“Film today is post-continuity, just as our culture in general is postmodern” (Shaviro, 2011, p.56). Shaviro attests that we are in a post-cinematic age where continuity has ceased to be important (ibid.) and established techniques have been intensified. This, however, has led to films overcompensating their replications of reality through digital technologies and post-production.

Post-continuity/intensified continuity consists of rapid editing, extremes of lens lengths, and a free-ranging camera (Bordwell, 2008). These continuity rules are used opportunistically, not pervasively – narrative isn’t abandoned but is articulated in a time and space that is no longer classical. The 12-minute sequence in Extraction (2020) is very post-continuity in its articulation. The sequence appears to be one continuous shot, however, it is practically a montage consisting of different angles and shots all spliced up and carefully edited together to create the seamless look of one long, continuous take.

The emergence of digital automaticity and three-dimensional spatial continuity show digital cinema’s tendency to exaggerate what is trying to be articulated (Rodowick, 2007). The continuous shot throws the viewer into the chaotic, fast-paced, thrilling chase as mercenary Tyler Rake rescues the kidnapped boy. Shaky camera angles and quick changes from fighting, to running, to two car-chases create a sequence that attempts to replicate the now-ness and urgency of the rescue, but ends up seeming too exaggerated through the automatism of digital media.

The sequence was made for spectacle, but also to keep in with the immediacy suggested by the title. Director Sam Hargrave wanted to “have the audience experience this with the characters in real-time” (Erbland, 2020) and explained the sequence took five months from planning to completion, with some scenes being re-shot over twenty times.

Although the onscreen veracity and exhaustion help create a level of tangibility up close, it is hard to ignore the sensationalism of the high-voltage sequence which disillusions the magic of post-production that made the shot possible.

References:

Bordwell, D., & Thompson, K. (2008). Film art: An introduction. New York: McGraw-Hill Higher Education.

Shaviro, S. (2011) Post Cinematic Affect. John Hunt Publishing.

Rodowick, D.N. and American Council of Learned Societies (2007) The virtual life of film. Cambridge, Mass: Harvard University Press.

Erbland, K. (2020) ‘extraction’: How first-time director Sam Hargrave pulled off that wild 12-minute, one-shot action sequence, IndieWire. IndieWire. Available at: https://www.indiewire.com/2020/04/extraction-one-shot-action-sequence-netflix-1202226593/ (Accessed: November 3, 2022).

Nerd Clips HD (2020) Extraction | one-shot gun fight scene, YouTube. YouTube. Available at: https://www.youtube.com/watch?v=glOnDceqqJc (Accessed: November 3, 2022).

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Written by Mariella Del Federico (33652293) 3/11/22