Digital Audiovisual Media Class Blog

Ever watch a film and felt completely unsettling, even if you couldn’t explain the plot at all? That’s what Steven Shaviro calls ‘post-cinematic affect.’ In a world filled with digital screens and excessive editing, films have shifted from telling stories to creating ‘vibes’. Shaviro argues that we aren’t just looking at images differently, we’re feeling…

By Emma Bogue  When meaning is lost, emotions overpower. The latest installment of the franchise, Scream 7 is due to hit theaters on February 27th. While you might roll your eyes and wonder why Ghostface returns for yet another slightly trashy Hollywood slasher reboot, there’s probably a good reason for it. The horror genre is…

Post-Cinematic Affect and The Big Short (2015) by Aimee Wheeler Adam McKay’s The Big Short (2015) is a strong example of what Steven Shaviro describes as post-cinematic affect, where cinema prioritises sensory intensity and circulating feelings over classical narrative immersion. Rather than offering a stable, emotionally coherent account of the 2008 financial crisis, the film…

By: Jimena Inda David Lynch’s Mulholland Drive (2001) exemplifies Steven Shaviro’s concept of post-cinematic affect, which marks a shift from coherent narratives and character-driven emotional identification toward immersive moods, sensory intensities, and bodily responses (Shaviro, 2010). The film deliberately fragments its storyline, deploying non-linear timelines, character doublings, and unresolved enigmas to thwart conventional comprehension. Rather…

By G. Nanthinee Shree Free Guy (2021), directed by Shawn Levy, follows a Non-Player Character (NPC) whose existence is a repetitive loop of bank heists and scripted pleasantries. This routine is shattered by a chance encounter with a mysterious stranger, forcing him to confront the digital truth: he is merely background code in a sprawling…

Chaos cinema is an idea created by Matthias Stork in his video essay which takes David Bordwell’s ‘Intensified continuity’ (2002) to an extreme. In it, Stork says that the ways of editing associated with Bordwell’s concept are a hallmark of a bad movie, but I disagree. What makes a movie bad is if these techniques…

The transition from analog to digital media represents more than a technical evolution; as discussed in our first lecture, it signifies a fundamental restructuring of the performer’s identity. As Lev Manovich argues in The Language of New Media, the defining logic of digital media is Numerical Representation. For me, as an actress, this is a…

In the lecture and seminar today we were talking about both of these topics. They both fall under the umbrella term of ‘Post-Cinema’ and mean very similar things. However what I find interesting is how, despite being so similar, the distinction between these two terms matter a lot. These two terms I am referring to…

Cinema isn’t dying, it’s just evolving. While we used to define ‘the movies’ by going to a dark room with a massive screen, that definition has gotten a make-over throughout the years. This is why many media scholars now use the term ‘post-cinema’. This term helps us understand how moving images exist across many platforms…

this is my test for the blog posting, for digital audiovisual media this video tells the story of how the story of “The Big Short” really happened Josh Flynn