Subtitles in Cinema

 

Two technological inventions of the 20th century, namely radio and cinema, revolutionized the way people consume information, communicate with each other, and develop literacy skills. It can be argued that the impact was multi-layered, encompassing both oral skills (speaking and listening) and reading abilities.

Radio, as a communication tool based on sound, significantly contributed to the development of oral skills. It created an "auditory richness" by exposing the general public to a wide range of voices, accents, and speaking styles. Announcers, actors, politicians, and commentators became role models, and listening to radio broadcasts became a popular pastime that indirectly contributed to the improvement of oral expression. People could learn new words, improve their diction, and be exposed to persuasive rhetoric, all without reading a written text. Radio, therefore, served as a source of oral inspiration for all of humanity, making knowledge and entertainment equally accessible to everyone, regardless of their reading ability.

With the advent of talking pictures, the impact on oral skills intensified. Viewers not only listened to the characters but also watched them, absorbing their body language, facial expressions, and intonations, which enriched the auditory experience and made the role models more complex and convincing. Talking pictures created stars who became cultural icons, and the way they spoke, behaved, and dressed greatly influenced the audience, further contributing to the development of language and interpersonal communication.

However, the contribution of cinema to the development of literacy did not stop at the development of oral skills but also extended to reading abilities. Even in the silent film era, the intertitles that were inserted between scenes played an important role in understanding the plot. They forced viewers to read, thereby contributing to the improvement of reading skills, even if on a basic level. The introduction of talking pictures did not negate the importance of subtitles but rather enhanced it. Subtitles, which have become an integral part of the cinematic experience, allowed viewers to connect the sound with the written word, thereby strengthening the connection between the spoken and written language.

In the modern era, it can be argued that subtitles in films and television series have, to some extent, become a substitute for traditional reading. The visual power of cinema allows it to dispense with lengthy verbal descriptions and convey a great deal of information through image, sound, and pace. Subtitles, in this case, complement the visual experience and provide the information necessary to understand the plot and dialogues. For many viewers, especially young people, reading subtitles has become the preferred way to consume narrative content, as it combines visual and auditory stimulation with reading, making the experience more dynamic and engaging.

The inventions of radio and cinema greatly contributed to the development of literacy skills, both oral and written. They created role models, made knowledge and culture accessible, and provided a new platform for learning and language development. In the digital age, where we are inundated with visual content, the importance of subtitles is only growing, and they may become one of the main tools for preserving and developing reading skills in future generations.

Light and Flight

 

The word "light" holds a fascinating duality, encompassing both "illumination" and "lightness." An additional layer in English, "flight," adds a captivating dimension of escape, ascension, and soaring, much like the act of flying. This connection between light, lightness, and flight recurs throughout history in numerous works and can also be found in the works of great thinkers.

For instance, Albert Einstein incorporated "light" into his famous equation, E=MC², thereby linking the immense energy contained within matter to the speed of light. His theory of relativity demonstrates how movement at high velocities, approaching the speed of light, affects the perception of time and space, creating a sense of expansion and elevation, a kind of "flight" into new realms of cosmic understanding.

Similar to Einstein, the Greek poet Odysseus Elytis connected the external light, the bright sunlight of Greece, with the lightness of the soul and its liberation from the heavy mass of the oppressive past. His work is akin to a journey, a poetic "flight," in which a person rises above the shadows of the past, shakes off the weight of burdens, and ascends toward light and freedom. His poems are filled with images of light, sea, sky, and birds, symbolizing the aspiration for spiritual elevation, to escape ("flight") from the confining reality into the expanses of imagination and creation.

The connection between light, lightness, and "flight" is also distinctly expressed in the art of cinema. Cinema, as an art based on light and shadow, uses lighting to create atmosphere, emphasize emotions, and tell a story. Moreover, camera movement, which often simulates the motion of flight or hovering, contributes to the sense of "flight," of detachment from the ground and from everyday reality. Many films use visual imagery of flight, either explicitly, such as in scenes of airplane or spaceship flights, or implicitly, through high-angle shots, flowing camera movements, and the use of special effects that create an illusion of levitation. In many films, physical or metaphorical flight serves as a means of expressing the desire for freedom, spiritual elevation, and the crossing of boundaries.

