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and media literacy of their viewers, but they do not rely on, or are dependent on, the recognition of these references. This produces double-coded narratives that confirm and deconstruct, repeat and at the same time (critically) comment on structures and conventions. This constant oscillation between

In: Postmodern Pirates

criterion. As discussed earlier, the technological advances of the late twentieth century have given more viewers (and producers) more instant access to a wide(r) range of texts, increased their cine- and media-literacy, and thus fuelled the play with inter- and self-referential elements (see Distelmeyer 71

In: Postmodern Pirates