Resumen

This paper investigates the reconfiguration of the principles of cinematic staging, focusing specifically on the concepts of actor/performance and camera within the universe of contemporary digital animation. The work argues that animated cinema, driven by technologies such as computer graphics and the advent of new rotoscoping and motion capture (Mo-Cap) techniques, does not negate traditional staging, but translates it into a new mode of visuality, control, and synthesis. To support this thesis, the research adopts a qualitative methodology, combining a literature review with a comparative film analysis of paradigm-shifting works, namely Snow White and the Seven Dwarfs (1937) and Avatar (2009). The analysis demonstrates that the figure of the traditional physical actor is replaced by the digital performer (animator-actor, voice actor, and Mo-Cap actor/performer), resulting in the fragmentation of the performance. Ultimately, this study concludes that the digital soul of contemporary cinema resides in the invisible montage between human biological data and algorithmic design, redefining what it means to be present on screen.