North American Postmodern Fiction and Film, Spring 2000
Fragments of Identities in
North American Postmodern Fiction and Film

Generalizations definitely are simplifications, so
the following chart will serve as
Discussion Starters Only

Genres & 
main concerns
fragments Reconstructions
Author-ity Lost in the Funhouse
textual fragments, characters as codes
searching/self-questioning as a mode of 
human existence
Author-ity Deconstructing Harry
writing as self-projections (fantasies and dealing with fear, hatred and desire)
self-confirmation/understanding through his fiction (and fictional characters)
Author-ity The Player
several authors, several scripts waiting to be turned into a film
the reality of film industry
Postmodern conditions Jean Baudrillard
implosion of information and simulacra
Postmodern conditions Lyotard
small narratives, paralogy
free access to information and computers
Postmodern conditions Fredric Jameson
overall commodification, pastiche, depthlessness
cognitive mapping
War History Slaughterhouse-V
resulted from "getting unstuck in time" and the narrator's inability to make sense of the war.
-- fragments of history; his-story and the other authors' stories. 
broader perspectives, which affirms the non-human sense of existence (of the birds, horses and extra-terretials)?
War History The Stunt Man
the film within the film; the stunt man's past, and their 
merging and intersection with the "reality" in the film. 
Ethnic Family History Disappearing Moon Cafe
fragments of public and family history, identity and bodies (bones)
re-vision of the history of Chinese-Canadian; 
walking out of the family remance
Ethnic Family History Calendar
fragments of memories (shown from the calendar and the video), fragments of speech in foreign languages, 
stopping the ritual of role-playing
Ethnic/Lesbian Identity When Fox is a Thousand
of bodies, roots, dresses, identities