Production techniques of digital spaces in the context of hypermodernism

The research aims to provide a focused and analytical analysis of digital spaces in cinema, contributing to the academic discourse on the intersection of architecture, cinema and digital technology. By examining the transformation of cinematic spaces through CGI, it analyses how hypermodern sensibilities shape their creation and influence the viewer's experience. The systematic literature review provides a comprehensive examination of the intersection between architecture and cinema, particularly through the lens of CGI and hypermodernism, critically assessing existing research, identifying gaps and suggesting the need for further research into the architectural implications of digital spaces within the hypermodern paradigm. Synthesising practical insights aims to establish a coherent understanding of this interdisciplinary convergence. Hypermodernism in architecture and cinema refers to a paradigm shift towards rapid change, globalisation and technological dominance. This cultural phenomenon affects various aspects of society, from urban landscapes to artistic expressions in cinema, and reflects a society characterised by trans-aesthetic capitalism and the constant search for novelty and pleasure. Art directors use set, architectural and space design to create an atmosphere by carefully considering historical and cultural contexts, combining various cinema and literary influences and adhering to genre conventions. It is a multifaceted element that shapes how audiences perceive the narrative, characters and the overall cinema experience. By integrating elements such as brands, spatial philosophy, film posters and environmental features, filmmakers work together to draw the audience into the film's world and increase the narrative's emotional resonance. While dioramas in cinema offer significant advantages such as cost-effectiveness, detailed control and security, they also bring challenges such as scale limitations, time consumption, durability concerns, and limited actor interaction. The complex relationship between emerging digital technologies, the philosophical underpinnings of hypermodernism and the changing nature of filmic representation and their technical creation is explored.