do we promote originality and invention?

Modernism vs postmodernism

Modernism was a movement in cinema that valued experimenting with traditional styles and formats. Modernist films tend to incorporate a level of experimentation and formalism; some popular examples of modernist films would be Rebecca (1940) and Metropolis (1927). It’s generally accepted that the modernist era of film was from around 1910-1970, and blossoming alongside the classical Hollywood era whilst simultaneously breaking what were seen as conventions or rules at the time, such as linear storytelling or continuity. The modernist film was more likely to feature fragmented storytelling to be reflective of introspective states or philosophical ideas.

Postmodernism is one of those terms that nobody can really agree on or say exactly what it means. At its most basic level, it refers to a rejection of modernism however there can be overlaps; many films have been referred to as both modernist and postmodernist, such as Blade Runner (1982). It’s introspection on identity and alienation are certainly modernistic, however, the narrative takes place within a hyperreal, culturally referenced world, it’s also genre-blending and stylised.

Postmodernism began to grow in the late twentieth century. It explores culture, hyperreality, and intertextuality through the more playful lens of irony, pastiche and self-awareness. Some examples of postmodern films include Pulp Fiction (1994), Scream (1996), and The Matrix (1999). Having written about Scream in my recent article, The Evolution of the Final Girl, I’ll use it again here as an example of a self-aware, meta film.

Case study: Scream (1996)

Wes Craven’s Scream self-consciously engages with conventions whist also subverting them; for example, it tells us the “rules” of the slasher film in order for it to break them. Meta-commentary is a trait of the postmodern film that allows it to remark on its own form and genre. This also challenges the viewer’s expectations, a postmodern approach which invites us to explore familiarity within the context of genre. We also have a level of intertextuality, meaning the film references other pieces of media, blurring what’s on screen with reality. One of the characteristics that makes Scream so beloved is its use of irony and pastiche, mocking the genre and undercutting tension with humour, whilst referencing other styles of cinema without diehard commitment. In sum, this sense of detachment is intrinsic to the postmodern film’s profile.

Did postmodernist cinema kill originality in film?

Well, yes and no.

Everything that’s ever been creatively written has been inspired by something and with a medium as young as film the chances are a lot of stories have already been told. With this is mind, the amount of content saturation and what’s readily available to watch at the tap of a button alongside advancements in filmmaking technologies have made the whole process easier.

It’s not unreasonable then to assume that as the demand for film increases and newer technology enables faster production, the causational response is the influx of reboots, crossovers, sequels, prequels, and the horrors of relentlessly multiversal franchises.

Contrarily, the postmodern film, at its core, isn’t unoriginal. It revisits familiar narratives and settings with an unfamiliar perspective or interpretation, thus being original. We now, however, live some decades after the rise of the postmodern film and seem to have been stuck in a sort of insularly revolving door of self-awareness building on self-awareness in a not very self-aware manner.

Back to the eighties (again)

Nostalgia certainly has something to do with all this. When the series Stranger Things (2016-) started, there was a lot of “a love letter to the classic films of the 1980s” talk. The use of a recent historical setting, and in particular the 1980s, in the world of streaming isn’t anything particularly novel. The series itself is a culmination of pop culture references, from Stephen King to Dungeons and Dragons, all working together to create something new. This is something we see spanning right across the visual arts, and most notably perhaps is in the realm of video games. So, Stranger Things is certainly quite postmodern by casting its familiar setting in a new format.

Case study: The Matrix (1999)

The Matrix is one of my all-time favourite films, so an article on postmodernist film is certainly a justification for a revisit. Perhaps the posterchild for the postmodern film movement,  the Wachowskis The Matrix is a defining example of the movement.

As I mentioned earlier, postmodernism is sceptical about truth and reality. The Matrix represents a melding of reality and simulation, challenging the audience’s perception of what reality is. French postmodern theorist Baudrillard wrote his treatise of Simulacra and Simulation in the early 1980s, a theory which examines the relationship between symbols and signs within their relation to contemporaneity. This is directly referenced in the film when Neo hides software inside a hollowed out copy of the text – which brings us to pastiche and intertextuality.

The Matrix is a fusion of styles, ranging from the martial art film and anime, to philosophy and religious symbolism, all of which have their own reference points. Another thing to mention here is the meta-narrative relating to choice in the film and the way the film is constructed, and perhaps more transcendentally, the way Neo is constructed as a character with two fragmented identities.

Interestingly enough, both The Matrix and Scream series received new series instalments in the 2020s and each had mixed feedback from fans of the franchises, each with their fair share of negative criticism.

Making space for innovation

There are two ways at looking at originality within regards to postmodern film. You can either argue that there is a distinct lack of originality or the contrary: originality isn’t always defined by making a creative work out of nothing at all. The Matrix is an example of an original film packed full of references to earlier works, however at the time of its release it felt like a completely new and innovative way of storytelling. The postmodern film can draw references from outside the medium of film as well as inside it, leading to films like the exciting Everything Everywhere All at Once (2022). Despite its encompassing use of pastiche, the film feels original and ambitious.

The rise of post-postmodernism

At this point in time, postmodernism in film has shaped the format into an arena beleaguered with references and self-awareness. As a result, I think we, as an audience, have stopped questioning originality and are instead asking questions about authenticity. I don’t want to watch a film and feel like a consumer anymore. I want to feel connected to and inspired by a film – to enjoy the storytelling of the creator, not the algorithm.

I hope mainstream film will move beyond its current state of cultural remix and head towards a direction whereby creators and audiences value artistry and sincerity.