Shaviro (2016) uses the term “post-cinema” to define the shift in the nature of audio-visual media as it transgresses the bounds of the traditional cinematic experience. This is achieved as the medium departs from the dominance of classical continuity editing to non-linear storytelling, fragmented narrative and techniques such as simulations embedded in film narratives. The idea is that our engagement with moving images is no longer confined to the traditional cinema setting but is distributed across diverse and often interactive platforms.

This can seen through David Fincher’s opening scene of Fight Club; extreme close ups, fragmented editing and glitching is used to create a disorienting effect as well as a sense of adrenaline as the scene progresses. The scene begins with the camera coming out of a pore on the human body to then reveal the characters forehead which is covered in sweat. The extreme close-up continues to follow a metal object inside the character’s mouth which is revealed to be a gun. The audience straight away feels the breakdown in order through this mise-en-scene, there is a sense of chaos which mirrors the main characters confused and broken mental mindset of the main character.

However, Shaviro (2016) argues that these recent films have “no sense of spatiotemporal continuity; all that matters is delivering a continual series of shocks to the audience”.  This is defined by Bordwell (2002) as “intensified continuity” which includes rapid editing, close frames and extremes lens lengths. Through this he argues there is a loss of indexicality and ontology as digital effects create sensationalist elements which feel like superficial lures and a way of distraction. Fight Club’s opening scene bombards viewers with images challenging narrative norms, prompting them to question reality and media illusions. This aligns with Shaviro’s critique of films prioritizing shocks over spatiotemporal continuity, as the film mirrors chaotic themes through its disruptive style.

By Dzesika Olenberga 33710608

Bibliography

Shaviro, S. (2016) ‘Post-continuity; An Introduction’ in Denson, Shane & Leyda, Julia. (2016) ‘Post-Cinema: Theorizing 21st-Century Film’. Falmer: REFRAME Books.

Shaviro, S. (2016) ‘Post-continuity; An Introduction’ in Denson, Shane & Leyda, Julia. (2016) ‘Post-Cinema: Theorizing 21st-Century Film’. Falmer: REFRAME Books.

Bordwell, D. (2002) ‘Intensified Continuity Visual Style in Contemporary American Film’. Film Quarterly.