Steven Shaviro’s term ‘post-continuity’ describes a “style of filmmaking” that has become more prominent in current action cinema (2016, p. 51). Traditional continuity editing prioritises spatiotemporal continuity, the traditional Hollywood style. Linear narrative flow is primary to the film, with each shot logically connecting to the next. Post-continuity, in contrast, disrupts these conventions by emphasising affect and spectacle in the era of digital filmmaking and editing. Action scenes are depicted through handheld cameras, extreme or impractical camera angles, and extensive digital material interconnected with rapid edits, often featuring intentionally mismatched shots. This fragmented storytelling style mirrors the disjointed, media-saturated society in the 21st century.

Mad Max: Fury Road (2015) Official Trailer

“Mad Max: Fury Road” (Miller, 2015) exemplifies post-continuity with its rapid-paced, high-octane editing style and visual storytelling. It also explores ‘chaos cinema’ with its “high-voltage scenes” filled with adrenaline and tension (Stork, 2012). Cinema in the digital age focuses on the spectacle rather than the narrative. The film contains a straightforward narrative with inclinations of themes of gender and oppression; its editing and visual aesthetics often disrupt spatial and temporal consistency, creating a sense of chaos that mirrors the high-tension stakes of the plot.

Scene displaying the high-tension shots

There is a heavy emphasis on sensory immersion exhibited by explosions, dynamic movement, and surreal visuals, such as characters jumping between locations within a scene. The trailer itself presents these in the film. It represents changes in digital filmmaking and cinema, with scenes rapidly cut and mismatched, attached with the crescendoing non-diegetic sound that builds to the climax. It grips the viewers with the intense spectacle and constant adrenaline rush. Overall, much of action cinema has morphed into a chaotic, hyper-tense film style, which has reshaped cinematic language and digital filmmaking.

References: 

Steven, S.; Denson, S. and Leyda, J. (2016). Post-cinema. “Post-Continuity: An Introduction”. [Accessed 5 Nov. 2024]

Stork, D. (2012). Chaos Cinema [online] Available at: https://vimeo.com/metafilm.

Hafiza Khanom | 33758006