Paper Title
Life, Animation and Automation: Cinema as Becoming Non-Human

Abstract
The great innovation of the invention of cinema was that although the camera shoots a sequence of individual images, when these images are projected on the screen, an illusion of movement is created for the viewers. They feel as if the cinema gives life to the still images. This presentation asks how this attribute of the cinema can be relevant to dealing conceptually with the border between the human and the technological. The paper opens with Henri Bergson's discussion of movement and the concept of duration, which he developed right at the same time as the first years when cinema was invented. Bergson linked cinema's ability to animate still images to how natural perception and the philosophy that followed it failed to perceive life as a continuum. This critique of Bergson's is a starting point for Gilles Deleuze, who sees the way in which cinema presents its images of movement as precisely the one that succeeds in showing life as a continuum. The relationship between animation and movement preoccupies Vivian Sobchak, who examines it through the prism of digital animation films. She demonstrates her claims through a discussion of the digital animation film Wall-E. Sobchak shows how the film achieves to echo ideas at the center of post-humanist thought, those related to death or the dissolution of the subject, and to the blurring of the traditional distinctions between living and inanimate and between man and machine. However, as this paper shows, the film's narrative thematically remains limited to a dichotomous mindset that sees the relationship between man and machine as inevitably leading to struggle. The article proposes to look at the film Ryan as an example of a digital cinematic paradigm that allows us to think differently about the human-post-human relationship, about the formation towards the non-human, and about the hybridization that creates the human-technological in a space that is both real and virtual at the same time. In this way, digital cinema completes the unique establishment of "becoming inhuman" in a living space that borders the human and the computerized