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Bak’s artworks are the result of months of observation and cohabitation with groups of individuals whose story is in danger of extinction and who become co-producers of her film works and many of the objects derived. The collective participation, which goes from concept to acting, from scenography to sound, is the pivot of Bak\u0026amp;#39;s methodology, to which has to be added the aim of creating a light and imaginary narration, with ironic and burlesque tones. And it is through the use of the fable and the accentuation of the artifacts that Bak finds a poetic shortcut to tell the truth.","author":[{"@context":"https://schema.org","@type":"Person","name":"Manuela Pacella"}],"contributor":[],"dateCreated":"2021-01-23","dateModified":"2021-01-23","datePublished":"2018-01-01","headline":"Bertille Bak. La fiaba del reale","image":"https://attachments.academia-assets.com/65494081/thumbnails/1.jpg","inLanguage":"en","keywords":["Contemporary Art","Video Art","Bertille Bak"],"publication":"Bertille Bak. La fiaba del reale","publisher":{"@context":"https://schema.org","@type":"Organization","name":null},"sourceOrganization":[{"@context":"https://schema.org","@type":"EducationalOrganization","name":"aur"}],"thumbnailUrl":"https://attachments.academia-assets.com/65494081/thumbnails/1.jpg","url":"https://www.academia.edu/44961211/Bertille_Bak_La_fiaba_del_reale"}</script><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/single_work_page/loswp-102fa537001ba4d8dcd921ad9bd56c474abc201906ea4843e7e7efe9dfbf561d.css" /><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/design_system/body-8d679e925718b5e8e4b18e9a4fab37f7eaa99e43386459376559080ac8f2856a.css" /><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/design_system/button-3cea6e0ad4715ed965c49bfb15dedfc632787b32ff6d8c3a474182b231146ab7.css" /><link rel="stylesheet" media="all" 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{"work":{"id":44961211,"created_at":"2021-01-23T07:52:19.731-08:00","from_world_paper_id":null,"updated_at":"2023-06-13T11:15:58.734-07:00","_data":{"abstract":"The monographic essay on Bertille Bak (Arras, 1983), \"The Fairy Tale of the Real\" (in Italian and English), retraces the work of the French artist over the last decade, from 2007 to 2017, identifying the cornerstones of her art, framing her in the historical artistic context referable to the definition of Hal Foster of “the artist as ethnographer”, and comparing her with other national and international artists.\nBak’s artworks are the result of months of observation and cohabitation with groups of individuals whose story is in danger of extinction and who become co-producers of her film works and many of the objects derived. The collective participation, which goes from concept to acting, from scenography to sound, is the pivot of Bak's methodology, to which has to be added the aim of creating a light and imaginary narration, with ironic and burlesque tones. And it is through the use of the fable and the accentuation of the artifacts that Bak finds a poetic shortcut to tell the truth.","journal_name":"Postmediabooks","publication_date":"2018,,","publication_name":"Bertille Bak. La fiaba del reale"},"document_type":"book","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Bertille Bak. La fiaba del reale","broadcastable":true,"draft":false,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [133139845]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon';</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":65494081,"attachmentType":"pdf"}"><img alt="First page of “Bertille Bak. La fiaba del reale”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/65494081/mini_magick20210123-27748-1p5h1ij.png?1611420683" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Bertille Bak. La fiaba del reale</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="133139845" href="https://aur.academia.edu/ManuelaPacella"><img alt="Profile image of Manuela Pacella" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/133139845/35989614/34901485/s65_manuela.pacella.jpg" />Manuela Pacella</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">2018, Bertille Bak. La fiaba del reale</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">25 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 44961211; const worksViewsPath = "/v0/works/views?subdomain_param=api&work_ids%5B%5D=44961211"; const getWorkViews = async (workId) => { const response = await fetch(worksViewsPath); if (!response.ok) { throw new Error('Failed to load work views'); } const data = await response.json(); return data.views[workId]; }; // Get the view count for the work - we send this immediately rather than waiting for // the DOM to load, so it can be available as soon as possible (but without holding up // the backend or other resource requests, because it's a bit expensive and not critical). const viewCount = await getWorkViews(workId); const updateViewCount = (viewCount) => { try { const viewCountNumber = parseInt(viewCount, 10); if (viewCountNumber === 0) { // Remove the whole views element if there are zero views. