ABSTRACT
Postmodern cinema ironically has a history now. In 1984, Fredric Jameson observed that contemporary culture seemed to be expressing a new form of 'depthlessness' - a concentration on style and 'surface'. For Jameson these features represented a retreat from the need to supply a univocal narrative closure to the postmodern text, predicated on the fragmentation of mass cuJture, the end of a rigidly fixed signifying system, a loosening of binary differences and the emergence of the individual consumer in relation to the reconfiguration of multinational capital.
