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194 Chapter 9 Postmodernism

has nowhere to go but deeper into the recycling factory, implies. Instead of ‘pas-
tiche’, we might think of ‘rewriting’ or ‘reviewing’ and, in terms of the spectator’s
experience, of the ‘reactivation’ and ‘reconfiguration’ of a given generational ‘struc-
ture of feeling’ within ‘a more dynamic and varied set of histories’ (ibid.).

They point to the ways in which Tarantino’s work presents an ‘aesthetic of recycling . . .
an affirmative “bringing back to life”, a “making new”’ (Brooker and Brooker, 1997b: 56).
According to Collins (2009), part of what is postmodern about Western societies is
the fact that the old is not simply replaced by the new, but is recycled for circulation
together with the new. As he explains, ‘The ever-expanding number of texts and tech-
nologies is both a reflection of and a significant contribution to the “array” – the per-
petual circulation and recirculation of signs that forms the fabric of postmodern
cultural life’ (457). He argues that ‘This foregrounded, hyperconscious intertextuality
reflects changes in terms of audience competence and narrative technique, as well as a
fundamental shift in what constitutes both entertainment and cultural literacy in [post-
modern culture]’ (460). As a consequence of this, Collins argues, ‘Narrative action now
operates at two levels simultaneously – in reference to character adventure and in ref-
erence to a text’s adventures in the array of contemporary cultural production’ (464).
Jameson’s final point, implicit in his claim that postmodernism is the ‘cultural
dominant’ of late or multinational capitalism is the claim that postmodernism is a hope-
lessly commercial culture. Unlike modernism, which taunted the commercial culture of
capitalism, postmodernism, rather than resisting, ‘replicates and reproduces – reinforces
– the logic of consumer capitalism’ (1985: 125). It forms the principal part of a process
in which ‘aesthetic production . . . has become integrated into commodity production
generally’ (1984: 56). Culture is no longer ideological, disguising the economic activ-
ities of capitalist society; it is itself an economic activity, perhaps the most important
economic activity of all. Culture’s changed situation can have a significant effect on
cultural politics. No longer is it credible to see culture as ideological representation, an
immaterial reflection of the hard economic reality. Rather, what we now witness is not
just the collapse of the distinction between high and popular culture, but the collapse
of the distinction between the realm of culture and the realm of economic activity.
According to Jameson, when compared to ‘the Utopian “high seriousness” of the
great modernisms’, postmodern culture is marked by an ‘essential triviality’ (85). More
than this, it is a culture that blocks ‘a socialist transformation of society’ (ibid.). Despite
his rejection of a moral critique as inappropriate (‘a category mistake’), and regardless
of his citing of Marx’s insistence on a dialectical approach, which would see postmod-
ern culture as both a positive and a negative development, his argument drifts inex-
orably to the standard Frankfurt School critique of popular culture. The postmodern
collapse of the distinction between high and popular has been gained at the cost of
modernism’s ‘critical space’. The destruction of this critical space is not the result of an
extinction of culture. On the contrary, it has been achieved by what he calls

an ‘explosion’: a prodigious expansion of culture throughout the social realm, to
the point at which everything in our social life from economic value and state