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); return; } const commaizedViewCount = viewCountNumber.toLocaleString(); const viewCountBody = document.getElementById('work-metadata-view-count'); if (!viewCountBody) { throw new Error('Failed to find work views element'); } viewCountBody.textContent = `${commaizedViewCount} views`; } catch (error) { // Remove the whole views element if there was some issue parsing. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); throw new Error(`Failed to parse view count: ${viewCount}`, error); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">The monographic essay on Bertille Bak (Arras, 1983), "The Fairy Tale of the Real" (in Italian and English), retraces the work of the French artist over the last decade, from 2007 to 2017, identifying the cornerstones of her art, framing her in the historical artistic context referable to the definition of Hal Foster of “the artist as ethnographer”, and comparing her with other national and international artists. Bak’s artworks are the result of months of observation and cohabitation with groups of individuals whose story is in danger of extinction and who become co-producers of her film works and many of the objects derived. The collective participation, which goes from concept to acting, from scenography to sound, is the pivot of Bak's methodology, to which has to be added the aim of creating a light and imaginary narration, with ironic and burlesque tones. And it is through the use of the fable and the accentuation of the artifacts that Bak finds a poetic shortcut to tell the truth.</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":65494081,"attachmentType":"pdf","workUrl":"https://www.academia.edu/44961211/Bertille_Bak_La_fiaba_del_reale"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":65494081,"attachmentType":"pdf","workUrl":"https://www.academia.edu/44961211/Bertille_Bak_La_fiaba_del_reale"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div></div><div data-auto_select="false" data-client_id="331998490334-rsn3chp12mbkiqhl6e7lu2q0mlbu0f1b" data-doc_id="65494081" data-landing_url="https://www.academia.edu/44961211/Bertille_Bak_La_fiaba_del_reale" data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="37699883" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/37699883/Bertille_Bak">Bertille Bak</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="220610" href="https://independent.academia.edu/GianniRomano">Gianni Romano</a></div><p class="ds-related-work--abstract ds2-5-body-sm">"Bertille Bak. La fiaba del reale. The Fairy Tale of the Real" di Manuela Pacella postmedia books 2018 testi in italiano e inglese isbn 9788874902286</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Bertille Bak","attachmentId":57691271,"attachmentType":"pdf","work_url":"https://www.academia.edu/37699883/Bertille_Bak","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/37699883/Bertille_Bak"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="2457980" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/2457980/Lartiste_entre_mythe_et_r%C3%A9alit%C3%A9_dans_trois_%C5%93uvres_de_Balzac_Goncourt_et_Zola">L'artiste entre mythe et réalité dans trois œuvres de Balzac, Goncourt et Zola</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="3204292" href="https://maastrichtuniversity.academia.edu/EmilieSitzia">Emilie Sitzia</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2005</p><p class="ds-related-work--abstract ds2-5-body-sm">Je tiens tout d'abord à remercier tous les professeurs qui m'ont aidé aux différentes étapes de mon travail, en particulier, Barbara Lönnqvist et Marina Nielsen, pour leur aide constante, leurs relectures et leurs questions pertinentes, Kajsa Andersson pour ses précieuses suggestions, Lars Göran Sundell, Birgitta Berglund Nielsen, Bengt Noven, Catherine Soussloff, Segolène Le Men, Lars Hertzberg et Olli Lagerspetz pour avoir nourrit ma réflexion et m'avoir posé des questions constructives. Je tiens aussi à remercier Marie Verleure, Fred Dervin et Anna Liisa Perennes pour leurs relectures attentives et leur amitié. Je remercie mes parents, Marie et Jean-Carlo, pour m'avoir nourrie de livres, emmenée tous les dimanches au musées pendant des années et soutenue quelle que soit la direction dans laquelle j'ai marché. Je profite aussi de l'occasion pour exprimer ma gratitude à ma grand-mère Renée et mes deux frères, Gaël et Benjamin, pour leur bonne humeur et leur présence chaleureuse. Un grand merci à tous mes amis et collègues pour leur amitié et leur soutien : The Society of Dix-neuviémistes,</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"L'artiste entre mythe et réalité dans trois œuvres de Balzac, Goncourt et