Exploring Postmodern Themes in "Worker Drone" and "Play"

To grasp the plot and underlying themes of Raju, S.'s (2010) film "Worker Drone" and Kaplan and Zimmerman's (2010) film "Play", it is crucial to acknowledge that people will make significant efforts to understand unfamiliar circumstances. Both movies explore concepts like paranoia, intertextuality, and open-ended endings. These common themes clearly classify these films as postmodern works, although they also exhibit hints of modernist and existentialist influences.

Both films, "Play" and "The Worker Drone," feature ambiguous endings, which is a key characteristic of postmodern films.

In "Play," the audience is left with unanswered questions about the little boy's identity and whether the female character divulges what she witnessed at the end. Similarly, in "The Worker Drone," it remains uncertain whether the war has concluded and if Paul has shared the truth with others. These films employ ambiguous endings to provoke contemplation and invite viewers to construct their own interpretations of the conclusion. This shared narrative element exemplifies the postmodern storytelling present in both "The Worker Drone" and "Play.

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Another prominent postmodern theme that I noticed in both "The Worker Drone" and "Play" is the incorporation of intertextual elements. In "Play," for instance, the story takes place within a video game, where the characters assume the roles of characters within the game cartridges. Similarly, in "The Worker Drone," this theme is exemplified through the inclusion of a promotional commercial for "Planet Dogstar" that is shown as a video within the movie. These instances of intertextuality are prominent in both films and serve to highlight yet another facet of postmodern themes.

Lastly, in relation to the preceding paragraph, particularly in the film "Play," the characters' existence in a peculiar realm instills a feeling of unease and prompts them to doubt their own reality. In "Play," the characters find themselves in an unfamiliar virtual world, uncertain of their identities and location (e.g., "Who am I? Where am I?"). Similarly, in "The Worker Drone," the protagonists harbor a sense of paranoia and firmly believe they are under constant surveillance, even to the extent that they suspect nanochips have been implanted in their brains.

In my opinion, both "The Worker Drone" and "Play" showcased similar postmodern themes such as intertextuality, ambiguous endings, and paranoia. These themes were especially remarkable and added to the overall postmodern essence of these stories, in my viewpoint.

Task 1, Topic 2: Two Examples of Postmodernism

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When confronted with unfamiliar environments, people will make significant efforts to understand their circumstances. It is essential to identify the movie genres portrayed in "Worker Drone" by S. Raju (2010) and "Play" by Kaplan and Zimmerman (2010) in order to comprehend the plot and recurring themes explored. A notable common theme in both films is a feeling of paranoia, intertextual references, and an uncertain ending. These three themes unmistakably categorize these movies as postmodern works, although there are also recurring themes that align with modernist and existentialist sensibilities.

Both "Play" and "The Worker Drone" feature ambiguous endings, which is a strong indication of postmodern cinema. In "Play," the audience is left uncertain about how the movie concludes, leaving them with questions about the identity of the little boy and whether the female character ultimately reveals what she witnessed. Similarly, in "The Worker Drone," it remains unknown if the war has ended or if Paul has disclosed the truth to anyone else. These films employ ambiguous endings, allowing the viewers to ponder what exactly transpired and to create their own interpretations of the ending. This shared element highlights a postmodern storytelling approach found in both "The Worker Drone" and "Play."

One prevalent theme in both "The Worker Drone" and "Play" is the use of intertexting. This is particularly evident in "Play" where the story takes place within a video game and the characters themselves play as characters in the game cartridges. Similarly, in "The Worker Drone," intertexting is demonstrated through the inclusion of a promo commercial for "Planet Dogstar," which is played as a video within a movie. These examples highlight the prevalent use of intertexting in both films and exemplify another aspect of postmodern themes.

Lastly, in the movie "Play", the characters' strange world induces paranoia and prompts them to doubt their reality. In this film, they find themselves in a video game-like realm where their identities (such as "Who am I? Where am I?") become uncertain. Additionally, in "The Worker Drone", the main characters have developed paranoia, convinced that they are under surveillance to such an extent that nanochips have been implanted in their brains.

