Monstruoso y cyborg: el cine entre el arte y la ciencia

Abstract

n this article we propose to think of cinema as a cyborg art, a meeting point between art, science and technology. Taking the perspective of Donna Haraway’s “open ontologies” or ontologies of monstrosity, which are constitutively borderline and relational, we will seek to see how they manifest themselves in cinema. Different film theorists consider cinema as a constitutively monstrous art: André Bazin speaks of cinema as “impure art”, Alain Badiou takes it up again to think about the operation of synthesis that goes from the impure, the chaos of the world, to purity or synthesis. Edgard Morin highlights the cinematographic capacity of metamorphosis, and Jean Epstein links cinema to diabolic energy, since he considers the Devil as a great inventor. Chilean filmmaker Raúl Ruíz also shares this view by proposing a cinema-chamanic and sorcerous, and finally, Jean-Louise Comolli, who praises the cinema-monster.