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The method of imagery is different in both cinema and literature, and the symbolic order is also different. The fundamental element of literature, the word, is abstract. With this abstract element, the writer constructs a concrete image. In cinema, the fundamental element, the image itself, is concrete. When the director builds a work with its help, he searches for an image that can transcend the concrete and bring out the abstract. That is, the idiom of the writer who builds a concrete image from the abstract cannot become a crutch for the film director who seeks an image that can jump from the concrete to the abstract.

Around 2000, there was a great change in the definition of cinema. In film analysis, along with 'image', 'imaging' also began to be considered as a value. If what appears on the screen are images, the technical elements chosen to create them indicate imaging. The images in cinema are not detached; even though they are machine-generated, the likes and dislikes of those who create them are expressed in the images and in the imaging process.

Humans always have an attraction, curiosity, and fear about technology. The reason for attraction is the illusion that it makes their life more beautiful; curiosity arises because it makes possible what was impossible and mysterious to them; and fear arises because its nature is not fully understood—these three emotions, separately or together, provide an ineffable experience.