Zola","attachmentId":30927598,"attachmentType":"pdf","work_url":"https://www.academia.edu/2457980/Lartiste_entre_mythe_et_r%C3%A9alit%C3%A9_dans_trois_%C5%93uvres_de_Balzac_Goncourt_et_Zola","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/2457980/Lartiste_entre_mythe_et_r%C3%A9alit%C3%A9_dans_trois_%C5%93uvres_de_Balzac_Goncourt_et_Zola"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="11681714" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/11681714/Dis_Articulations_of_the_Real_and_the_Artistic_Image_in_Contemporary_French_Culture_the_Telefission_of_the_real_for_Jean_Baudrillard_and_Catherine_Breillat">Dis-Articulations of the Real and the Artistic Image in Contemporary French Culture: the 'Telefission' of the real for Jean Baudrillard and Catherine Breillat</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="7619416" href="https://cambridge.academia.edu/MarieChabbert">Marie Chabbert</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="40990965" href="https://wix.academia.edu/JrsdJournal">Journal of Humanities and Cultural Studies R&D</a></div><p class="ds-related-work--abstract ds2-5-body-sm">As the polemical French filmmaker Catherine Breillat once noted: ‘Se regarder dans le miroir, c’est pouvoir se regarder droit dans les yeux' (2007). Being the medium of a self- reflection, mirrors indeed embody the encounter between a viewer and his or her own image. These encounters constitute crucial sequences in Breillat’s films, which always play with the reflexive power of mirrors. As critics and scholars have analysed, mirrors constitute for Breillat a symbolic medium for her feminist reflection, confronting her characters’ patriarchal gaze by showing pure images of the female body and, by extension, displaying their own misconception of the female (Haylett Bryan 2013; Vasse 2006). However, as Hoberman points out, Breillat’s films are more self-reflexive than simply reflexive (2004). Indeed, Breillat’s films themselves work as a symbolic medium of self-reflection, since, through the reflection on the characters’ patriarchal gaze, the viewers’ gaze is also challenged. For Hoberman, watching Breillat’s films in fact consists in ‘watching the watching’ of the female (2004). However, as Breillat argues in interview: ‘An image exists only when you give it meaning, and that meaning depends on your vision. [...] Cinema never films reality [...] People do not always realize that. They think that in cinema an image is an image, but that is not the case’ (Sklar 1999: 26). In these terms, Breillat nuances Hoberman’s argument: her cinematic image, instead of being the medium of a truthful self-reflection of reality, is a damaged mirror that reflects its referent, but in a distorted way. This essay aims precisely to examine the mechanisms and characteristics of the apparently ambiguous reflection – or articulations – of reality in Breillat’s image. Exploring Breillat’s cinematic image in Anatomie de l’enfer, I will establish a connection with the socioeconomic theory developed by Jean Baudrillard on the relation between contemporary images and the real. Reading Baudrillard’s polemical critique in relation to Breillat’s polemical image and questioning their mutual resonance will precipitate a rethinking of Breillat’s cinematic ethic and strategy in relation to its socioeconomic context – the ascendency of publicity and pornographic images upon the visual environment of contemporary France as analyzed by Baudrillard.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Dis-Articulations of the Real and the Artistic Image in Contemporary French Culture: the 'Telefission' of the real for Jean Baudrillard and Catherine Breillat","attachmentId":48626810,"attachmentType":"pdf","work_url":"https://www.academia.edu/11681714/Dis_Articulations_of_the_Real_and_the_Artistic_Image_in_Contemporary_French_Culture_the_Telefission_of_the_real_for_Jean_Baudrillard_and_Catherine_Breillat","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/11681714/Dis_Articulations_of_the_Real_and_the_Artistic_Image_in_Contemporary_French_Culture_the_Telefission_of_the_real_for_Jean_Baudrillard_and_Catherine_Breillat"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="43521434" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/43521434/Rilkes_Fifth_Duino_Elegy_and_Picassos_La_Famille_des_Saltimbanques_A_Study_Of_Fin_de_Si%C3%A8cle_Narratives_on_Circus">Rilke's Fifth Duino Elegy and Picasso's La Famille des Saltimbanques A Study Of Fin-de-Siècle Narratives on Circus</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="157817460" href="https://jnu.academia.edu/DrRosySingh">Professor Rosy Singh</a></div><p class="ds-related-work--metadata ds2-5-body-xs">• ‘Rilke’s Fifth Duino Elegy and Picasso’s La famille des saltimbanques. Two fin-de-siècle Narratives on Circus’, South Asian Ensemble, Vol. 3, No. 3, pp 62-84, 2011</p><p class="ds-related-work--abstract ds2-5-body-sm">Rilke's interaction with live performances of the acrobats in the streets of fin-de-siècle Paris and then living with their enigmatic portrayal in Picasso's painting La famille des saltimbanques emerged in 1922 after a long period of reflection as the Fifth Duino Elegy. This paper