Abstract

The film is a copy of the real or a phantasmagoria of dreams? This alternative should be considered one of the genetic matrices of the language and theory of cinema. Using digital technology, the reference to the referent and the ontological nature of cinema as a trace of reality, they entirely vanish. The complete dematerialization of bodily qualities is a generalphenomenon of the society of the spectacle, with the dominance of the commodity form. Digital technology brings this tendency to extremes, changing the ontological nature of the film. Digital technology, and now the three-dimensional, they realize a complete reversal of reality and fantasy and they change the basis of our mode of perception. The film “critic-expressive” is opposed to the phantasmagoria of the spectacle, calling for self-consciousness of the viewer. The techniques of three-dimensionality are part of a dream world, which aims to block all awareness of pain and conflict. The technique is not destiny, but dialectic, continuous contradiction, between two possible forms: the one is dominated by the will of power, the other by the idea of salvation of the phenomenon and the singularity. The three-dimensional cinema produce a magic, auratic film: what will it be a new “critic-expressive” film?