In summary, both "The Worker Drone" and "Play" depict postmodern themes such as intertexting, ambiguous endings, and paranoia. These elements are particularly notable and contribute to the overall postmodern nature of these stories.

Task 2: Movie Questions

Question: What is the name of the movie?

Answer: The Great Gatsby

Q. When was the movie released?

A. The movie had its first release in 1925, but it also had a second release in 2013.

Q: Where and when does the movie take place?

A: The movie is set between West Egg and New York in the early 1900s, after a war.

Q. Who are the main characters? Which one is the protagonist? Which one is the antagonist? (Who are they, describe them briefly). A.

• Daisy: Gatsby loves her but she is now married to someone else.
• Gatsby: He met Daisy five years ago and wants to win her back.
• Nick: Daisy's cousin who narrates the story and is used by Gatsby to connect with Daisy.
• Jordon: A "side character" who has connections with Nick, Tom, and Gatsby.

The main characters in this story include Daisy, Gatsby, Nick, and Jordon. Daisy is loved by Gatsby but is currently married to another person. Gatsby had a previous encounter with Daisy and desires to regain her affection. Nick serves as both a narrator and a means for Gatsby to reunite with Daisy. Jordon acts as a supporting character with ties to Nick, Tom, and Gatsby. Regarding the protagonist of the story, Jay Gatsby takes on that role. He remains enigmatic while hosting extravagant parties in an attempt to impress Daisy. His wealth has been obtained through illicit methods. On the other hand, Tom assumes the antagonist position in this narrative as he is Daisy's spouse. Initially displaying love towards his wife, he becomes hostile upon discovering Gatsby's intentions and develops plans to harm him.

Q. What is the primary conflict in this film? A. The main conflict centers on Gatsby's past poverty, which prevented him from marrying Daisy. However, now that he has acquired wealth, he is attempting to regain her affections. Additionally, Daisy must decide between choosing Gatsby or remaining with her husband Tom.

The film effectively captures the attitudes and perspectives of that era through multiple methods. Firstly, it employs a distinct form of British English, incorporating phrases like "Old Chap," to faithfully depict the language used at the time. Moreover, it prominently features outdated clothing styles, buildings, and cars reminiscent of the early 1900s, enhancing viewers' immersion in the historical setting. Additionally, it portrays a clear cultural divide between the main characters and less fortunate individuals, highlighting society's indifference towards people of color and underprivileged individuals during that specific period.

Q. How does the use of camera angles contribute to the storytelling? A. The story is enhanced through the utilization of camera angles. Emotional scenes, such as the moment Gatsby becomes angry and his eventual demise, are captured with close-up shots. Additionally, Dutch/angle shots are employed to depict confusion during the party scene where Nick first encounters Gatsby. Furthermore, a Dutch/angle shot is used when Daisy's lover is struck by a car driven by Daisy. To provide a broader perspective, numerous overhead shots are employed to capture wide details, such as a shot of the city block.

How is the story enhanced by music? Give multiple specific examples. The music complemented the scenes and effectively highlighted the intended message. For instance, gentle music played during intimate moments, while energetic and upbeat music accompanied party scenes. Additionally, the choice of music differed based on the ethnicity depicted. Classical music was used in scenes with Daisy’s husband, while hip-hop was featured in scenes with African Americans.

The story is enhanced by costumes in several ways. They play a crucial role in portraying the setting, whether it is depicting differences between the rich and the poor, or conveying a transition from casual to formal or day to night. Additionally, the costumes help to establish the time period in which the film is set, as they clearly reflect early 1900s style. Women are shown wearing full dresses with hats, while Gatsby himself even carries a cane for added flair. A clear distinction between formal and casual attire is also evident, with the Butlers dressed in tuxedos and Gatsby and other characters opting for more relaxed night clothes.

