Postmodernism focuses on rejecting the ideals of modernism, with less idealistic political

views and a more skeptical perspective. Our presentation explored how two notable texts are
able to contain and display postmodern elements in their own individual way. Our thesis stated:
The characterization of Baron Harkonnen in the novel Dune and the concept of hyperreality in
the film The Matrix display aspects of postmodernism.

Stated by Britannica online dictionary, postmodernism refers to “a late 20th century

movement characterized by broad skepticism, subjectivism, or relativism; a general suspicion of
reason; and an acute sensitivity to the role of ideology in asserting and maintaining political and
economic power”. Postmodernism rejects modernism, which found its roots in the aftermath of
the First World War. Modernism is more serious in contemplating grand narratives and their
authors to find a greater meaning in life. Postmodernism emerged after the Second World War as
opposition to this belief, in focus of the smaller, finer details, with mini narratives that can result
in multiple possibilities depending on the reader’s interpretation.

In the 1965 novel Dune, postmodernism displays itself in the characterization of Baron
Harkonnen in the second chapter. This is where the Baron is initially introduced in his
appearance as a character. Physically, the Baron’s appearance is a caricature of a villain, which
introduces maximalism, an element of postmodernism. He is described towards the end of the
chapter as “grossly and immensely fat……all this fat was sustained partly by portable suspensors
harnessed to his flesh.” His physical stature is also a parody of stereotypical villain’s traits-
gluttonous, greedy, lustful, and sadistic. Simultaneously, it is also an outward representation of
the Baron’s own character, as well as a personification of these traits.

However, despite the Baron’s parodical and maximalist appearance, his dialogue and
interaction reveal a postmodern way of thinking and anticipating events within the premise of
the novel. One noteworthy line- “Observe the plans within plans within plans” sums up the
methods of how he operates in the story. In the second chapter, he discusses “their planet”
Arrakis being handed over to the Atreides family, their enemies, after many years, with his
nephew Feyd-Rautha and servant Piter de Vries. Here, before being physically revealed, his
dialogue with both reveal his cunning intellect. He is a man who observes from the shadows as
shown in the chapter by him being intentionally placed in darkness in a caricatural manner, but
also by his dialogue of observing the actions of other characters from a distance and predicting
their next move.

His quote of “plans within plans within plans”, refers to his knowledge that every
character has a plan, with a backup plan, with another backup plan, each based on the decisions
of another, almost in sequence based on their results. Meaning, the Baron’s way of anticipating
these decisions and actions is similar to the postmodern belief in focusing on mini-narratives
rather than a grand, singular narrative. The mini-narratives are every individual character’s plans
that the Baron deems important enough to focus on, in order for him to manipulate with the
smallest course of action that could ultimately play in his favor. This, for him, would either be in
a long-term or a short-term goal, for example, extinguishing the line of House Atreides. The
Baron is aware of House Atreides’ nobility and the hostility between themselves and House
Harkonnen- “Whenever did an Atreides refuse an opportunity for a gesture?”. He inserted his
own spy Dr. Yueh to move against the Duke when the time is right and set the loyalists within the
family against each other. With this in mind, as the Baron planned with Piter, this would be a
diversion depending on the results, for House Harkonnen to move in, with the Emperor’s
soldiers- Sardaukar- disguised in order to exterminate them. Another example would be his
conversation with Piter, where his servant knows that he will be killed by the Baron because he
knows and thinks too much, and calls out the Baron for his underhandedness, and his reason for
multiple compromises with many in order to achieve many goals. Piter voices that the Baron’s
family is used to doing the Emperor’s ‘dirty work’. “It’s a dangerous advantage, to be sure, but if
cautiously, will bring House Harkonnen greater wealth than that of any other House in the
Imperium.” The Baron is focused on the best possible outcomes for him in a political and
economic move, where he gains the most shares of wealth through precise military strikes while
exterminating his enemy House and gaining the Emperor’s fear and favor all at the same time.

“The Matrix '' contains elements of postmodernism within its structural and thematic
fragmentation, rejection of grand narratives and hyperreality. The Matrix’s presentation of
Reality and in return, Hyper-reality stems from its pastiche on the Postmodernist philosophy
book, Simulation and Simulacra. Jean Baudrillard represents “Reality” in 4 stages; 1. The Real,
the authentic truest form of the world. This is represented in the Matrix as the true reality where
the world was overrun by artificial intelligence and humans are being farmed as batteries. 2. The
Copy, a faithful recreation of “The Real”, the Matrix movie itself can be seen as a piece of
Meta-Fiction which aims to depicts what our true reality can possibly be as it takes place in the
same universe as our own which we know for a fact due to the intertextuality of many real
artifacts such as Alice in Wonderland. 3. The Simulacrum, A world that is no longer authentic or
a recreation of such. The Matrix believes that is the world as we know it, it is a facade that was
artificially created by AI to feel real. 4. Hyperreality, When the simulation becomes more real
that reality itself. This is explored in The Matrix in many ways, one of which being through the
lens of Neo where he is able to break the simulation program allowing him to create whatever
reality he wants within the simulation.

Fragmentation is conveyed through the shifting point of views and basic temporal shifts
like flashbacks. Many characters in the movie have their own personal ideologies and beliefs, the
movie swaps between characters point of views consistently throughout the story as it engages in
a parallel story line. In one storyline we follow Neo as he learns the truth about the Matrix and
becomes the one whereas in the other storyline we are presented with the rest of the rebellion
forces fighting against the AI. Furthermore, we are shown fragmentation within the false reality
itself when Neo finally learns how to become “the one”. He is truly able to separate the false
reality from what is real and control it. The story shifts in time multiple times as both parallel
storylines take place in different times. The true time is 2099, this is where the reality is and
where the rebellion forces are fighting against the AI. However, in the simulacrum where Neo
spends most of his time we are presented with the time of 1999, chosen by AI as it is believed to
be the peak of human society. Throughout the story we are pulled between both storylines and as
a result both times.

The Matrix as a concept rejects the grand narrative of life as a whole. The movie presents
life as we know it to be nothing but a grand narrative, it cannot be truly fact and it must be
rejected in order for humanity to return to reality. Within the plot the characters are constantly
battling against this notion both physically and philosophically. The show still somehow adds a
layer of vagueness on the “correct” narrative as some characters are shown to be rebellious
against this false reality whereas others are in full support of living within the simulations with
both sides having reasonable arguments. Similarly, the authority and power structures are
critically examined in the film, raising important questions. In the Matrix, the machines serve as
a representation of technological dominance and control. However, the film takes a bold stance
by portraying these machines as oppressive and deceitful, effectively challenging the notion that
a single authoritative power possesses all the answers which in itself can be seen as a rejection of
the common religious grand narrative of God.
 Works Cited

“Postmodernism” Britannica.

https://www.britannica.com/topic/postmodernism-philosophy

Dune. Frank Herbert. 1965.

Chapter 2, pp.17-26. ACE. Published by Berkley, New York. Paperback edition 2005