attempts a comparative study of these two narratives representing two different semiotic systems. The aim is also to study the mixing of genres, the mixing of the verbal and the visual arts in the early 20 th century, keeping in mind the specificities of each medium, with focus on the motif of circus in the rapidly transforming face of the metropolis. Painting is mute poetry and poetry a speaking picture, said Simonides of Ceos in his famous dictum. Nowhere is the interaction between painting and poetry, the visual and the verbal arts, more evident than in the works of Rainer Maria Rilke. His interest in visual art dates back to his student days when he was studying art history in Munich after leaving, for good, the city of his birth, Prague. During his visit to Russia, the nonverbal art forms like architecture fascinated him. Later he lived in an artists' colony in the village of Worpswede near Bremen where he acquired insights into Jugendstil. This was followed by commissioned reviews of five Worpswede painters. Rilke's wife, Clara, was an upcoming sculptress in the same colony. His interest in plastic arts was further kindled when he came under Auguste Rodin's spell in Paris in 1902. It is well known that the close interaction with the maestro inspired his Neue Gedichte, among them his most famous Der Panther. Rilke spent ten years in turn-of-the-century Paris, at that time the hub of activity in visual arts. Apart from other influences, four landmark figures from the domain of visual arts Rodin 1 , Cézanne 2 , Van Gogh and Picasso inspired him. Picasso's la famille des saltimbanques 3 (Family of Acrobats) painted in 1905 made a deep impression on Rilke and it was on his suggestion that the poet Hertha Koenig bought this painting in 1914 and installed it in her apartment in Munich. During the war years, Rilke requested her to allow him to stay for some months in her vacant 1 Rilke work as secretary to Rodin in Paris lead to a Rodin-monograph in 1903. 2 Cf. Rainer Maria Rilke. Briefe über Cézanne, Frankfurt a.M.: Insel, 1983. 3 La famille des saltimbanques is presently in the National Gallery of Art, Washington D.C.. This 213 x 231 cm painting is the largest canvas in Picasso's first decade as an artist.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Rilke's Fifth Duino Elegy and Picasso's La Famille des Saltimbanques A Study Of Fin-de-Siècle Narratives on Circus","attachmentId":63832566,"attachmentType":"pdf","work_url":"https://www.academia.edu/43521434/Rilkes_Fifth_Duino_Elegy_and_Picassos_La_Famille_des_Saltimbanques_A_Study_Of_Fin_de_Si%C3%A8cle_Narratives_on_Circus","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/43521434/Rilkes_Fifth_Duino_Elegy_and_Picassos_La_Famille_des_Saltimbanques_A_Study_Of_Fin_de_Si%C3%A8cle_Narratives_on_Circus"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="40775328" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/40775328/Neo_Romanticism_and_Authorial_Myth_in_the_Works_of_Valeria_Gai_Germanika_co_authored_with_Anzhelika_Artyukh_">Neo-Romanticism and Authorial Myth in the Works of Valeria Gai Germanika (co-authored with Anzhelika Artyukh)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="318601" href="https://ecu.academia.edu/JustinWilmes">Justin Wilmes</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Studies in Russian and Soviet Cinema, 2020</p><p class="ds-related-work--abstract ds2-5-body-sm">Valeria Gai Germanika is a fascinating, complex and contradictory figure. At 35-years-old, she has established herself unequivocally as one of the leading directors of post-Soviet cinema, earning major accolades for her feature films, television serials and documentaries, and stirring up considerable buzz with the provocative subject matter and bold aesthetic choices of her works. A small but growing body of scholarship has begun to analyze Germanika’s already notable filmography, primarily focusing on three aspects of her work: the use of post-documentary, hyperrealist aesthetics; an unprecedentedly candid exploration of female subjectivity in contemporary Russia; and her portrayal of youth culture and generational conflict (Beumers and Lipovetsky 2009; Abdullaeva 2011; Vassilieva 2014; Artiukh 2015; Hutchings and Tolz 2015). This article builds upon these studies to present a more comprehensive portrait of Germanika’s oeuvre to date, engaging contemporary auteur theory to identify a discernible and evolving authorial signature throughout her works. By broadening the understanding of the auteur in the 21st century, this article analyzes not only the aesthetic and thematic hallmarks of Germanika’s filmography, but also her role as performative media presence and cultural agent. We argue that the three thematic preoccupations of Germanika’s films—alternative models of female identity; the traumatic transition from youth to adulthood; and fantasy and carnival—are imbricated in her works and closely connected to her own carefully cultivated authorial myth and personal brand. These themes and tropes are united by a shared epistemology of radical liminality, transgression, rebellion, performativity, and a rejection of stable ideologies. This understanding of transgression and valorized liminality in Germanika’s work helps to account for her own complex and contradictory views on social, political and religious questions. While identifying a certain aesthetic and thematic consistency in her work, we also observe a marked shift in Germanika’s recent films away from aesthetics of hyperrealism to a new expressionism and emphasis on fantasy. In this evolution too we see a certain internal logic, where elements of fantasy and imagination present in her early works have come to dominate in later films.