The connection between "light" in its various meanings – illumination, lightness, and "flight" (escape, aviation) – highlights the link between the physical world, the world of matter and energy, and the spiritual world, the world of emotion and imagination. Sunlight, as well as cinematic light, as a symbol of knowledge, truth, and freedom, enables "flight," the spiritual elevation and liberation from all that binds us, whether it be physical or emotional weight.

The Airplane - Dream and Reality

The Dream of Flight

The concept and aspiration of flight have captivated humanity since the dawn of history. Bound to the earth, humans gazed enviously at the birds soaring above, dreaming of the day they could join them and conquer the skies. Numerous attempts were made to imitate the flight of birds, from mythological tales like Icarus and Daedalus to the daring experiments of inventors throughout the ages. Yet, despite these earnest endeavors, most attempts ended in disappointment and failure. Successes were few, flights were short and unstable, and the dream of safe and efficient flight seemed further away than ever. Humanity realized that conquering the skies required a significant technological breakthrough.

False Dawns

This breakthrough arrived in the form of three remarkable inventions that promised to revolutionize the world of aviation: the hot air balloon, the airship, and the glider. Each sparked great excitement and curiosity, and it seemed that humanity had finally found the way to conquer the air. However, despite their initial promise, within a relatively short period of a few decades, these three inventions proved unsuitable for realizing the full vision. The hot air balloon was at the mercy of the winds, the airship was cumbersome and vulnerable, and the glider had limited control over its flight path. These inventions became resounding failures, leaving humanity disappointed that the technology capable of carrying masses of people into the skies had not yet been found.

The Wright Brothers' Triumph

But then, with the invention of the airplane by the Wright brothers at the beginning of the 20th century, the picture changed completely. The airplane, with its innovative design, efficient wings, and sophisticated control system, finally proved that the skies could be conquered safely and efficiently. It ushered in a new era of possibilities, revolutionizing transportation, commerce, military, and culture. Unlike the failed flying machines that preceded it, the airplane has proven to be a promising invention for over a century, continuing to evolve at a dizzying pace, from piston-engine aircraft to jet aircraft and sophisticated unmanned aerial vehicles.

Taking Flight and Expanding Minds

The invention of the airplane not only fulfilled humanity's dream of flight but also opened up new possibilities for spatial thinking and perception of the world. The airplane's complete control over movement in the air fulfilled another long-held dream of humanity: the unlimited expression of perspective, the three-dimensional thinking that deepens our understanding of spatial relationships, a cognitive tool of the highest order. The ability to move freely in three-dimensional space changed the way we perceive the world and the relationships between objects within it.

Dreamers and Doers

Throughout the development of modern aviation, those involved were divided into two types: dreamers and doers. The dreamers envisioned fantastic visions of effortlessly conquering the air, imagining floating cities and fantastical flying machines. But alongside the dreamers were the doers, the engineers, inventors, and pilots who progressed step by step, experiencing failures and losses along the way. Progress in aviation was the result of a combination of bold vision and meticulous work, of wild imagination and complex engineering reality.

Aviation as Ideology or Tool

In parallel to technological development, two social and political approaches to the idea of aviation emerged: aviation as consciousness and aviation as awareness. Societies that championed aviation as consciousness saw it as a dreamlike vision, capable of uniting their underdeveloped nations and propelling them to the forefront of modernity. Aviation served as an ideological tool for shaping national consciousness and fostering pride and patriotism. Societies that championed aviation as awareness saw it merely as a means to advance the individual and society, carefully avoiding its transformation into an ideological tool. Aviation was perceived as a useful tool for transportation, commerce, and research, but not as a defining factor of national identity. This difference in approach highlighted the distinction between dictatorships and democracies in the 20th century, with dictatorships advocating aviation as consciousness and democracies advocating aviation as awareness.

Anthropomorphism:

Aviation's Third Way

Between the world of dreamers and the world of doers, between aviation as consciousness or awareness, exists a third perspective that allows us to understand the significance of aviation and its unique place in the human experience: the perspective of anthropomorphism. While dreamers aspire to transcend the limitations of physical reality and fly on the wings of imagination, and doers focus on realizing dreams through technology and development, anthropomorphism bridges the two worlds. It allows us to perceive the airplane not just as a flying machine, but as an entity with human qualities, a kind of "flying human" that fulfills the dreams of both worlds.

