<P>Does the term 'post-classical' have any relevance in current debates on contemporary cinema? This book offers a positive answer with the help of historical poetics and a number of contemporary popular films from across the globe. <i>Chungking Express</i> (1994), <i>Trainspotting</i> (1996), <i>Run Lola Run</i> (1998), <i>Fight Club</i> (1999), <i>Magnolia</i> (1999), <i>Requiem for a Dream</i> (2000), <i>Amelie</i> (2001), <i>Moulin Rouge</i> (2001), <i>City of God</i> (2002), and <i>Oldboy</i> (2003) are some of the examples analysed here in depth in order to map the formal principles of post-classical cinema. With a strong foothold in the United States, Europe, Asia and Latin America the post-classical mode of narration offers contemporary filmmakers a fresh set of creative options for staging, framing and editing their stories. With meticulous emphasis on formal distinctions this volume differentiates the post-classical paradigm from the powerful classical Hollywood tradition and opens up the territory for new formal frameworks and concepts.</P>