Post-continuity is a phrase used to describe a filming method that has grown popular in action films. According to Steven Shaviro (Denson & Leyda 2016), an obsession with instant impacts overcomes any concern for larger continuity. In other words, gunfights, martial arts bouts, and vehicle chases are shown using shaky handheld cameras, extreme or even impossible camera angles, and a lot of composited digital material—all stitched together with quick cuts, usually including purposefully mismatched pictures. The sense of space and time is either disrupted or almost completely erased. The goal of these processes is to continuously keep the audience shocked through a kaleidoscope of explosions, crashes, physical lunges, and dramatically accelerated actions (Denson & Leyda 2016).

CGI, green screens, and glitches have led to this modern cinematic style. These are all post-cinematic. These data-based simulations mutate screen items and structures. Post-cinematic forms imitate life but question metaphysical reality.

Film scholars view post-continuity as an intriguing narrative element. Yann Martel’s 2001 novel Life of Pi inspired the adventure drama. Pi Patel (Suraj Sharma), a 16-year-old Indian boy, and Richard Parker, a Bengal tiger, are trapped on a lifeboat in the ocean (De Semlyen, 2012). In 2012, Ang Lee brought the story to life using technology to break with the limitations of classic cinema. Producing a film where the action takes place mostly on water and includes exotic animals was impossible without the assistance of contemporary technologies. Previous attempts were unsuccessful as a consequence of lacking required scientific development or budget – Titanic was expensive considering the very little time when the ocean was shown (De Semlyen, 2012). The new visual form not only serves as a backdrop for the narrative but as scholars argue also becomes an integral part of it, providing viewers with new sensations and allowing them to become fully immersed in it. The viewer may feel the brutal ocean through rapid cuts and special effects.

Reference:

Phil De Semlyen (2012), Before And After: A Look At Life Of Pi’s Visual Effects, Available on: https://www.empireonline.com/movies/features/life-pi-vfx/

Shane Denson & Julia Leyda (eds), Post-Cinema: Theorizing 21st-Century Film
(Falmer: REFRAME Books, 2016).

33527854 Artur Wesolowski