In 2022, I got a chance to attend an exclusive 4D-cinema-viewing of David Leitch’s comic-action film, Bullet Train. With various visual pizzaz within the confines of a titular bullet train, high-budget CGI scenarios and wreckage, and violently accelerated motion combined with rapid cuts and non-linear narrative that overwhelmed my senses, I witnessed a whole new world in just my seat, making me question the possibilities of digital cinema and its effect on filmmaking (Francisco, 2022). 

According to Shaviro, ‘post-cinema’ recognizes the relationship between older and newer media regimes, encompassing 21st-century media that follows the cinematic regimes of the 20th century but simultaneously undergoes transformations that reject, emulate, surpass, and pay homage to Classical cinema (Shaviro, 2016). Recognizing the impact of evolving digital technologies, new media platforms, globalization, changing narrative structures, and expanding cinematic experiences, the post-cinematic perspective challenges us to understand how new media actively reshapes our cultural forms, subjectivities, and embodied sensibilities (Denson and Leyda, 2016, pp.1–19). 

One of the most apparent styles of post-cinema filmmaking is post-continuity. Usually observed in action films, it comprises shaky handheld cameras, extreme camera angles, composted digital material, and no sense of spatial-temporal continuity (Shaviro, 2016). An example can be observed in the following scene from Bullet Train.

In contrast with the classical continuity styles where time flows linearly, the continuity is fractured through flashbacks and constant interruption by characters breaking the fourth wall. As stated by Shaviro, “Continuity rules are used opportunistically and occasionally, rather than structurally and pervasively” in post-continuity films (Shaviro, 2016).” The traditional aesthetics are also challenged through visuals that emulate video-games and dialogues encouraging audience participation (Shaviro, 2016). These elements of temporal and spatial discontinuity and aesthetic experimentation are further highlighted at the end of the film where the sequences consist of random cuts, jumping back and forth between two fight scenes taking place in different parts of the train, with continuity cues being provided subliminally through distinct soundtracks. Furthermore, CGI is used to showcase the destruction of the train and surrounding areas paired with slow-motion footage and unconventional camera angles, solidifying the film’s characterization as a product of post-continuity in the era of post-cinema (Francisco, 2022). 

Sources:

Bullet Train. (2022). [Film] USA: Sony Pictures.

Denson, S. and Leyda, J. (2016). Post-cinema : theorizing 21st-century film. Falmer: REFRAME Books, pp.1–19.

Francisco, E. (2022). Review: ‘Bullet Train’ proves Hollywood can still move backward. [online] Inverse. Available at: https://www.inverse.com/entertainment/bullet-train-review-brad-pitt  [Accessed 5 Nov. 2023].

Shaviro, S. (2016). Post-Continuity: An Introduction. In: Post-Cinema: Theorising 21st Century Film. REFRAME Books, pp.51–64.

– Navya Gupta (33711097)