The definitions derived from different contexts of the concept of form which is the main theme of the 2nd International Design and Cinema Conference, provide breadth in both research fields. Form within the context of say  everything produced by humans has a form has different functions when acting as a process, a tool and a product. Within the field of the cinema, a production of a film, in a visual-physical and intellectual-abstract way, becomes an element produced on the cinema plane or an element transferred to this plane. The form of the film produced affects the production of other forms. The designed product is sometimes formed with such an effect.

          The emphasis of the conference will be on the assessment of the relations that exist between the design and cinema disciplines within this frame.

• Form:
  

          The concept of form exists within distinct meanings and expresses itself via the things it tells. This title covers the examination of different perspectives of understanding form making within the field of cinema.

• Is form meaningful at a point where design and cinema intersect?
• Where does the form stand within the intersection field of design and cinema?
• What is the identity of the created form?
• Can form be dependent from the situation?
• In which context form is related to history?
• Where and how do new forms become produced?
• Are the forms becoming templates?

• Design as a forming element
  

          The effect of design products to cinematic products are included under this title.

• What is the effect of design productions of different scales to cinematic productions?
• Which elements are affected by the personal narration the people/elements who/which produce the film?
• Where and how do the paths of different narrations intersect? Or do they intersect at all?
• Are there any (sub)genres which become identical with the design?
• Does the design make the audience perceive itself or the scene?
• What forms the genres?
• Is it possible to say that the designed is a player of the film?
• What are the relations of the cinematic production with the real life?

• Cinema as a forming element
  

          When the magic of the movie is carried out to affect our lives, at this very point, cinema steps out of its limits and enters the realm of another field. The studies that take place under this title, are expected to assess the forming effect of the cinema in real life situations.

• How does the art of cinema affect real life situations/productions?
• To what extent does this effect take place in real life situations/productions?
• Can cinema be an ideological convector?
• Are designs perceived by the audience, merely within the cinematic plane via the screen or are there any extensions of this to the real life conceptions/productions?
• Can design forms give direction to cinematic productions?
• What are the relations between the cinematic productions and real life situations/productions?