In stark contrast to previous parts, after Wickus escaped from MNU into hiding in District 9, the “documentary” was replaced by a more conventional Hollywood blockbuster style with spectacular fight scenes and actions.
The use of shaky camera shots is still fairly noticeable, but they acted less to enhance the sense of reality than to serve more the purpose of creating thrills and excitement. Indeed, audience could not see Wickus turning back and talk to the camera anymore and was instead placed in a seamless storyline with little disruptions. This change is remarkable in itself because it operated on a double logic: not only did it illustrate a transition from the banal and ordinary into the spectacular, it also represented the shift from the new and original into the old and traditional. Just as astonishment give way to familiarity and invisibility (Gunning 2003, 41), the novelty would gradually become the conventional. As such, special effect and digital technology is both enhancing and limiting. They represent the most technologically advanced modes of expression, while at the same time running the risk of exhausting its own aesthetic possibilities (Pierson 2002, 158). The innovative “doco-style” that engaged with viewers before is deconstructed into an ordinarily spectacular cinematic experience.