INTERTEXTUALITY, PASTICHE AND PARODY IN POSTMODERN CINEMA

Abstract

Postmodern theory is a theory that emerged in the second half of the 1960s. This theory was born as a reaction to modernity and its ideals. By the 1970s, postmodern aesthetics, on which postmodern theory was based, began to be felt in almost every field of art, from architecture to painting, from literature to cinema. This aesthetic promised a fundamental break with modern aesthetics, and this break was most evident in the visual arts, especially in cinema. When we look closely at the reflections of postmodern aesthetics in cinema, we see that this aesthetic has developed especially with the following three elements: Intertextuality, pastiche, and parody. This study deals with these elements through specific films and directors. The study examines intertextuality, pastiche and parody in postmodern cinema using descriptive research methodology in a critical perspective. While examining the difference between pastiche and parody, it will be studied how intertextuality along with pastiche and parody are used in both modern and postmodern cinema.