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### **Abstract**
This dissertation analyzes *Mystery Science Theater 3000* (MST3K) as a quintessential postmodern artifact, focusing on its intertextuality, meta-narrative, and critique of both media and audience reception. By juxtaposing “bad” movies with a running commentary of ironic and referential humor, MST3K subverts traditional cinematic experiences, dismantling notions of authorship, genre, and high versus low culture. Using theories from postmodern thinkers like Jean Baudrillard, Linda Hutcheon, and Fredric Jameson, this study situates MST3K within the postmodern tradition of irony, pastiche, and self-reflexivity.
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### **I. Introduction**
- *Mystery Science Theater 3000* (1988–1999, with later revivals) centers on a man and his robot companions forced to watch and riff on “bad” movies.
- This dissertation explores how MST3K embodies postmodernism through its deconstruction of cinema, subversion of traditional narrative authority, and meta-critical engagement with the act of viewing itself.
- Key questions: How does MST3K challenge traditional notions of media consumption? In what ways does its humor reflect postmodern aesthetics and cultural critique?
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### **II. Narrative and Structural Fragmentation**
#### **1. The Frame Narrative as Parody**
- MST3K employs a loose narrative framework (the protagonist trapped aboard the Satellite of Love) to provide a context for its primary action: mocking films.
- The absurdity of this premise, coupled with the incongruity between the “host segments” and the films themselves, deconstructs traditional narrative coherence.
- Example: In episodes like *“Manos: The Hands of Fate,”* the interplay between the movie and the interstitial sketches heightens the sense of disjointedness and absurdity.
#### **2. Episodic Structure and Temporal Disruption**
- Each episode’s commentary disrupts the movie’s internal logic, creating a fragmented viewing experience where the original narrative becomes secondary to the riffing.
- This aligns with Fredric Jameson’s idea of the “waning of historicity,” where past media are recontextualized without regard for their original meaning.
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### **III. Intertextuality and Pastiche**
#### **1. Referencing the Hyperreal**
- MST3K’s riffs are densely intertextual, referencing everything from classic literature to pop culture, often within a single joke. This creates a hyperreal environment where the viewer is as engaged with the external references as with the text itself.
- Example: In *“Santa Claus Conquers the Martians,”* the crew’s jokes juxtapose the absurdity of the film with cultural commentary, blurring the lines between critique and entertainment.
#### **2. Pastiche and Genre Subversion**
- By repurposing films across genres (horror, sci-fi, melodrama) for comedic purposes, MST3K exemplifies Jameson’s concept of pastiche, imitating styles and genres without reverence or originality.
- Example: *“Attack of the Eye Creatures”* is transformed from a failed sci-fi horror film into a vehicle for humor, with the riffers mocking genre tropes while celebrating their absurdity.
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### **IV. Meta-Criticism and the Deconstruction of Authorship**
#### **1. The Death of the Author**
- MST3K obliterates the idea of a single authorial intent. The riffers’ commentary overwrites the film’s original meaning, creating a new text that exists simultaneously as critique and entertainment.
- Example: In *“The Wild World of Batwoman,”* the crew mocks the film’s incoherent plot, effectively making their commentary the primary narrative.
#### **2. Audience Participation and Reflexivity**
- MST3K’s humor relies on shared cultural knowledge, inviting viewers to participate in the act of deconstruction. The show highlights the constructed nature of media, encouraging viewers to question its authority.
- Example: The catchphrase “Keep circulating the tapes” reflects a postmodern emphasis on community-driven engagement and the decentralization of media distribution.
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### **V. Satire, Irony, and Cultural Critique**
#### **1. Satire of Media and Industry**
- MST3K critiques the film industry’s commodification of art by showcasing poorly made, formulaic movies. Its commentary exposes the gap between intent and execution, parodying Hollywood’s focus on profit over quality.
- Example: In *“Space Mutiny,”* the show mocks the overuse of tropes in low-budget sci-fi, highlighting the lack of originality in mass-produced media.
#### **2. Irony and the Viewer’s Role**
- MST3K relies on layers of irony, requiring viewers to understand both the film’s failings and the cultural references in the riffs. This multi-layered humor aligns with Linda Hutcheon’s theory of postmodern irony as a tool for critique.
- Example: The constant breaking of the fourth wall, as in *“Pod People”* where the characters mock their own show’s format, reinforces the audience’s awareness of artifice.
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### **VI. Hyperreality and Simulation**
#### **1. Movies as Simulacra**
- The “bad” movies featured on MST3K often attempt to mimic Hollywood styles but fail spectacularly, becoming simulacra of cinema itself. The riffs amplify this effect, reducing the films to their most absurd components.
- Example: *“Hobgoblins”* becomes a parody of its own attempt at mimicking *Gremlins*, with the riffers highlighting every derivative aspect.
#### **2. Detachment from Reality**
- MST3K’s humor reflects Baudrillard’s concept of hyperreality, where distinctions between the real and the simulated blur. The show’s self-awareness creates a loop of commentary where both the movie and the critique are simulations of meaning.
- Example: The artificiality of the Satellite of Love parallels the artificiality of the films, creating a layered meta-reality.
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### **VII. Cultural and Artistic Legacy**
#### **1. Redefining Media Critique**
- MST3K transformed film critique into a participatory, comedic art form, bridging the gap between high and low culture.
- The show’s influence can be seen in contemporary media like *RiffTrax* and YouTube film critics who similarly blend humor with critique.
#### **2. Postmodern Engagement with Trash Culture**
- By celebrating “bad” movies, MST3K embraces the postmodern fascination with kitsch and trash culture, elevating them to objects of analysis and entertainment.
- This reflects a broader postmodern tendency to dismantle cultural hierarchies, valuing the trivial alongside the profound.
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### **VIII. Conclusion**
*Mystery Science Theater 3000* exemplifies postmodern television by deconstructing cinematic texts, embracing intertextuality and irony, and critiquing media culture. Its fragmented narratives, meta-commentary, and cultural critique challenge traditional notions of authorship, genre, and audience engagement. By transforming "bad" films into a site of humor and analysis, MST3K not only entertains but also redefines the role of media in shaping cultural meaning.
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This dissertation positions MST3K as a cornerstone of postmodern media, demonstrating its enduring relevance as a humorous yet critical examination of culture, art, and the absurdity of cinema.
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