面临卷席而来的数字化技术浪潮，力图回击“电影之死”论调的后电影研究渐而兴起。但其作为一个研究概念被提出，却局限在电影制作方式的区分上，无法回应短视频和流媒体给电影带来的现实境况，并在理论研究对象选取和普遍性建构上存在失衡。以后电影建立起相对应的强解释力范式，应当以内向审视视角重回概念缘起之初，将“后电影”理解为电影研究对“后理论”整体研究转向进程的接纳，旨在解决电影生产、制作乃至传播领域因技术更迭、介入而生的“新问题”，同时又要拒绝研究视角上单一宏大建构的“旧范式”。顺承这一主线，“后电影”理论建构的未来进路在于把握电影作为一种媒介的本质，关注其横亘在人与影像体认、社会文化之间的中介连接属性，着力从电影语言、人—影关系、电影本体三方面切入，最终跳脱超越传统意义上二元对立性的研究范式。

In the face of the wave of digital technology, the studies on “post-cinema” have emerged to counter the “death of cinema” argument. However, as a academic concept, it is limited to the distinction of film-making methods, unable to respond to the realities brought by short videos and streaming media, which is unbalanced in the selection of theoretical research objects and the construction of universality. In order to establish a strong explanatory paradigm for “post-cinema”, we should return to the origin of the concept with an inward perspective, and take “post-cinema” as the acceptance of the overall research process of “post-theory” by cinema studies, aiming at solving the problems of cinema production and communication, due to the change of digital technology and intervention, and rejecting the “old paradigm” of a single grand construction in the study. Following the main line, the future path of “post-cinema” theory construction lies in grasping the essence of cinema as a medium, focusing on its mediating properties between human and image perception and social culture, and focusing on three aspects of cinema language, human-cinema relationship, and cinema ontology, and ultimately transcending the traditional binary opposition.