Being a Filmmaker in the Post-Cinema World.

Written by: Nuraine Ebrahim


Anybody can be a filmmaker today. There are no instructions. All you need is a camera and something interesting to put in front of the lens. To be a filmmaker in the twentieth century, one would have to go through the ranks from runner to an executive producer. There were no shortcuts. The classical production system still exists, however, technology has provided opportunities for everyone.

The digital advancement from film and Television, “…has given way in recent years to computer and network-based, and digitally generated, “new media”. Film itself has not disappeared, of course; filmmaking has been transformed… from an analogue process to a heavily digitised one” (Shaviro, 2016, p.130)

The drastic transition from analogue to digital has made the creation of movies fair, (depending on your financial status) hardly anyone is restricted in terms of technology. The lowest price of a camera phone costs £5 per month and the iPhone 5s costs £15.50 per month. Both these phones are technologically capable of creating an on-screen narrative. This is seen in the short film, The Life and Death of an iPhone. This film was shot and edited on the iPhone and cut with the Cameo app.


The Post-cinema world has created a new spectatorship. You don’t need to go to the traditional cinema and pay to be emotionally captivated by the silver-screen. If you want to cheer yourself up and see something spectacular in five seconds, you could go onto YouTube and watch a cute animal clip.


“Art- house film and the blockbuster have become increasingly blurred as the mechanisms and perspectives of classical continuity are formally and materially challenged by post-cinematic media regime. Changes in reception practices too, necessitate new theories of spectatorship “(Denson and Leyda, 2016, p.4).

Filmmaking has no limits, anyone from anywhere can record a narrative and become a great director.


Denson, S; Leyda, J. (2016). Perspectives on Post-cinema: An Introduction. In: Denson, S. and Leyda, J. Post Cinema Theorising 21st-Century Film. Falmer: Reframe Books. p.4.

Shaviro, S. (2016). Post-Cinematic Affect. In: Denson, S. and Leyda, J. Post Cinema Theorising 21st-Century Film. Falmer: Reframe Books. p.130.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s