Fracturar el espectáculo: potencia política del cine de apropiación en el capitalismo digital

Abstract

This essay examines the potentialities of cinematographic art in contemporary digital capitalism through the discussion between the postulates of Jean-Louis Comolli and Jacques Rancière. Analyzing two Latin American films as a reference—(Cuerpos frágiles Óscar Campo, 2010) and (Homenaje a la obra de Phillip H. Gosse, Pablo Weber, 2020)—it explores the status of the image in an environment of media saturation. It is argued that, far from a death of the image, digital appropriation cinema reveals a productive tension: the image, even when it becomes a spectacle, retains an irreducible otherness. The analysis of these works allows the proposal of a hybrid spectator figure, who exercises a practice that is both critical and emancipatory, capable of subverting the signs of domination to reconfigure the distribution of the sensitive and produce new knowledge.