Abstract
Abstract The purpose of this essay is to present and discuss different theoretical perspectives, such as Steven Shaviro’s post-cinematic and Garret Stewart’s postfilmic notions, in a search to better understand the consequences of digital technology to film image and narratology. Its hypothesis is that contemporary fiction time might be a prolongation and an effect of the postmodern condition, unfolding in a sense of continuous presentness through the lack of actual movement and materiality of the digital form. More specifically, I combine what the contemporary theoretical debate has to offer on the issue of the index film, or its lack.
Highlights
The purpose of this essay is to present and discuss different theoretical perspectives, such as Steven Shaviro’s post-cinematic and Garret Stewart’s postfilmic notions, in a search to better understand the consequences of digital technology to film image and narratology
This study hypothesises that contemporary fiction time might be a prolongation and an effect of the postmodern condition
As a matter of fact, some theorists, such as Russell West-Pavlov, do not even observe a real break between modernism and postmodernism. He states for instance that technologies such as the internet, mobile phones, and Skype, “are not genuinely postmodern to the extent that they merely evince the intensification of trends present in modernity from the outset” (WEST-PAVLOV, 2013, p.140), which implies postmodernism as “an accelerated, intensified form” (WEST-PAVLOV, 2013, p.151) of modernism, and not as an autonomous movement
Summary
The purpose of this essay is to present and discuss different theoretical perspectives, such as Steven Shaviro’s post-cinematic and Garret Stewart’s postfilmic notions, in a search to better understand the consequences of digital technology to film image and narratology. In search of this label, Alan Kirby proposes the emergence of Pseudo-modernism, Garrett Stewart refers to a Postfilmic moment in cinema studies, while Steven Shaviro names a Post-Continuity film. I observe, for instance, a clear distinction between analogue and digital technologies, in how they affect our understanding of time differently.
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