The spectacle of re-enactment and the critical time of testimony in Iñárritu's Carne y Arena

Abstract

Through an in-depth analysis of the artistic installation Carne y Arena by Alejandro González Iñárritu, the article aims to deepen the enunciative, aesthetic and phenomenological dynamics that affect the intermedial path in the representation of the suffering condition of others, in this case migrants crossing the border between Mexico and the United States. As the installation foresees a virtual reality experience (an immersive short film), the article will issue hypotheses on the status of the subject in front of this new dispositif. Moreover, it will bring a critical dimension to the claim of greater empathy that an immersive film should produce in relation to an image delimited by a frame.