Akademik Veri Yönetim Sistemi
British Association of Film, Television and Screen Studies (BAFTSS) “Global Aesthetics”, Warwickshire, İngiltere, 26 - 28 Mart 2025, ss.72, (Özet Bildiri)
This analysis interprets a forest in film as a metaphor for social media addiction,
emphasising themes of identity construction, surveillance, behavioural modification, and the
aesthetic representation of globality in screen media. The vast, disorienting forest symbolises the
boundlessness of social media, while elements like the bird and missing person posters evoke
platforms such as Twitter and inactive yet enduring profiles, underscoring the universal reach and
persistent presence of digital identities across borders. Mina’s reflection in the mirror, combined
with her use of a disguise, reflects the curated identities individuals construct online, illustrating
how social media enables users to project idealised, culturally transcendent selves that resonate
globally. The coop, akin to a smartphone screen, represents the omnipresent surveillance culture
in which users become both observers and the observed, embodying a digital panopticon that
reflects global aesthetics of connectivity and exposure. This analysis further examines the
"post-truth" nature of social media, where platforms shape behaviours through design, fostering
globally interconnected yet often superficial interactions. Using panoptic and omniptic
surveillance theories, this paper critiques how privacy erodes, identities become commodified,
and users are drawn into addictive behaviours. These metaphorical representations provide a
foundation for future research into data ethics, user privacy, and the psychological impacts of
prolonged exposure within an aesthetically and culturally globalised digital sphere.