Postmodernism & Deutschland 83: blog tasks

 Media Magazine - A Postmodern Reimagining of the Past

Media Magazine 73 has a feature exploring Deutschland 83 as a postmodern media product. Read ‘Deutschland 83 - A Postmodern Reimagining of the Past’ in MM73  (p18). You'll find our Media Magazine archive here - remember you'll need your Greenford Google login to access. Answer the following questions:

1) What were the classic media representations of the Cold War?

The Cold War was traditionally depicted as a binary conflict between good and evil, with the West (capitalist, democratic nations) positioned as the heroes and the East (communist states) as the villains. This created a simplified narrative of ideological opposition.

2) Why does Deutschland 83 provide a particularly good example for postmodern analysis? 

The series employs key postmodern techniques such as bricolage, pastiche, and hyperreality. For instance, it integrates archival footage of historical events and political figures, blurring the line between reality and fiction. This self-aware blending of historical accuracy with fictional storytelling creates a layered, postmodern media product.

3) Pick out some of the aspects of the opening of episode 1 and explain why they are significant.

The inclusion of archival footage and television broadcasts reinforces Baudrillard’s idea that media representations become more ‘real’ than actual historical events.

The show presents history through a stylised, media-driven lens, often focusing on aesthetics rather than deep political analysis.

The locations and mise-en-scène are carefully constructed to evoke a sense of realism, making the show feel like a genuine representation of the past, despite its fictional elements.

4) How does the party scene at Martin's mum's house subvert stereotypes of East Germany in the Cold War?

Rather than depicting East Germany as an oppressive and joyless environment, the scene presents a lively and celebratory atmosphere. The characters are shown enjoying themselves, subverting the common portrayal of East Germans as being trapped in a bleak and repressive society.

5) What aspects of the episode set in West Germany offer postmodern elements?

The overabundance of goods in supermarkets, with fully stocked shelves, contrasts sharply with the scarcity in East Germany.

West Germany is depicted as a land of excess, consumerism, and material wealth, reinforcing the idea that the Cold War was not just about ideology but also about economic and cultural superiority.

The stark contrast between East and West is exaggerated to highlight how media and historical narratives construct perceptions of different societies.

6) Finally, how does the article apply postmodern theory to Deutschland 83 and link it to the potential target audience?

Baudrillard’s theory of hyperreality suggests that audiences may perceive media representations as more authentic than historical reality itself. Viewers of Deutschland 83 might experience the series as a more ‘real’ version of Cold War history than the actual historical events, due to its cinematic and narrative techniques. This appeals particularly to audiences who did not experience the Cold War firsthand, as their understanding of the period is shaped primarily through media.

Postmodernism Factsheet

Go to our Media Factsheet archive on the Media Shared drive and open Factsheet #54: Introduction to Postmodernism. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets. If you need to access this from home you can find our factsheet archive here (you'll need to use your Greenford login).

1) Read the section on Strinati's five ways to define postmodernity. What examples are provided of the breakdown of the distinction between culture and society (media-isation)?

The dominance of media in shaping reality is exemplified by The X Factor, where entertainment and commercialisation blur the lines between cultural production and everyday life. Reality television constructs artificial narratives that audiences accept as genuine experiences.

2) What is Fredric Jameson's idea of 'historical deafness'? How can the idea of 'historical deafness' be applied to Deutschland 83?

Jameson describes ‘historical deafness’ as a superficial engagement with history, where the past is reduced to aesthetic elements rather than a meaningful exploration of events. In Deutschland 83, Cold War history is repackaged with slick cinematography, fast-paced editing, and a heightened sense of drama, making it more of a stylistic representation than an in-depth historical study.

3) What examples and theories are provided for the idea of 'style over substance'?

The rise of celebrity culture, where individuals are celebrated more for their image than their achievements.

The increasing influence of branding over actual product quality.

This concept applies to Deutschland 83 as it presents Cold War tensions in a highly stylised, cinematic manner, prioritising spectacle over deep political analysis.

4) What examples from music are provided for the breakdown of the distinction between art and popular culture? Can this be applied to Deutschland 83?

Andy Warhol’s pop art blurred the lines between high art and mass production.

The show reflects this through its use of music, integrating iconic 1980s songs that add a nostalgic, pop-culture-driven aesthetic to the historical narrative.

5) What is bricolage? What examples of bricolage can be found in Deutschland 83?

Bricolage is the juxtaposition of different media texts and styles to create new meanings. Deutschland 83 achieves this through:

The fusion of archival news footage with fictional storytelling.

The blending of historical settings with modern cinematic techniques.

The use of pop music and fashion from the 1980s to evoke nostalgia while simultaneously reinterpreting the past.

6) How can the audience pleasures of Deutschland 83 be linked to postmodernism? Read 'The decline of meta-narratives' and 'Media texts and the postmodern' to help answer this.

It challenges meta-narratives by offering multiple perspectives on the Cold War, rather than a singular ‘truth.’

It provides nostalgic pleasure through its recreation of 1980s aesthetics.

It appeals to audiences who enjoy intertextual references and self-aware storytelling.

7) Now look at page 4 of the factsheet. How does Deutschland 83 demonstrate aspects of the postmodern in its construction and ideological positioning?

The show is based on real historical events but presented through a fictionalised, stylised lens.

It offers a nostalgic reinterpretation of the past, rather than an objective historical account.

It plays with audience expectations, blending reality with fiction in a way that challenges traditional historical narratives.

8) Which key scenes from Deutschland 83 best provide examples of postmodernism? Why?

The supermarket scene – The exaggerated contrast between East and West Germany highlights the constructed nature of Cold War representations.

Characters watching TV – The inclusion of real-life broadcasts creates a hyperreal effect, blurring the line between history and fiction.

Archival footage – By mixing historical material with dramatized sequences, the show questions the reliability of media representations.