Pink Floyd The WallPostmodernism and the concept of celebrity cultureThis essay will examine how Pink Floyd The Wall can be perceived as a postmodern film and will attempt to further analyze some characteristics and influences of a postmodern culture through examples illustrated within the film. Considering the significance of postmodernism in the television industry, music and the arts, Pink Floyd The Wall will effectively be deconstructed to exemplify what a postmodern film is all about. Furthermore, celebrity culture theory and its elements evident in Pink Floyd The Wall will be consciously applied and briefly discussed to reveal an intriguing yet indispensable relationship between Pink, the main character, and his loyal audience. The animated film Pink Floyd The Wall was directed by Alan Parker in 1982 and written by Pink Floyd singer Roger Waters. The film follows Pink on a life-changing journey in which, ironically, the view of an external world reflects different shades of a very persistent internal turmoil. Inspired by Waters' troubled past and his involvement with the music industry, Pink's character is the result of an extravagant personality that is often reflected not only in his spontaneous actions but also in disconcerting behavior towards his family and fans . Therefore, Pink Floyd The Wall is the product of Pink's escapism and fears, altered by society's problems and damaged trust. Interestingly, the film has little to no dialogue as it is based on the eleventh album "The Wall". As a result, the contrasting phases of Pink's life are constructed with the help of several y......middle of paper......ten England as a factory sends legions of bombers to fly over London and scare the ' the scared ones leave. Creatures wearing gas masks sense the presence of danger, retreating into their shelters. The flying bombers gradually transform into white crosses as the Union Jack drops its stripes to reveal another white but large cross, which explains the loss of life and sacrifice made during World War II. (Urick, 2010) Scarfe's choice of the color 'white' for the bird at the beginning of the illustration as well as for the crosses at the end, indeed represents the return to a pure and celestial rebirth of the tragic event. In Pink Floyd The Wall's postmodernism can be perceived as building on the antithesis of modern characteristics. Works Cited Baudrillard, Urick, Roger Waters, Pink, Blackburn, Scarfe, Jameson, Parker, Grenz, Yonika, Pink Floyd The Wall