Abstract:

Abstract Tracing several ideas, especially of Deleuze and Rancière, an analysis is made about the situation of the image in the contemporaneity related to art and current cinematographic practices: contrasting the previous analog-representational image, comparing to the current digital image. Analyzing how the new image, liberated of the categories and genres that classified it in the past, today it is presented as a space that encompasses many disciplines and how from the power it is wanted to continue classifying it, basically in two types of images, the hyperesthetic and the anesthetic ones. Faced with these, the art resists, in continuous transformation to make impossible its limitation. The analysis of the genre called docufiction or non-fiction has special relevance, since in its very content, it problematizes the construction of reality and the obsolescence of continuing to classify films with two antagonistic categories, fiction versus documentary, when in the real sense, this is not possible.

Keywords: