CGI in Tron

According to Steven Shaviro (2011), cinema has transitioned into a ‘post-cinematic’ era, which is a ‘cultural-technological regime’ where traditional film methods have been ‘surpassed’ by advanced digital techniques. This has created a ‘new structure of feelings.’ Based on this understanding, several cinematic pieces can be understood. For instance, Tron is a significant film that imagines virtual spaces using computer-generated imagery (CGI). In the trailer, we can see a futuristic aesthetic that is more digital than representational. It aligns with Shaviro’s (2011) idea of post-cinema, where technology creates new and fragmented ways of experiencing film. A decade after that, The Lawnmower Man showed how humans and technology can merge through virtual reality.

Virtual Reality in The Lawnmower Man

As Shaviro (2011) points out, post-cinema often creates ‘frantic’ or disjointed visuals that ignite excitement and unease. That is exactly what this film captures, speculating on the future of human interaction with machines. Further, only a few films reflect post-cinematic techniques as perfectly, such as The Matrix. In the film, the boundary between real life and virtual simulation does not exist. This is shown with the film’s use of special effects in depicting the scene in which Neo trains inside the simulation to deliver stunning action sequences and surreal visuals. This connects to Pisters’ concept of the “neuro-image,” where films use digital tools to create realities that feel both disorienting and exciting (Walsh, 2015). Moving forward, when the film Gravity was released, filmmakers used digital tools to immerse audiences. We can see in the trailer that there are breathtaking shots of outer space created with CGI and 360-degree camera work. The filmmakers also use high-tech visuals and IMAX which shows how viewers feel the weightlessness of space and help create an emotional experience. This is like post-cinema at its peak, aiming to fully engage the viewers’ senses and emotions.

The Matrix

References

Shaviro, S. (2016) Post-Continuity: An introduction, in S. Shaviro and L. Grusin, (eds.) Post-Cinema: Theorising 21st Century Film. Basingstoke: Palgrave Macmillan, pp. 51–64.

Walsh, M. (2015) ‘Patricia Pisters (2012) The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture,’ Film-Philosophy, 19 (1). Doi: 10.3366/film.2015.0032.

By Xindi Zhao
33734821