Q. What is the central theme of the movie? Defend your choice. A. The movie's primary theme revolves around the notion that wealth cannot bring happiness. It is evident throughout the film as Gatsby organizes lavish parties but remains unhappy due to his separation from Daisy. Ultimately, his pursuit of Daisy's love leads to his demise. In summary, the film emphasizes that money cannot purchase true happiness.

Q. In what ways do the production choices (camera angles, music, costumes) contribute to the overall sensation of existentialism, modernism, or postmodernism in the movie? Select one of these three styles and demonstrate how the production choices helped to reveal the literary style of the film.

A. As mentioned before, the film heavily relied on camera angles, music, and costumes. These elements played a significant part in portraying a Modernist style in the movie. Specifically, the costumes reflected the fashion of the early 1900s, which was when modernism began to emerge. The incorporation of modernist elements into the clothing design further emphasized the movie's modernist essence. Additionally, the music and costumes presented the ideology of Flappers, effectively capturing the modernist atmosphere.

Q. How does this relate to the poems, songs, and stories you have read in this unit? A. This film combines various elements that reflect modernist, existentialist, and postmodernist ideas, which have also been explored in other poems, songs, and stories throughout this unit. However, it is the first time that all these elements are presented together in such a clear manner. For instance, modernist elements can be seen in the references to World War 1 and Oxford University, while postmodernist elements are depicted through the paranoia and doubt experienced by other characters. Overall, I consider this film to be a remarkable amalgamation of different themes, with the modernist perspective serving as the central idea.

Q. What sets this film apart from other works studied in this unit? Provide two specific examples. A. I discovered that this film presented numerous instances of various elements explored in this unit, such as modernist, postmodern, and existentialist themes. As a result, determining the genre of the film became more subjective, relying on individual interpretation based on the evidence presented. Additionally, my familiarity with the story beforehand made this particular film significantly more enjoyable compared to the others, ultimately enhancing its realism and my overall viewing experience.

Q. Is this movie primarily existentialist, modernist, or postmodernist in its style? Why do you think so?

A. In my opinion, the movie leans more towards modernism due to the presence of several key elements and the lack of significant existentialist or postmodernist elements. The use of alliteration, particularly exemplified by the repeated phrase "Old sport," is one such element that aligns with modernist techniques. Additionally, the film includes various allusions and references to events like World War 1 and Oxford University, further demonstrating a modernist style. Furthermore, the theme of juxtaposition becomes evident when Daisy is confronted with a decision about her future partner, adding to the film's modernist characteristics.

Task 3: Script

The film incorporated various contemporary elements and ideas. By including the following monologue, I aim to showcase its modernity using different theatrical devices prevalent at that time (such as "Strong visual images" and "Free-form poetry"). This specific scene serves as the introduction to the narrative, where Mr. Gatsby reflects on the events that will unfold in the story. "She was truly unique, a captivating girl who stole my heart from the moment I saw her. I must confess, I was foolish. Her beauty was so stunning that it made me too nervous to approach her. Our first meeting happened in Louisville in 1917, and from then on, we were consumed by a passionate love."

Time has elapsed, causing us to drift apart. Nonetheless, I find myself in the same country, city, and almost the same island. Unfortunately, I was foolish and chose to isolate myself. I'm uncertain how much time had passed, and it's quite possible that I would have never crossed paths with her if it wasn't for my new neighbor, a friendly young man called Nick. You see, every Saturday, without fail, week after week, I hosted extravagant and exhilarating parties on this majestic island. My hope was that this extraordinary woman would grace us with her presence.

Today, my heart is filled with longing and sorrow.

In his longing for a distant woman, Mr. Gatsby is willing to do whatever it takes to embrace her, even if it means paying any amount as a ransom. After expressing his feelings, he types the words into a narrative and crumples the paper before tossing it into the garbage can.

The poem below has been altered from its original version, which can be found on http://www.familyfriendpoems.com/poems/love/long-distance/#ixzz3TZLUMIlw.