The cinematic disintegration of narrative unities, occurring in lock-step with the post-May 1968 incredulity towards grand-narratives, might be seen as the first phase towards a new synthesis. The idea of the information system is a place-holder, with cinema emerging at the point that the aesthetics of the system are brought into question.

? The issue concerns structure, or style, conditioned by the possibilities inherent in a medium, and its associated techno-historical complexes. With the end of film-cinema, one set of answers disintegrates; a new set comes online. In an important respect, the shift is similar to the one brought-about in the twentieth century by cinema itself.

Rising media sea-levels have rendered this problem acute; the information-flood has generated a need for new cinematic techniques as existential survival strategies.

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