Emergence and consolidation of the electronic image in the mid-1980s.

Abstract

This article presents two cinematographic pieces released in 1984, a year before Gilles Deleuze published his second film study, The Time-Image. The question of the emergence of a new image, the electronic image, was raised in that study, which would be further developed in future studies. Body Double, by Brian De Palma, fill be the first of the films that fill be analyzed, asking once again, at the moment of its emergence, the deleuzian question about the electronic image. The theme of the body double, a specifically cinematographic trade, appears in this film. The double body is a paradigmatic case of false raccord and, in that sense, of what Deleuze called the indiscernibility of the pure optical image and the hyalosigns. The second film is Paris, Texas, by the German filmmaker Wim Wenders. It shows how the figure of the false raccord not only applies to images but also to the concept of telling a story, although that story, in the age of the electronic image, can only be a vivisected history. Then, the notion of unthinkable cinematographic thought associated with the video clip format, on the rise during this decade, fill be analyzed. By the analysis of the set of these forks and formats, we will arrive to the idea that afirms that the electronic image is characterized by its robotic one-sidedness and that this is multiplied by digital mass reproduction. Finally, the Minimum-Maximum concert by the pioneering electronic music group Krafferk fill be analyzed, in relation to the notion of electronic information, and a number of conclusions fill be reached.