Cinema utópico: a construção de um novo homem e um novo mundo

Abstract

The cinema, since its beginnings, prefigured the cyberspace as a new immaterial space collectively built. The conception of this other place, non-physical, to where the man could migrate establishes for the cinema and for the cyberspace a direct relation with utopias. In Thomas Mores philosophical romance sense, the Utopia is defined as another space non-existent, unrealizable and ideal that diagnoses the real one. The cinema would carry on fundamental characters of Utopia as regards to the realistic evidence presentation of a space non-existent, as to contemplate it in the spectators experience (the utopias aspire for the critics and/or the interference in the world). Although it used to be more evident in historical revolutionary moments, notably at the Russian Revolution of 1917 and the Cuban one in 1959, the cinema relations with utopia dont only happens politically and ideologically. The proposal of an emotional and psychological experience in an immaterial universe itself represents the aspiration for the transcendence of the body the spectators mind or soul can live in the cinema a spatio-temporal freedom, impossible for hes physical body. This migration dream reaches its peak with the digital technology, with notions such as cyberspace, artificial intelligence and virtual reality, that constitutes the audiovisual in the conception of this other space - ideally modeled as the wishes of its user and liveable by avatars, virtual projections and, utopically, by the mans very essence. There would then be a reversal when the man lived in a concrete space for its mind, but where hes body would be a sensory projection.