Stork says chaos cinema is a never-ending crescendo of flair and spectacle. I agree with this expression, but that doesn’t detract from the fact that it is valid in certain circumstances. When what was once a spectacle now abounds, there is a natural need for more adrenaline.

Older action-editing styles are more the product of reason, precisely based around narrative rhythms that are equally emotionally saturated. With John Woo and other Chinese kung fu action films, in particular, the viewer will be impressed by the more logical action scenes but will come away from the cinema or a second viewing with a new feeling and a deeper understanding of the story and characters. On the other hand, post-cinema may have a stronger emotional lead on the audience at the moment, being able to immerse themselves in it and feel a more immediate emotional atmosphere. And emotional contagion is not something that lasts for long. the brilliance of Source Code does seem to me to be a kind of spectacle that I can’t really empathize with. His reawakening over and over again seemed to cut me off completely from the movie screen.

Although, it seems that post-cinema is constantly cutting time and space, whether in the pursuit of technical extremes or to accommodate people’s fast-paced lifestyles. But audiences don’t only need ‘spiritual opium’ that caters to them; they also need something more traditional and kept at a safe distance – a ‘spiritual massage.’

While we are nostalgic for the classic films of the past, the times have moved on, and we describe today’s cinema as post-continuity. Shaviro (2016) says that when we find that “we Shaviro (2016) says that narrative is not abandoned, but it is articulated in space and time that are no longer classical. But the story is the foundation of a film, and no matter what narrative method is used, good storytelling is what really moves people.

Suppose post-continuity refers to multiple technologies working together to express the core of a story, using established technologies to better present the story itself. In that case, this is the way to go in the history of cinema.

Bibliography：

Shaviro, Steven. (2016). Post-Continuity: An introduction’, Post-Cinema: Theorising 21st Century Film. REFRAME Books.

Lianfei Zeng

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