Volume 13 · Issue 2 · June 2026
Violence Between the Imagined Image and the Embodied Image
Dilshad Mustafa
Recent studies have indicated that a large part of the life of human societies in general and Eastern societies in particular is dominated by violence, and one can say that it has become a feature of the daily scene or part of the picture that we must see every day. This violence takes different forms and reaches public spaces in several ways. We see that media, social media, movies, and stories are full of various kinds. This phenomenon can be an influential force that puts our lives in even greater danger if it is not dealt with in a correct scientific framework. In particular, images of trauma were fully embodied. This occurred when image occupied a lot of space and became an important part of people's everyday lives. Most social media platforms are gradually moving away from words and moving towards images as a powerful means of expression, the effects of which are clearer, faster, and stronger. It is clear that extremist groups have resorted to producing images of violence and tyranny to deal with people's minds and create psychological and emotional pressure. Dealing with the power of embodied images in the formation of impressions requires strong theoretical support that can explain the pressure exerted by the momentum of the embodied image on people's minds from different angles, and monitor how they obey their commands in the spirit of creating another kind of supposed reality that these groups want to impose as embodied reality. This study examines the power of violent images, their effects on the recipient’s soul, and the factors underlying the production of these images, and attempts to compare them with the imagined images that are formed through oral or written narration away from the embodiment and its effects. It also explains the strength and dominance of the embodiment in front of the imaginary. The questions in this study revolve around the assumption that narrative images in various literary fields, or oral narrative mechanisms, are transformed into represented images, processed through advanced cinematographic techniques, and try to explore the differences in the forced installation and the impact on the recipient.
