Abstract:

The digitalization of the cinema offers the directors various possibilities and preferences in terms of production and management. The concept of digital cinema, first of all, includes calls that contain artificial visuals created in a computer environment, which cannot be recorded in everyday life, but includes more than that. The possibilities of digital cinema, which are considered to be more beneficial by the directors who make commercial/popular cinema and producing companies, are also greatly beneficial by independent and minimalist directors who see the cinema as an art, who give a new dimension to the story story, open to the discussion of the philosophical concepts with the cinema and aim to bring the cinema closer to reality. In this study, the Iranian director Abbas Kiarostami is using the possibilities of digital cinema to discuss how he hides himself in the work and the changing roles of the director. From the quality research techniques to the method of state study to the way Kiarostami uses the possibilities of digital film technology in films, the communication he establishes with the actors and viewers he plays in the film will be seen through the 2002 production Ten (10) and 2008 production Sweet films. Abbas Kiarostami’s Ten and Sweet films, which use digital cinema technology in a very original way, will also be studied in the context of story, acting, image editing/framework, fictional techniques and the spaces used in the film.