In the year 2000, Robert Stam established a dedicated section within the book titled “Film Theory: An Introduction” to encapsulate the notion of “post-cinema” by integrating digital theory and new media. This endeavor marked the formal theoretical conceptualization of the foregoing ionized idea. According to Robert Stam, the theoretical foundation of “post-cinema” can be attributed to Henry Jenkins’ “Digital theory” as discussed in his book. The concept of post-cinema is characterized by its inherent ambiguity. The term “it ” can encompass various aspects within the realm of film, including but not limited to the use of special effects, the emergence of novel movie formats, and the utilization of alternative viewing devices distinct from conventional ones.

In my perspective, the notion of film is progressively losing its distinct boundaries. What is the definition of cinema? Is it a film production company that allocates a significant budget towards the creation of a visually and technically superior video, necessitating the purchase of a ticket for viewing within a designated cinema venue? The proliferation of information technology has led to the gradual erosion of certain elements that were formerly unique to the realm of cinema. For instance, in the once exclusive domain of movie theaters, special effects such as explosion effects and face-changing effects, may now be replicated using a little cell phone and corresponding software. While the portrayal of special effects in films may be more fantastical than their real-life counterparts, this suggests that the accessibility of special effects has expanded beyond the realm of cinema. Access the YouTube platform and proceed to view a film that falls within the realm of post-cinema. The demarcations within the realm of cinema are progressively diminishing, as evidenced by the emergence of a substantial number of economically modest web films in China of late (although it remains uncertain whether a similar trend is observable in the United Kingdom). Films of this nature typically have a brief production cycle and can be created with a limited financial investment. Similar to Hollywood blockbusters, this film incorporates several elements such as amazing effects, intricate plotlines, and unexpected turn of events.

The subversion of classic film conventions in the post-movie era is mostly manifested through structural modifications that fundamentally alter the nature of cinematic works. These modifications encompass various aspects, including the temporal and spatial dimensions within which films unfold, the overall composition of cinematic narratives, and the underlying processes involved in their creation.

by Yuxiao Miao