Chapter three focuses on affirmative theorists, particularly Linda Hutcheon, charting the ways in which they provide the means to conceptualise nuanced and positive variants of postmodern aesthetics. The first part of the chapter explores Peter and Will Brooker’s circular model of postmodern aesthetics, linking it to Nietzsche’s concept of the eternal return. It then examines Hutcheon’s model in which postmodern art is characterised by a paradoxical doubled movement, namely the simultaneous re-inscription and deconstruction of past art forms. This evocation and dismantling of convention creates its political potential, namely the de-naturalisation of a history of representation, as well as forming the basis of complicitous critique. Combining Hutcheon with Lyotard’s non-linear model of the postmodern, the last part of this chapter explores a diverse range of postmodern aesthetic strategies through the detailed textual analysis of four Hollywood films: Sherlock Junior (Buster Keaton, 1924), Bombshell (Victor Fleming 1933), Kill Bill Volume 1 (Quentin Tarantino, 2003) and Kill Bill Volume 2 (2004).
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