The following screenshot is from the movie Spider-Man: No Way Home (2021). The image depicts a critical moment in the film: the Mirror Dimension chase. In this scene, Peter Parker, Spider-Man, is facing off against Dr. Strange over the fate of villains coming from other dimensions. In the screenshot, Spider-Man is crouched on top of a train, carrying a box with a spell, while Doctor Strange is standing across from him, and the city behind him is upside down and kaleidoscopic. This moment uses strange visual effects, fast editing, and warped space to create an intense action scene.
The impact of this image is largely dependent on the mise en scene. With his arm pointed straight at Peter and his red cloak flapping, Doctor Strange displays his dominance as he stands upright and in the middle of the picture. Spider-Man’s position on the right edge and slight tilt highlight his hesitancy and doubt. Their disparate objectives and moral roles are made clearer by the contrast between their costumes- Strange’s dark blue robes with rich red accents and Spider-Man’s brilliant red and blue suit. In keeping with Doctor Strange’s powers, the background depicts a city that folds into itself, producing an odd setting where gravity seems unsteady. Despite the bizarre space distortion, the brilliant, natural lighting provides a sense of authenticity. The Sling Ring portal device and the train beneath them are examples of props that improve the conflict between Spider-Man’s mystical abilities and his agility.
Between two high-energy moments- a furious quarrel and a frantic chase – this image captures the action in the sequence. The action switches between close-ups of Strange’s annoyance and Peter’s anguish as they debate the morality of sending the displaced villains back home just before this shot. Strange uses the Mirror Dimension to quickly bend, replicate, and modify the surroundings in an attempt to overpower Peter. After the chase begins, the editing speed increases significantly, with cuts occurring every 1-2 seconds instead of every 4-5 seconds during speech. I tallied about 52 edits in only one minute of the action scene, which is consistent with the fast-cutting approach identified by Bordwell (2002) in his research on contemporary blockbuster action films.
In this scene, the point of view (POV) significantly influences the audience’s emotional comprehension of Peter’s situation. The reason this works so well is explained by Murray Smith’s idea of character involvement. Smith makes the case in Engaging Characters that viewers can relate to characters through allegiance (moral and emotional assessment) and alignment (access to their thoughts and behaviours). In this sequence, the camera stays in close visual and narrative alignment with Peter’s point of view, allowing us to share in the turmoil. His panic is reflected in the unsteady, hand-held movement, and the quick cuts confuse us by limiting our spatial awareness. This type of visual alignment supports Smith’s claim that point of view is a crucial tool for fostering emotional involvement and makes viewers feel sorry for Peter. The POV approach also exhibits what David Bordwell refers to as “intensified continuity” in terms of visual design. Rapid editing, tight framings, and camera movement are frequently used in modern Hollywood productions to increase emotional intensity and immersion.
Lastly, the point of view is inextricably linked to the overall narrative framework of the movie. In her chapter on transmedia storytelling, Melanie Schiller points out that modern blockbusters frequently function within expansive narrative universes where each movie depends on the audience’s knowledge with earlier plots and characters. Because viewers are already very invested in Peter Parker from earlier Spider-Man movies, the MCU narrative arc, and other films, the point of view in No Way Home functions both on an emotional and a franchise level. The viewer’s comprehension of Peter’s anxiety, guilt, and sensation of vulnerability is enhanced by this prior transmedia information. Because the scenario triggers a whole network of previous stories that the viewer brings with them, the point of view has greater significance.
According to Box Office Mojo, Spider-Man: No Way Home made over $1.9 billion worldwide, making it one of the highest-grossing movies of the decade. Its popularity demonstrates the enormous attraction of superhero action movies and their dependence on nostalgia themes from many franchises.
All things considered, Spider-Man: No Way Home’s action sequence embodies many of the fundamental narrative and stylistic elements that characterize modern Hollywood action movies. David Bordwell defines heightened continuity as a style that puts sensory intensity and emotional immediacy ahead of classical coherence. This is demonstrated by the fast editing, erratic camera movement, and tight framing. Through what Murray Smith refers to as alignment- a technique in which narrative and visual signals put us right within the character’s psychological perspective- the audience experiences Peter’s panic in addition to being onlookers. The movie, however, functions inside what Melanie Schiller refers to as a more expansive transmedia storytelling context, where characters, emotional histories, and narrative stakes go much beyond a single movie.
In addition to reinforcing well-known features of modern action filmmaking- high stakes, fast motion, amplified spectacle, and largely character-centered point of view- these combined techniques make the action feel bigger, faster, and more emotionally charged. However, these characteristics also add to actual worries about the consequences of media, especially with regard to desensitization and the normalizing of violence as entertainment. The editing, staging, and pacing of these moments aim to immerse viewers in intensely orchestrated yet emotionally overpowering scenarios that feel both natural and engrossing, whether or not they are aware of it.
References
Bordwell, David. “Intensified Continuity Visual Style in Contemporary American Film.” Film Quarterly 55, no. 3 (2002): 16–28. https://doi.org/10.1525/fq.2002.55.3.16.
Schiller, Melanie. “Transmedia Storytelling: New Practices and Audiences.” In Stories, edited by Ian Christie and Annie van den Oever, 97–108. Amsterdam University Press, 2018. https://doi.org/10.2307/j.ctv5rf6vf.10.
Smith, Murray. Engaging Characters: Fiction, Emotion, and the Cinema. Oxford: Clarendon Press, 1995.
Response to “Look for sources related to film, storytelling, etc.” ChatGPT-5, OpenAI, November 2025, edited for style and accuracy.
Box Office Mojo. “Spider-Man: No Way Home.” Box Office Mojo. Accessed November 26, 2025. https://www.boxofficemojo.com/title/tt10872600/
Graesen
Fatima, you have expertly broken down and analyzed the Mise En Scene of screen shot very expertly you spoke about how the mirror dimension is strange’s world and he feels confident in it and underestimates Spider-Man. You also explained the action beats, cuts and edits that take place throughout the scene very well and the discussions on POV and how we connect with Peters Turmoil in this scene. You dug deeper and wrote about how modern Hollywood action blockbusters often use the quick camera movements and cuts in movies that do well at the box office, that fact was backed up with a scholarly source. This is especially true due to the fact that This movie made 1.9 billion in the box office. Overall, I would say that the image is an accurate illustration of their description, and I agree with the assessment.