The new cinema reflections on the death of cinema after the dominance of the digital revolution

Writing about cinema is not an easy adventure; because cinema by nature is a visual expression means that relies directly on moving images and visual shots that stick in minds. And since the enjoyment of cinema is only complete through watching the films themselves, instead of words read about the films, critical articles, reviews, written film stories, and tales of cinema history. And the most affected by this matter are the writers who chose cinema as a field for authorship and writing through film criticism, analysis, and writing about and for it. Eight years have passed since the first edition of the book "New Cinema" was published in 2017, and during the period between 2017/2025, global crises such as COVID-19 emerged, mainly contributing to the shift towards comprehensive digital transformation of cinema and filmmaking, so cinema halls closed and streaming platforms thrived, and digital platforms surpassed traditional cinemas with their film screenings competing with them. Cinema has transformed in all its dimensions in terms of screening, distribution, and production, and even in the nature of the cinematic film itself. The idea of "the death of cinema" is one of the most important and prominent ideas that were repeatedly discussed in this book, which is divided into two parts: the first part includes only the first chapter, which is a study of the history of digital transformation and the relationship of cinema with digital technologies; and its connection to the obsession with "the death of cinema" that recurred throughout history with the advent of sound and the appearance of television. The second part includes everything remaining in the book's chapters, as a message of love to cinema that has died – or so I thought and felt when I wrote and compiled the material of the book. I expressed this directly in the dedication.