By YU TIAN
Berry, Harbord, and Moore (2013) pointed out that the firm attitude of media in the public space is one of the least visible but the most vital aspect of its presence. As such, with any post-concept, is both a break as well as a continuation of the legacy of the cinema. The post-cinema employs the audience to think about the link between newer and the older media regimes. Therefore, it is crucial that this transition in audiovisual media reflects both the stylistic and technological transformation and the shifts in sensibility and affect. With regards to the moving image production, exhibition, and consumption, throughout film history has turned out to be a matter of laying tracks and tracing paths leading in the respective “now” to different pasts. This is achieved in modalities that accommodate ruptures as well as continuities (Ernst, 2006). The digital revolution is regarded as the moment of rupture. The rupture must be a matter of aesthetics or even technological. The continuity, on the other hand, is the idea that images no longer entirely tag on the rules of classical cinema composition and editing.
In regards to the recent theories on screen studies, it can be argued that the perspective of the present collection is post-cinematic. However, implying that the 21st century is media that is post-cinematic does not, however, refute the heterogeneity aspects making up the landscape. However, post-cinema is a synoptic or summative concept of a particular sort that enables an internal variety while paying attention to the cumulative influence of the newer media. An example is in the moving image aesthetic whereby the aesthetic of the contemporary film does not just replicate the environments established by the press and digital technology. Nonetheless, it breaks more radically with the cultural logics and power geometries of the twentieth-century cinema (Leyda and Denson, 2016).
Berry, C., Harbord, J. and Moore, R. eds., (2013). Public space, media space. Springer.
Ernst, W., (2006). Does the archive become metaphorical in multi-media space. New Media old media. New York: Routledge, p.105.
Leyda, J. and Denson, S., (2016). Post-Cinema: Theorizing 21st-Century Film.