“The ecosystem is severely disrupted, the financial system is increasingly uncontrollable, and the geopolitical structure has recently begun to appear as unstable as it has always been uneven. CEOs and politicians express their ‘‘desire for change’’ at every interview and voice a heartfelt ‘‘yes we can’’ at each photo-op. Planners and architects
increasingly replace their blueprints for environments with environmental ‘‘greenprints’’. And new generations of artists increasingly abandon the aesthetic precepts of deconstruction, parataxis, and pastiche in favor of aesth-ethical notions of reconstruction, myth, and metaxis. These trends and tendencies can no longer be explained in terms of the postmodern. They express a (often guarded) hopefulness and (at times feigned) sincerity that hint at another structure of feeling, intimating another discourse. … We will argue that this modernism is characterized by the oscillation between a typically modern commitment and a markedly postmodern detachment. We will call this structure of feeling
metamodernism.” (from Notes on Metamodernism, 2010)
Metamodernism a new dominant paradigm in contemporary art and culture. As a structure of feeling (rather than a movement or manifesto) it is expressed in the form of sensibilities, and (specifically in cinema) one of these sensibilities is the quirky.
Notes on Metamodernism
Quirky, Tone and Metamodernism
Metamodernism, Quirky and Feminism
Films to watch:
Eternal Sunshine of the Spotless Mind (2004, Michel Gondry)
American Splendor (2003, Shari Springer Berman and Robert Pulcini)
Adaptation (2003, Spike Jonze)
Napoleon Dynamite (2004, Jared Hess)
The Royal Tenenbaums (2001, Wes Anderson)
Submarine (2010, Richard Ayoade)
Eagel vs. Shark (2007, Taika Waititi)