Life on Mars uses a lot of intertextuality. The name of the series is a reference to the 1973 David Bowie song of the same name. A news article Sam sees briefly references the politician Enoch Powell. There is also a poster for a 1950s western movie. The episode is very disconnected from the world of 1970s policing, despite revolving around it as a plot. This is because the episode acts more as a pastiche of 70s crime shows such as The Sweeney's more than as an accurately documented example of real life police investigation in 1973.
Bricolage is another trope of post-modernism. The episode is a great example of this because the whole thing can be broken down into different parts inspired by or referencing other media. Time travel has been done in almost every sci fi series that has run for long enough, and the many expected tropes of crime, including the weary detective and the sidekick who plays off him. Much of the crime genre aspects, as mentioned above, are based off depictions of police from 70s crime shows.
social context is not explicitly discussed, but it does acknowledge the treatment of race and gender in the episode. The only main female character is constantly belittled by other characters because she is a woman, and the pub owner reveals that he has created a facade in order to please his white customers.
Despite the time travel, the episode follows a linear narrative.
It matches the post-modernist narrative in the sense of not knowing what is real and what is fantasy, however only Sam experiences this while the audience have no doubt what is real or fake.
The series takes place in a hyper reality. It is very separated from actual 1970s police work.
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