Akademik Veri Yönetim Sistemi
Hybrid Cinema, SEÇMEN EMRE AHMET,AKİKOL RAHİME, Editör, Doruk Yayımcılık, İstanbul, ss.177-198, 2026
The emergence of cinema occurred at a techno-historical crossroads intersecting with the invention of photography, representing a synthesis between modernity’s desire for access to reality and the development of technical apparatuses. In this context, the camera was not merely a recording device but became an extension of the human eye, functioning as a direct imprint of the empirical world (Bazin, 2017). This notion of “ontological realism” constitutes the foundational distinction that sets cinema apart from other forms of art.
However, in the digital age, the integration of technologies such as artificial intelligence (AI), motion capture (MoCap), photogrammetry, and procedural generation into cinematic production processes has begun to destabilize cinema’s foundational ontological premises. When considered alongside Benjamin’s (2013) argument that art loses its "aura" in the age of mechanical reproduction but gains political potential, and Baudrillard’s (2003) concepts of simulacra and hyperreality, it becomes clear that the future of camera-centered cinema is not merely a technical concern but also opens up a deeply philosophical and aesthetic domain of inquiry.
This study aims to theorize this transformation through the concept of the “Data-Eye.” The “Data-Eye” refers to a new cinematic mode in which data itself becomes the primary “eye,” constructing audiovisual narratives through digital technologies independently of any physical camera. The central question of this article, therefore, is as follows: Is camera-less cinema merely a technical innovation, or does it represent a paradigmatic shift that fundamentally transforms the ontological bond between cinema and reality?