Cinema and the digital revolution: the representations of digital culture in films
| dc.authorid | 0000-0002-9953-228X | |
| dc.contributor.author | Gürkan, Hasan | |
| dc.contributor.author | Gezmen, Başak | |
| dc.date.accessioned | 2024-06-07T08:05:19Z | |
| dc.date.available | 2024-06-07T08:05:19Z | |
| dc.date.issued | 2024 | |
| dc.department | İstanbul Medipol Üniversitesi, İletişim Fakültesi, Radyo Televizyon ve Sinema Bölümü | |
| dc.description.abstract | This article examines popular cinema’s interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (1997, by Satoshi Kon), Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes. | |
| dc.identifier.citation | Gürkan, H. ve Gezmen, B. (2024). Cinema and the digital revolution: the representations of digital culture in films. Evolutionary Studies in Imaginative Culture, 8(1), 1-15. http://dx.doi.org/10.56801/esic.v8.i1.1 | |
| dc.identifier.doi | 10.56801/esic.v8.i1.1 | |
| dc.identifier.endpage | 15 | |
| dc.identifier.issn | 2472-9884 | |
| dc.identifier.issue | 1 | |
| dc.identifier.scopus | 2-s2.0-85193916954 | |
| dc.identifier.scopusquality | Q2 | |
| dc.identifier.startpage | 1 | |
| dc.identifier.uri | http://dx.doi.org/10.56801/esic.v8.i1.1 | |
| dc.identifier.uri | https://hdl.handle.net/20.500.12511/12589 | |
| dc.identifier.volume | 8 | |
| dc.indekslendigikaynak | Scopus | |
| dc.institutionauthor | Gezmen, Başak | |
| dc.language.iso | en | |
| dc.relation.ispartof | Evolutionary Studies in Imaginative Culture | en_US |
| dc.relation.publicationcategory | Makale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanı | |
| dc.rights | info:eu-repo/semantics/openAccess | |
| dc.subject | Cinema | |
| dc.subject | Cyberspace | |
| dc.subject | Digital Culture | |
| dc.subject | Social Media | |
| dc.subject | Technology | |
| dc.subject | Virtual Communities | |
| dc.title | Cinema and the digital revolution: the representations of digital culture in films | |
| dc.type | Article |
