I don't know if I've understood this correctly.

in my words

1. music includes aspects of both postmodernism and modernism
2. postmodern music can be ironic - Timbaland's song contain monkeys, birds and baby's
3. doesn't always follow the 'rules' of the past and present music
4. Challenge high and lows - high = classical, low = pop (pop, rock, etc in broadest sense) Dan Black and Kanye West challenge high and low's
5.  Structural unity - blurred and uses inspiration from others - meaning that artist's music has lots of intertextual references causing a blurred effect between which is/was the original and the piece which piece has taken inspiration, causes a hyper reality effect.
6. Taking elements from elitists (classical musicians, purist music listeners)/cross over from classical to populist (pop music, r&b, rock etc). This is when an artist takes a song from the elitist/classical genre to the populist (their) genre, an example of this is Beyonce singing Ave Maria (which is a classical song), the artists may do this for (although many others) two reasons; to boost their career or the song to make it more popular. The band or artist will normally keep the lyrics the same or slightly alter them but add a pop backing tune to the song to make it marketable to the mainstream audience instead of it's previous niche market, there are other artists who have done this include; Dan Black's Symphonies
   
7. The artists doesn't want the music to sound the same and repetitive, or use to much of the inspired sound (sections from other artists)
8. Music isn't autonomous e.g independent or has no influences, but it's affected by political, socail and cultural change or movements. Examples of these are Green Day/U2's - The saints are coming, a song about the Hurricane Katrina which hit New Orleans, USA, 2005, charity sings such as, Live Aid, do they even know it's christmas by band aid (both) or songs from Lady GaGa or Green Day's Holiday which is about Politics in America, another is diamonds form Sierra Leone by Kanye West which is a protest song about Blood Diamonds, from the area.
   
9. takes sections or inspiration from music which exists in different cultures and traditions, for example bands such as Red Hot Chili Peppers using/taking inspirational music form the Jazz, Blues genres etc and adding them into their songs which are categorized as Rock.
10. musician/artist doesn't just consider technology as a way of keeping record or their music and to transmit the music to their audience but they recognise that it is important in the production and attributes to their music and it's sound. Examples are DJ Shadow's live DJ/mixing on stage, KT Tunstall recording her music on stage and replaying and rerecording it on stage to produce her music, Imogen Heap, and David Albarn from Blur and Gorillaz created a album on his iPad whilst at the back of a bus during him and the Gorillaz touring America to Promote the Plastic Beach album
11. Music embraces contradictions, e.g. a Japanese band using 77 drummers in a single, they had one bassist or guitarist, but this is an example of contradiction within music as it's a contradiction to the stereotypical band/conventions within  music as you just wouldn't expect more than two or three drummers at maximum in any band.
12. doesn't use/trust binary opposites. postmodern music doesn't have/use any binary opposites as they don't work
13. Includes sampling sections or small pieces of music from others therefore fragmenting pieces of music into their own. discontinuities - not constant through out entire song or the main theme/tune/backing music to song.
14. believes all music is equal and isn't better than any other piece, 
15. Songs have more than one meaning to them, as they have more than one listener/person in the audience.
16. Doesn't always make sense in performances, scores or composers, but has more meaning and structure in listeners. It's how the audience interprets the song, it's meaning and possible moral, the audience may see an entire different meaning to a song than the artists, some audiences may see different meaning to each other, due to different levels of understanding and knowledge.

in kramers words

1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
2. is, on some level and in some way, ironic
3. does not respect boundaries between sonorities and procedures of the past and of the present
4. challenges barriers between 'high' and 'low' styles
5. shows disdain for the often unquestioned value of structural unity
6. questions the mutual exclusivity of elitist and populist values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
9. includes quotations of or references to music of many traditions and cultures
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
11. embraces contradictions
12. distrusts binary oppositions
13. includes fragmentations and discontinuities
14. encompasses pluralism and eclecticism
15. presents multiple meanings and multiple temporalities
16. locates meaning and even structure in listeners, more than in scores, performances, or composers

David Ficher's (director) Filmography includes;

• Fight Club

• Se7en

• The Social Network

• The Curious Case of Benjamin Button
• The Game
• Alien 3
• Music Videos for
• Madona
• Aerosmith
• The best of sting
• Writer of Ticker and Beat the Devil
• Produced
• Lords of Dogtown
• Powder Keg
• The Car Theif and the Hit Man

Dust Brothers' (films score) Biography includes;
The Dust Brothers are music producers who started working together in 1985, at their college's radio station, they would host a weekly Hip-Hop show, although the show was actually started in 1983 by Michael (Mike) Simpson, but later on John King joined, the radio show was called "The Big Beat Showcase". 
They started to Dj at Parties but soon stopped as they became Witers/Producers for the musci label'Delicious Viynl' in 1987, they produced tracks on Tone Loc's album 'Loc-ed After Dark', as well they produced two tracks for Young MC's debut album which was named 'Stone cold Rhymin'.