Holistic Experience

Aviation, as perceived from this perspective, is not just physical movement through space, but also a journey of consciousness and spirit. It allows us to experience the world from a new perspective, to rise above the limitations of everyday life, and to feel a sense of freedom and liberation. The anthropomorphism of the airplane allows us to understand aviation as a holistic experience, combining dream and reality, consciousness and action, and the human being with the world. It gives a deeper meaning to the experience of flight, transforming it into a meaningful human journey.

Enduring Power of Anthropomorphism

Anthropomorphism is a powerful tool that enables us to understand human history. Through it, we perceive historical events as the result of human actions, decisions, and their consequences. This approach allows us to understand motives, identify with the past, take responsibility, prevent dehumanization, and understand history as a human creation. Anthropomorphism, despite being an ancient source, remains important today, especially in light of the increasing emphasis on personal development at the expense of social development, which leads to a growing need for people to rely on their immediate tangible environment and seek meaning and support in sources like anthropomorphism, as a response to the social disconnect created by technology.

The Airplane as Icarus

The airplane, with its nose resembling a head, wings spread like arms, and a rear body and tail simulating legs, becomes an anthropomorphism of the human body. This image, echoing "Jesus on the cross" or "a man spreading his wings" against the backdrop of the clouds – a central source of inspiration for anthropomorphism – evokes deep religious and spiritual associations. It reinforces the idea that aviation, as an intense and personal experience reminiscent of spiritual flight, may contribute to the rise of extremist regimes. However, it is important to remember that the rise of such regimes is influenced by many other factors, and aviation and the anthropomorphism of the airplane are only one contributing factor to this phenomenon, alongside other social, economic, and political factors.

Shared Wings of Aviation and Cinema

Feature films, like airplanes, are a clear expression of anthropomorphism. Both are technologies that allow us to experience the world in a new and powerful way, and both use anthropomorphism to create a deeper emotional experience. The airplane, in its human-like form, evokes feelings of freedom and liberation reminiscent of spiritual experiences. Cinema breathes life into characters and stories through a variety of techniques, creating imaginary worlds that feel real. Both create an illusion of reality, use movement, evoke emotions, and enhance the human experience. Cinema, in addition, turns human stories into a collective dream and uses symbols and metaphors to convey complex messages and ideas.

The Domino Effect That Led to World War I

Only ten years and 226 days separated the Wright brothers' first flight in 1903 from the outbreak of World War I, yet the connection between them runs deeper than expected. This decade, which witnessed the birth of the aviation age, was saturated with rising geopolitical tensions, extreme nationalism, arms races, and imperialist competition. These factors, coupled with a complex alliance system and recurring international crises, created fertile ground for the eruption of a global war. The assassination of the Austrian Archduke was merely the spark that ignited the flames of war already smoldering beneath the surface. The Balkan Wars, which preceded World War I by a few years, further exacerbated tensions, influenced the alliance system, and served as a "dress rehearsal" for the great conflict.

World War I erupted as a result of a "domino effect," a chain reaction of events where each event triggers the next, similar to dominoes falling one after another. Both the invention of the airplane and the invention of cinema were based on the understanding of continuous motion, and can be seen as expressions of the domino effect. In both cases, a chain of small, sequential events creates a significant outcome: the airplane depends on constant motion in the air for flight, and in cinema, a sequence of still images creates the illusion of motion and life on screen.

The domino effect that led to World War I was exacerbated by the invention of the airplane, which heightened political instability and impacted the global balance of power. The airplane influenced the military aspect, increased the potential for escalation, and altered the balance of power. Similar to the airplane, cinema also contributed to the domino effect: it reinforced nationalism and shaped public perception of war. Furthermore, both the airplane and cinema, which emerged and developed in the late 19th and early 20th centuries, stood in stark contrast to the prevailing spirit of the era dominated by absolute monarchies. These regimes emphasized obedience, conformity, and centralized control, while the airplane and cinema symbolized freedom, independence, and critical thinking.

This connection between technology, consciousness, and war is also emphasized in Giulio Douhet's book "The Command of the Air," which predicted the central role of air power in future wars. The inspiration for writing the book stemmed from the author's participation in the Italo-Turkish War of 1911-1912. During this war, the author witnessed firsthand the aerial bombings carried out by Italian forces, a first in history. They profoundly influenced his perception of the future of warfare, which he envisioned as based on the subjugation of the civilian rear in cities through strategic bombing.

