Postmodernism in the Winning Films of the Sundance and Venice Film Festivals

"Ordinary life is pretty complex stuff." - American Splendor



Postmodernism is not, nor has it ever been, an outright rejection of the ideologies and cultural patterns which preceded it (Best and Kellner 76). As such, postmodern narratives from the dystopian literature of William Gibson to the disorienting films of Darren Aronofsky seek not to supplant the stories of modernity, but to highlight the individuals and relationships marginalized during previous epochs. For this reason, the two emotional undercurrents which are the mainstay of postmodern art are the sensations of vertigo or confusion and alienation or marginalization itself (Best and Kellner 77). The top corporate movie studios, with their armies of creative consultants and focus groups might moor themselves against the postmodern waves with Hollywood clichés and recycled Julia Roberts plots. However, one would expect such themes to dominate independent film, which is by definition the marginalized, avante guarde of the cinematic world.



The writers and directors who achieve notoriety through success at independent film festivals like Sundance and The Venice Film Festival are themselves postmodern adaptations of the Horatio Alger metanarrative, so prevalent in modern prose. Instead of Alger's trademark paperboy who through grit and industriousness eventually comes to owe the very publication he once delivered, successful independent filmmakers express their emotions outside of the traditional media and sometimes vault straight from obscurity to stardom. For traces of postmodernism in the films themselves, one would do well to examine Sundance Grand Jury winners WELCOME TO THE DOLLHOUSE (1995) by Todd Solonz, THE BELIEVER (2001) by Henry Bean, AMERICAN SPLENDOR (2003) by Shari Springer Berman and Robert Pulcini and VFF winner WAKING LIFE (2001) by Richard Linklater.