Later on they were introduced to Adam Yauch, who is a member of the Beastie Boys, they were introduced by a mutual friend, Matt Dike, who played a couple of instrumental tracks the pair had produced, to Adam, who liked them so much that he asked them to help produce music for the Beastie Boys second album, which was to be named 'Paul's Boutique'.  They have also worked with Beck to produce his album Odelay (1996), as well as they worked with the lead singer of Motely Crue Vince Neil.
Other artisits they've worked with include;

• Korn
• The Rolling Stones
• Sugartooth
• Carlos Santana and Eagle-Eye Cherry
• 10 cents
• Linkin Park for one song on their album Hybrid Theory

Their songs have been featured in TV series and Films such as Chuck, Fight Club, Muppets from Space

(The Chemical Brothers originally named themselves the Dust Brothers, as a homage to the original group, but was threatened by a lawsuit, so they changed their name.)

I'm going to add my notes later, as I would like to complete them first, as I haven't got around to finishing them yet.

Inglorious Basterds is based between 1939-1945 (War ended 1946), during World War 2, mainly in Germany and France. The films narrative doesn't factually follow the path carved by history, as;

• There was never a jewish-american hit squad who went behind enemy lines, and brutally murdered/injured all of the Nazis they came across.
• Hitler didn't die as it's portrayed by the film consequently neither did the war end as it did, due to Hitler not dying as Tarentino displays it in Inglorious.

Therefore the film is a Homage to the "Nation's Pride" (America), this is demonstrated in the clip of the two Jewish-American Soldiers, one being the Director/Actor Eli Roth who kills Hitler along with Goerballs who was the Minister of Propaganda during Nazi Germany. 

Although this isn't the only evidence of the film being a homage, as it pays homage to films such as The Good, The Bad and The Ugly, The Dirty Dozen.


Other aspects of the film which show its postmodernism are; The perfect untouched uniform of the basterds even though they've been fighting, dragged along a dirty floor etc.
Tarentino reveals the set in the film (transition between different rooms of the set.)


(I couldn't find the clip from the film but I have found a sort of similar effect used in a music video by Paramore

The voice over of Samuel L Jackson, in the scene where Shosanna and her husband are talking about burning down their cinema with Hitler and the Nazis inside.


Quentin Tarentino also includes scenes which 'satisfy' his foot fetish, to see evidence of this we can look at the scenes with include Von Hammersmark and Lieutenant  Aldo Raine and another scene with Von Hammersmark and Colonel Hans Landa. 


Soundtracks which are featured in the film are also postmodern as they come from different era's or films such as Ennio Morricone's from Spaghetti Westerns and music/themes from Blaxsploitation and David Bowie






There is a postmodern clip which is originally from another film which features hitler, there has been many different version made such as the when Hitler is banned from Xbox Live, He gets the RROD on his Xbox 360, Bed Intruder and when he can't get his iphone 4 due to them running out of stock, but there has been another version made, which involves Hitler finding out that Quentin Tarention Kills him in Inglorious Basterds

click the picture to see the YouTube clip

I'm looking at the intextuality in Kick Ass and the problems with the accidental intertextual references the score/soundtracks cause.
Here are the tracks i'll be looking at

No.	Title	Performed by	Length
1.	"Stand Up"	The Prodigy	5:08
2.	"Kick Ass (Radio Edit)"	Mika vs. RedOne	3:11
3.	"Can't Go Back"	Primal Scream	3:46
4.	"There's a Pot a Brewin'"	The Little Ones	3:13
5.	"Omen"	The Prodigy	3:54
6.	"Make Me Wanna Die"	The Pretty Reckless	3:55
7.	"Banana Splits (Kick-Ass Film Version)"	The Dickies	2:04
8.	"Starry Eyed"	Ellie Goulding	2:57
9.	"This Town Ain't Big Enough For The Both Of Us"	Sparks	3:03
10.	"We're All In Love"	The New York Dolls	4:50
11.	"Bongo Song"	Zongamin	5:00
12.	"Per Qualche Dollaro in Più (For a Few Dollars More)"	Ennio Morricone	2:53
13.	"Bad Reputation"	The Hit Girls	2:56
14.	"An American Trilogy"	Elvis Presley	4:31

A YouTube video of each song follows for examples.

• Prodigy's Stand Up

• Prodigy Omen

• Primal Scream Can't Go 

• There's a pot a brewin by The Little Ones

will complete later

Hit Girl Postmodern Heroine or Morally Reprehensible