Today's drone and missile attacks, coupled with the growing use of the internet, are not merely a continuation of Douhet's theory, but also a contemporary manifestation of the enduring influence of the airplane and cinema on the nature of warfare. They underscore how technology and visual media are employed to achieve military and political objectives, and the complex challenges confronting societies grappling with these threats.

The Illusion of Movement in Gliding and Cinema

The glider, much like a leaf carried by the wind, moves along with it and remains stationary relative to the air. It stays at the same point within the air mass, as if it were a part of it. Only the movement of the landscape and the ground below reveals that it is indeed in motion. At times, despite moving through the air, a skilled pilot can harness the air currents and lift forces to stabilize the glider, creating a sensation of hovering, as if frozen in place despite the movement of the air.

The high-speed camera can also "freeze" motion. It captures images at an extremely high shutter speed, effectively "freezing" the movement of the subject and allowing us to see sharp, clear details even in rapid motion, like a bird's wings mid-flight or water droplets suspended in the air.

In both cases, it is the ability to control the perception of movement and create an illusion of stillness.

Gliding means many things to many different people. For some, it's a hobby and a way to meet like-minded individuals. For others, it's an affordable way to take to the skies. For many, it's an adventurous sport akin to car racing or aerobatics. But for all, it offers a quiet and peaceful way to fly without an engine. Gliding is the closest humans can come to experiencing the flight of a bird. Gliders are propelled solely by air currents and gravity, soaring silently through the skies, sometimes for hours at a time. They allow the pilot to experience the world from a different perspective, from a bird's-eye view.

Much like surfing, where the surfer "rides" the waves and harnesses the forces of nature, in gliding, the pilot becomes one with the wind, utilizing air currents to soar and navigate. The sense of freedom and tranquility, the detachment from the ground, and the connection to the forces of nature are values shared by both activities. This may be why gliding also attracts people from the alternative youth culture, who seek an authentic connection with themselves and their surroundings.

Cinema, a universal language and a powerful medium, stands at the crossroads of art, industry, technology, and politics. We owe its existence to daring inventors and artists who experimented with new technologies and sought to capture fragments of reality, creating an entirely new way of looking at the world. Before the era of digital, video, and celluloid, film was born as a collection of still images, projected one after another at high speed, thus creating the illusion of movement.

The Spiral Structure of Knowledge

 

The Circular Being:

Visual thinking makes extensive use of geometric shapes, and the circle is one of the most common. The circle is a geometric form with an immense influence on our lives. The circle, a perfect circular shape, is found everywhere around us, both in nature and in the man-made world.

Gaston Bachelard, in his book "The Poetics of Space," writes that being is circular. Circularity is built and developed in consciousness, becoming its permanent and established form, not as a simple fact but as a phenomenological thought, allowing us to affirm our existence from within.

The central poetic example he provides is that of the bird, which is complete circularity, the circular life. The bird is almost entirely spherical. It is a model of existence. Although the bird is perceived in flight as an arrow shot through the air, in its cosmic state, as a concentration of life protected on all sides, it is the being of circular life. 

The Spiral - From Simple Circle to Complex Form:

The simple yet perfect shape of the circle allows for the creation of a wide variety of more complex geometric shapes, based on a circle with a center. Hurricanes, wheels, propellers, camera lenses, and film reels - these are just a few of the many examples of the various appearances of the centered circle in everyday life.

A Universal Symbol of Growth and Knowledge

The spiral is one of the most important geometric shapes in human culture. It is constructed from a circle that begins at a central point and develops in a continuous line of increasingly larger circles to the outer edges. The unique shape of the spiral represents a unique knowledge structure and is widely used in many fields, such as art, architecture, and science.

From Propellers to Film Reels

Piston-engine propeller planes are an example of the integration between technology and a spiral knowledge structure. The propeller at the front of the plane symbolizes the rotational movement that characterizes the spiral shape. Nowadays, jet engines are common, whose propellers are not visible and are hidden within a casing. The helicopter, on the other hand, with its giant overhead rotor, continues to represent the evolving rotational movement.

