This essay considers the unusual blend of historicity and digitality present in Ben Wheatley’s Civil War period film, A Field in England. Focusing on the sometimes overlooked post-production techniques involved in the creative process (including colour-grading, sound design and editing), the essay argues that the film’s affective intensity is generated, at least in part, by the use of ‘digital anachronisms’ to disrupt the historical integrity of the narrative. By making a comparison to the politically motivated anachronisms of Peter Watkins’ historical films, the essay concludes by suggesting that a significant, but disturbing continuity may exist between A Field in England and Wheatley’s films situated in the present.

中文翻译：

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本·惠特利 (Ben Wheatley) 的《A Field》在英国的数字时代错误

本文探讨了本·惠特利 (Ben Wheatley) 内战时期的电影《英格兰的战场》(A Field in England) 中呈现的历史性和数字性的不寻常融合。这篇文章着眼于创作过程中有时被忽视的后期制作技术（包括色彩分级、声音设计和编辑），认为电影的情感强度至少部分是通过使用“数字时代错误”产生的。破坏叙事的历史完整性。通过与彼得·沃特金斯 (Peter Watkins) 历史电影中出于政治动机的时代错误进行比较，本文最后指出，英格兰的田野和惠特利 (Wheatley) 的现代电影之间可能存在重要但令人不安的连续性。