{"id":8244,"date":"2026-07-13T09:59:38","date_gmt":"2026-07-13T09:59:38","guid":{"rendered":"https:\/\/kenansubasi.com\/?p=8244"},"modified":"2026-07-31T12:08:23","modified_gmt":"2026-07-31T09:08:23","slug":"imgenin-maruz-kaldigi-siddet-sentetik-imgeler-ve-dijital-dezenformasyon","status":"publish","type":"post","link":"https:\/\/kenansubasi.com\/en\/imgenin-maruz-kaldigi-siddet-sentetik-imgeler-ve-dijital-dezenformasyon\/","title":{"rendered":"The Violence Faced by the Image: Synthetic Images and Digital Disinformation"},"content":{"rendered":"
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Summary<\/p>\n

The concept of digitalization represents a crisis of synthetic imagery, a dynamic destruction rather than an evolutionary change in the relationship between photography and cinema. While the journey of the visual began with figures drawn on cave walls in prehistoric times and continued through painting on canvas, and photography and cinema through film on film, today the ontology of the material has changed, being represented by numbers. This digital representation has damaged the relationship between photography, the primary material of cinema, and reality, causing an irreversible transformation and leading to a questioning of cinema's identity. This questioning has resulted in the digital creation of the "image," the visual structural unit, and subsequently destroyed the "reality" between this concept and the "thing" it represents.<\/p>\n

This study, starting from the question "What is the difference between taking a photograph, making a photograph, and writing a photograph?", focuses on the digital revolution, which some theorists describe as the death of cinema and others as its renaissance. It traces the relationship between synthetic images and the concept of reality, and the violence that images suffer in the face of numbers, in the journey of the image from film to digital.<\/p>\n

This study examines the relationship between image and reality, and discusses the concepts of synthetic image and digital disinformation, by grounding the concept of reality, whose boundaries have become extremely blurred and difficult to define today due to digitalization, in discussions of computer-generated imagery from a cinematic perspective.<\/p>\n

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Keywords: Image, Synthetic Image, Digital Disinformation, Digital Representation<\/p>\n

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Abstract<\/p>\n

The concept of digitalization represents the crisis of the synthetic image, which is a dybamic destruction rather than an evolutionary change in the relationship of photography and cinema art with the image. Although the journey of the image began with figures drawn on cave walls in prehistoric times and continued over time through a physical material in painting on canvas, photography and cinema through pellicle, today the ontology of the material has changed and is represented by numbers. This numerical representation has caused to the questioning of the identity of cinema by damaging the relationship of photography, the main material of cinema, with reality and causing an irreversible transformation. This questioning has led to the digitalization of the \u201cimage\u201d, which constitutes the visual structural unit, and then destroyed the \u201creality\u201d between this concept and the \u201cthing\u201d it represents.<\/p>\n

Based on the question \u201cwhat is the difference between taking, making and writing photographs?\u201d, this study traces the relationship of synthetic images with the concept of reality and the violence that the image is subjected to in the face of numbers in the adventure of the image from the digital to the digital, centering on the digital revolution, which some theorists describe as the death of cinema and some theorists as the renaissance of cinema.<\/p>\n

The study examines the relationship between image and reality by basing the concept of reality, whose boundaries have become extremely blurred with digitalization and which is very difficult to define today, on the discussions of computer-generated imagery in the perspective of cinema, and discusses the concepts of synthetic image and digital disinformation.<\/p>\n

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Key Words: Image, Synthetic Image, Digital disinformation, Digital representation<\/p>\n

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Authors: Kenan Suba\u015f\u0131, Alev Fato\u015f Parsa<\/p>\n

Symposium: IV International Symposium on Communication: Disinformation in the Digital Age, Bishkek, Kyrgyzstan, May 15-17, 2024, pp. 31-32.,<\/p>\n

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Detail<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\r\n \r\n \"Kenan_Subasi_Makale_8\"\r\n <\/a>\r\n <\/div>\r\n <\/div> \r\n <\/div>\r\n\r\n \t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

\u00d6zet Dijitalle\u015fme kavram\u0131, foto\u011fraf ve sinema sanat\u0131n\u0131n imge ile olan ili\u015fkisinde evrimsel bir de\u011fi\u015fimden ziyade devimsel bir tahribat olan sentetik imge krizini temsil etmektedir. […]<\/p>\n","protected":false},"author":1,"featured_media":8246,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[21],"tags":[71,72,73,74,75,76,78,54,77],"class_list":["post-8244","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bildiri","tag-dijital-medya","tag-dijital-sinema","tag-gorsel-imge","tag-gundem-belirleme","tag-gundem-belirleme-kurami","tag-sanal-gerceklik","tag-sinema","tag-vr-film","tag-vr-sinema"],"acf":{"choi\u0441e_menu_page":"global_settings","full_width":false,"header_transparent":false,"header_white":false,"menu_align_page":"default","menu_style":""},"_links":{"self":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8244","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/comments?post=8244"}],"version-history":[{"count":4,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8244\/revisions"}],"predecessor-version":[{"id":8249,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8244\/revisions\/8249"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/media\/8246"}],"wp:attachment":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/media?parent=8244"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/categories?post=8244"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/tags?post=8244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}