The Celluloid Reel

Pre-digital cinema was characterized by large and heavy celluloid film reels that were installed in cameras and projectors. These reels are a representation of the spiral knowledge structure, as they contain ever-evolving content, from the beginning of the reel at its outer edge to its end at its center.

Further Examples of the Spiral Form:

The Ear

In the human body, the ear has a spiral shape. The ear closely resembles the posture of a fetus in its mother's womb.

Bird Thermals

Birds have been an avid subject of research and a source of knowledge since ancient times. Bird thermals have a spiral structure. Heavy birds, such as storks and eagles, need rising warm air currents to progress in their migrations. These warm air currents are created in the late morning hours when the ground heats up. During migration seasons, one can witness huge flocks of birds accumulating vertically and in an ever-growing circular motion until they reach the height where the warm air current ceases. From this point, they glide in the desired direction.

Thermals, as a meteorological phenomenon, were discovered in Germany in the late 1920s by glider pilots in the Rhön Mountains. This discovery made the sport of gliding much more significant. Glider pilots soared for many hours, covering distances of hundreds of kilometers and crossing national borders.

In powered aviation, there are "holding patterns" before landing, where planes circle the runway until, at the appropriate moment, they approach and descend towards it.

In Culture

Spiral labyrinths were known in ancient times. In the Middle Ages, spiral labyrinths were built in churches and served as a means for a symbolic journey to the center of the soul. From the European Renaissance onwards, the spiral labyrinth was constructed in magnificent gardens, composed of intricate paths separated by high hedges. Navigating a complex labyrinth has become a popular form of leisure to this day. Labyrinths are an integral part of the world of computer games and as a method of brain training for problem-solving.

However, although the spiral labyrinth is considered an integral part of culture, only a few books have been written about it. Postmodern thinkers mention the spiral, but they hardly discuss it beyond its basic presentation in various phenomena.

Various national, civilian, and military emblems reference the spiral shape. The rosette form, consisting of three circles of different colors nested within each other, which appears as a symbol on the fuselage of British and French aircraft, simulates the spiral shape. The swastika is another image.

Center-Periphery Relations

Center-periphery relations are a central component of human society. These relationships are also known as the "centripetal-centrifugal" pair of forces. Movement is possible in both directions, from the outside in and vice versa. These relationships exist as verbal and/or visual expressions and are sometimes combined with a distinct vertical dimension, as in the historical social-spatial movement "from village to city," and within the city, from the suburbs to the center.

The dynamics and energies embedded in the movements between the center and the periphery cause the connection between the two ends to be not in a straight line but rather curved, thus creating a spiral structure. The French Revolution, which occurred following the invention of the hot air balloon, is an example of a social-spatial spiral vortex.

The Spiral and Perspective

The spiral and perspective, seemingly two entirely different geometric shapes, share a hidden but significant connection. The spiral, in its constantly winding and expanding form, symbolizes movement, development, and continuous change. Perspective, on the other hand, creates an illusion of depth and dimension on a two-dimensional surface, representing the human attempt to perceive and understand the three-dimensional world around us. The connection between them lies in the perception of movement and change in space. When we observe perspective, our eye moves along the converging perspective lines, experiencing a sense of movement and depth. Similarly, the spiral, in its constant inward or outward motion, creates a sense of progression and regression in space. Both forms, therefore, reflect how we perceive and interpret the world around us, movement, change, and space, and provide us with visual tools to represent them.

The Labyrinth in the Legend of Daedalus and Icarus

In the story of the legend, there is one element, the labyrinth, that has become detached from the legend itself and has become an important model in its own right. The story of the Cretan labyrinth begins with King Minos' disappointment that his wife gave birth to a monstrous son, the Minotaur. He ordered Daedalus to build a spiral maze, the labyrinth, for him, and from time to time, he would sacrifice young Athenians to it, who were sent into its depths. One of them, Theseus, managed to overcome the maze by tying a thread to its entrance, reaching the Minotaur, killing it, and returning safely. Daedalus, fearing for his life, escaped from the island along with his son Icarus using wings he had built. Although seemingly there is no direct connection between the two events in the legend, they are united by the spiral shape, which expresses a journey to freedom.

In Art

The spiral in art can be positive or negative, visual or verbal, outward or inward-facing, and more. In the world of modern art, there are many works based on spirals, but they are usually unexplained and perceived as personal expressions. The spiral in them is seen as an artistic tool.

