Non-Indexical ‘Post-Cinematic-Form’ superseeds indexical through its use and application of simulation vs ‘real’ imagrey. This form furthers cinemas’ separation from analog, as it uses digital CGI vs photographic imagery. Some therorists like David Rodowick argue this new form of cinema has no relation to the physical world, but I believe this to be a far more complicated discourse than at first glance. Take, for example,  Avatar. Yes, I can see how a 15 foot tall blue alien does not hold any physical relevance to 21st century Earth, but without our physical presence, these aliens wouldn’t be on screen–I mean they’re speaking English for Christ’s sake!

It is this human morality implicit in those who work to create these surreal beings which then feeds into the beings themselves.  Writers/producers/actors/directors/etc all operate and exist within reality–within constructed culture and social understandings of humanity.  When watching a Film like Avatar, although you will never see a blue creature running about, you still are able to connect and feel for that creature as the indigenous creatures face their land being taken away from foreigners–a classic trope in analog film and history. Avatar is thus a fantastic example of reality’s roots in non-indexical cinema. 

A great way of highlighting Avatar’s inclusion of ‘reality’ within its narative is through its application of a cinematic classic–the white saviour complex, “a story about people of color that centers on the benevolent actions of a white character”.  Although these creatures are not even human, the cinematic approach of following the white ‘Jake Sully’ explicitly mimics this narrative, as it ultimately is Jake to come to the rescue and save the species. This is easily accepted to a human audience, for they have seen the story told time and time again. 

By John-Michael LaDage

(Written week 3)