Postmodern Die Hard, Courtesy of AI
Powerlineblog ^ | 12/15/2024 | Steven Hayward
Posted on 12/15/2024 2:09:20 PM PST by DFG
Someone recently suggested that as Artificial Intelligence progresses, it may well put a lot of postmodern college professors and other abstruse theorists out of business. Forget the ancient debate about whether ‘Die Hard’ is a Christmas movie (it is, of course); our pal Josh Dunn of the University of Tennessee decided to test this proposition by asking ChatGPT to produce a plot summary of ‘Die Hard’ as written by PoMo major domo Jacques Derrida, and this is the result:
Ah, Die Hard, a text of explosive multiplicities, invites us to deconstruct its narrative architecture, its spatial-temporal labyrinth, and the aporia of heroism and terror. At its surface, we encounter the tale of John McClane, a “cop,” a metonym for the sovereign subject, who is thrust into a high-rise citadel, the Nakatomi Plaza—a veritable simulacrum of late-capitalist modernity, both transparent and impenetrable.
Here, McClane is ostensibly positioned as the agent of order, but what order? The order is already fractured, splintered. The film begins with a marital fissure, a différance, as McClane travels to reconcile with his estranged wife, Holly Gennaro, who has reclaimed her pre-marital name, destabilizing the paternal phallus, the symbolic order he presumes to uphold. Enter Hans Gruber, the antagonist, whose identity is itself a mask, a play of signifiers. A “terrorist,” but not a terrorist—his violence is aestheticized, his motives avaricious rather than ideological. Gruber’s elegant nihilism challenges the binary oppositions upon which McClane’s symbolic authority rests: law/crime, hero/villain, chaos/order. Is Gruber not merely the inverted reflection of McClane? Is not the difference between them traceable to the play of arbitrary signs?
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1 posted on 12/15/2024 2:09:20 PM PST by DFG
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