Religious Circumambulations and Circle Dances

Another type of spiral thought structure manifests in religious circumambulations and circle dances. A prominent example is the circumambulation around the Kaaba in Mecca, where throngs of believers circle the sacred stone, gradually attempting to approach and touch it while spiraling inwards, and then gradually retreat outwards from the circle. In Judaism, during the Simchat Torah celebrations, the Torah scroll holder stands at the center of the dancing circle, surrounded by rings of dancers, each taking turns to approach the center and kiss the scroll.

Other circumambulatory circle dances are more secular but widely practiced. These include dances around a marrying couple, where those closest to them alternate in the inner circle, or dances in alternative celebrations and joyous events, where the person being celebrated stands at the center, switching places after a certain time.

the ancient "Wheel of Spirits" in the Golan Heights	A spiral-shaped labyrinth in a garden in England
Spiritual spiral in Chartres Cathedral, France	Spiral knowledge structure in modern education

The Spiral Knowledge Structure in Education:

Abstract vs. Concrete Learning

The spiral knowledge structure in education is merely a framework for a predominantly verbal approach. The fundamental visual thinking involved has vanished. This is because the spiral knowledge structure represents abstract thinking, bordering on imagination, and is therefore not suitable for imparting to students within the formal education system.

Building Knowledge Step-by-Step

Educational knowledge structures have the form of a visual spiral ascending upwards. The student begins their studies in small, low circles of knowledge. New and broader circles are added above them, with each one being a continuous extension of the one below it.

Cognitive Constructivism

The organization of human knowledge according to a developing spiral structure is part of the theory of cognitive constructivism in education. The thinkers of this school, John Dewey and Jean Piaget, wisely saw intelligence as a concept that develops according to age, through increasing interaction with the environment. This theory also has moral value, as it identifies deep internalizations of developing knowledge, emotional involvement, and the need for socialization.

From Geography to Medicine

The spiral knowledge structure is very common in the field of pedagogy, but due to its development towards an undefined direction, of infinite knowledge expansion, it is a somewhat vague concept of higher-order thinking. The practical spiral model is mainly implemented in geography studies in field conditions. Such learning begins with a tangible stage of touring the area and ends with an abstract summary in the classroom. It is all done through multidisciplinary dialogue. The model is also applied in medical studies, as it offers, in ascending stages, formal learning, disease recognition, and practical specialization.

Vertigo - The Spiral of Silence:

The Primal Fear of the Void

According to Gaston Bachelard, the experience of imaginary falling, known in psychology as "vertigo," is a primal truth of the dynamic imagination. However, it does not exist in the aerial imagination as an invitation to a journey. For the most part, it is a journey into the void, the pit of absolute emptiness, the infinite fall, the plunge like a stone into the abyss where there is nothing. This is a primitive fear. It is found as a constant component in fears of different kinds, such as the fear of darkness. The subconscious is drawn to this basic life experience, but due to a lack of mental strength, there are no words to describe it.

Mass Media and the Unspoken

The spiral of silence, which is the fear of conceptual loneliness, is important in the study of mass communication, which is visual, associative, and lacks verbal clarifications. The imaginary fall in it often appears in the form of a vortex or a converging spiral.

The Deadly Grip of Vertigo in Flight

The feeling of terror, paralysis, loss of control, disorientation, and loss of connection with reality is a familiar phenomenon among flight and gliding trainees. In the skies, the trainee sometimes finds himself in sudden panic due to the fear of falling. He becomes fixated, in body and mind, on a flight path, unable to deviate from it in the slightest. As a result, he rapidly loses control of the aircraft and falls to his death, to the shock of those watching him.  

The Spiral Knowledge Structure in Cinema:

Many filmmakers utilize the spiral knowledge structure in their works. Despite this, only a few books exist on the subject.

Paul Virilio wrote that the purpose of cinema is to evoke an effect of vertigo in viewers. He described the vertigo effect as parallel to the effect created by a missile fired at top speed toward a visual target, causing the heads of all those watching it to spin.

"The Gold Rush" (1925) is an American silent comedy film directed, produced, written by, and starring Charlie Chaplin. The film tells the story of the Tramp, who arrives in Alaska during the Gold Rush and tries to find his fortune while encountering a gallery of characters in the town and on the mountain. The plot develops in an expanding spiral structure, repeatedly returning to the narrative and spatial starting point, the town's inn. The film is considered one of the best of all time.

