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espanolEl presente articulo explora la presencia de un principio dialogico en la configuracion de las subjetividades que interactuan en Level Five de Chris Marker con el objetivo de matizar la metafora critica que califica de forma consistente el cine del director frances como ejemplo del autorretrato. Mediante el concepto bajtiniano de “devenir ideologico”, el texto presta especial atencion a la creciente importancia que juegan las tecnologias de la comunicacion en los procesos de reacentuacion discursiva que determinan en ultimo termino la construccion de subjetividades. La nocion de “imagen-red” busca poner de relieve las formas en las que la imagen digital ha propiciado el desarrollo de un nuevo pasaje de la imagen hacia un regimen representativo dominado por las ideas de intercambio autoinscripcion cuyos ecos Level Five explora mediante el analisis de aspectos que van desde la dicotomia entre historia y memoria al papel de la imagen documental en la construccion de la realidad. Palabras clave : Chris Marker; Dialogismo; Reacentuacion; Documental; Devenir ideologico. EnglishThis article analyzes the presence of a dialogic principle in the way subjectivities are constructed within Chris Marker’s Level Five, with a view to critically counteract the notion of Marker’s films as forms of the self-portrait. Through the Bakhtinian concept of “ideological becoming”, special attention is paid to the role played by new technologies of information and communication in the processes of re- accentuation which determine how subjectivities evolve in the context of the film. The concept of an “image-network” attempts to highlight the development of a new passage of the image towards a mode of representation dominated by a principle of exchange, whose importance is echoed in the film through the analysis of issues ranging from the dichotomy between memory and history to the relevance of documentary image for reality construction. Palabras clave : Chris Marker; Dialogism; Re-accentuation; Documentary; Ideological becoming.

ARQUEOLOGÍAS DE LA IMAGEN-RED: LA SUBJETIVIDAD DIALÓGICA EN LEVEL FIVE DE CHRIS MARKER