Author
Soreh University
Abstract
Digitalism as a "language" or a "verbal device" in intermedia studies in cinema is of special importance, and, its relation with cinema could be reviewed in the light of philosophical theories. Jacques Lacan argues that it is not possible to obtain the "real order ", and "language" permanently departs from the real, ruptures it, and approaches the "symbolic order", and considering its language properties, art also attempts to go beyond the borders of reality. Given the tool provided for classical cinema, it attempted to show the "imaginary order " along with the "symbolic order”. As digital science developed in cinema, imagination on the one hand, and the ineradicable interpretation shadowed over the films. This approached cinema more to the continental philosophy of 20th century, where there was no direct relation between digitalism and philosophy. However, they did not overlook the unconscious impact on each other. By revealing the reality, digitalism can conceal such a huge dose of imagination in itself that creates a kind of boundary type behavior in the perception of the audience. Therefore, the concept available in the world is deconstructed on the "symbolic order ", and the revelation and the subsequent opening of the world of work, thought and game start in the minds of the audience. This game could be followed in many components made in a film. One of the concepts that could be read is the image of "city" in cinema. While in classical cinema, cities are a place to reach the "imaginary order ", in postmodern cinema they turn into a completely symbolic place. The digital, as an intermedia element, strives to reinforce this notion, and to obtain its visual representation. While reviewing the impact of digitalism, the present study intended to find out whether a concept like city as the "imaginary order " concept could turn into the "symbolic order " It is also proposed that by using digital elements in representing, the boundary between the "imaginary order " and the "symbolic order " is removed, and therefore, the imaginary order has turned into a "symbolic order ". In other words, the "imaginary order " is symbolic itself and this continues to the end. To make this research more objective, the author investigated Roman Holiday (by William Wyler, 1953) and Blade Runner (by Ridley Scott, 1982).
Keywords
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