"Vertigo" (1958) is an American psychological thriller film directed by Alfred Hitchcock, which tells the story of a retired police detective, suffering from vertigo, who is hired by his friend to follow the friend's wife and begins to develop an affair with her. The film deals with the struggle between reality and illusion. This film is also considered one of the best of all time.

"Cold Mountain" (2003) is an epic film that tells the story of a Confederate army deserter at the end of the American Civil War, returning to his beloved, at a time when the South is controlled by extremist police militias. The spiral structure of the film is gradually created, from the soldiers' trenches at the front, through life in the rear, to the top of the mountain, where a fateful duel takes place.

"Eye in the Sky" (2015) is the most important of all the films made about drones. The film depicts a military operation conducted remotely using drones and cyberspace. A British colonel seeks to launch a drone missile at a house in Nairobi where terrorists are located, but there is a risk of harming a little girl. The spiral knowledge structure is prominent in the film. Center-periphery relations are presented in the plot as contrasts. The scenes from the center to the periphery and vice versa build the plot's progression. In parallel to the narrative, the cinematography in many scenes is also spiral, with the camera moving in and out between a focal point and open spaces.

The "James Bond" film series begins with a recurring opening sequence where the hero is seen through the barrel of a gun with a spiral groove.

The structure of a classic thriller film script, which begins with a broad presentation of the plot's theme, both verbally and visually, and continues with a search and investigation process from mystery to its resolution, necessitates extensive use of the spiral knowledge structure. The spiral knowledge structure in them, which develops between the concrete and the abstract, compensates for inevitable visual deficiencies.

Spiral labyrinth

The Camera's Evolution From Tool to Consciousness

 

The Camera Eye - A New Collective Unconscious

The process by which the camera transformed from subject to object, from an auxiliary tool for documentation to an integral part of consciousness, has been evolving since the early days of photography and continues to this day.

The camera's eye is a means that fuses the eye and the camera into one, altering the rules of art and creating a collective optical unconscious.

The 1980s - The Camera as an Extension of Self

In the 1980s, with the transition to video, the compact camera became an organic part of the body. It began to capture the personal point of view. The boundary between the camera's eye as an organ of observation and a means of expression nearly vanished. As video cameras became smaller and more sophisticated, the continuous flow of photographic language became a direct part of the body and mind through continuous documentation. Personality was henceforth shaped through the camera.

The 2000s - The Camera's Ubiquitous Presence

In the 2000s, tiny and sophisticated video cameras in smartphones became constant companions for everyone, both as creators and viewers, and an integral part of cyberspace culture. The close connection to visual media transformed them into entities of self-expression, shaping perception and content. The camera acquired a consciousness of its own.

Technology and the Simulated Self

The camera simulates the self with the aid of complex technological and social processes. On the technological level, sophisticated digital tools have been developed, enabling the design and distribution of visual content in various formats. On the social level, social networks allow for the unlimited distribution of personal content.

The 2020s - Virtual Realities and a New Consciousness

In the 2020s, the culture of virtual space is developing through artificial intelligence, which includes instructions for rephrasing and redesigning the image and plot in interactive communication. The simulated content creates the future way of life. The connection with reality is nullified in a holistic experience. The camera's eye shapes a new consciousness of absolute time and space. The familiar chronological perception of reality fades, also due to the "production machine" of electronic communication, which transmits endless fabricated content at the speed of light, and as a result of extensive engagement with computer games, which present spectacular virtual worlds in an imaginative perspective, creating an illusion of the sensation of flight.

A New Language

The "camera's eye" creates the totality of relationships between the mind, body, and media. It is culturally ubiquitous and has become a substitute for the experience of direct observation and a developed subject of thought and ideology. The camera has transformed from a conceptual metaphor to a method of discourse. Photography has become a grammatical system seeking new forms. This ambiguity of the camera's eye as a system of expression results in photography being a direct language to the body and mind. Following the development of digital photography technologies, the personal camera's eye has evolved from an auxiliary mirror to a model of the self. The personal camera reflects the self as an image. Through it, one re-experiences the self as a performative image, a "selfie" that blurs the distinction between the image and its creator.