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Neo-Romanticism and Authorial Myth in the Works of Valeria Gai Germanika\n(co-authored with Anzhelika Artyukh)","attachmentId":63915418,"attachmentType":"pdf","work_url":"https://www.academia.edu/40775328/Neo_Romanticism_and_Authorial_Myth_in_the_Works_of_Valeria_Gai_Germanika_co_authored_with_Anzhelika_Artyukh_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/40775328/Neo_Romanticism_and_Authorial_Myth_in_the_Works_of_Valeria_Gai_Germanika_co_authored_with_Anzhelika_Artyukh_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="51153418" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/51153418/Animated_Visions_of_Reality_The_Real_as_Experimental_Aesthetic_in_Anca_Damian_s_Animated_Documentaries">Animated Visions of Reality: The Real as Experimental Aesthetic in Anca Damian’s Animated Documentaries</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1139627" href="https://mome.academia.edu/ZsoltGyenge">Zsolt Gyenge</a></div><p class="ds-related-work--metadata ds2-5-body-xs">The Real of Reality: The Realist Turn in Contemporary Film Theory, 2021</p><p class="ds-related-work--abstract ds2-5-body-sm">The starting point of this chapter was the Lacanian term of the real, which offers the possibility to discuss a specific, maybe invisible or unrepresentable side of reality. This led me to the issue of animated documentaries and their relation with reality and the real, which will be elaborated in the pages that follow around four major topics. First, I will briefly discuss the ontology of the animated image as compared to the photographic one, then I will reflect on the representation of inner realities and of states of mind, which seem to be the core subject of most animated documentaries; then I will relate the representation of the unrepresentable to the Lacanian concept of the real, and finally I will analyze the experimental form of expression of certain influential animated documentaries. This latter topic is closely related to Anca Damian’s marvelous experimental animated documentaries, which will represent the main focus and example for all the questions that rise in this chapter. Refer to it as: Gyenge, Zsolt. "Animated Visions of Reality: The Real as Experimental Aesthetic in Anca Damian’s Animated Documentaries". In The Real of Reality: The Realist Turn in Contemporary Film Theory, (Leiden, The Netherlands: Brill, 2021) doi: https://doi.org/10.1163/9789004466760_007</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Animated Visions of Reality: The Real as Experimental Aesthetic in Anca Damian’s Animated Documentaries","attachmentId":68991576,"attachmentType":"pdf","work_url":"https://www.academia.edu/51153418/Animated_Visions_of_Reality_The_Real_as_Experimental_Aesthetic_in_Anca_Damian_s_Animated_Documentaries","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/51153418/Animated_Visions_of_Reality_The_Real_as_Experimental_Aesthetic_in_Anca_Damian_s_Animated_Documentaries"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="121607573" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/121607573/Hyperrealism_as_an_Artistic_Phenomenon_in_French_Literature_of_the_20th_21st_Centuries">Hyperrealism as an Artistic Phenomenon in French Literature of the 20th-21st Centuries</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="307196391" href="https://independent.academia.edu/SavchukRuslana">Ruslana Savchuk</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Journal of History Culture and Art Research, 2020</p><p class="ds-related-work--abstract ds2-5-body-sm">The article deals with the concept of hyperrealism in the projection on a fictional work of the 20th-21st centuries. The study is focused on the features and techniques of hyperrealism, inherent in different types of art, which have been reflected in literature, in particular French literature. The period of powerful development of digital technologies made scientists wonder about the essence of reality, and taking into account the fact that the latter can create their own reality, their attitude towards it acquires different, modified features: what I see may be or may not be reality. Thus, the dominant philosophy of this period is the attempt to manipulate reality in various forms of art, both verbal and fine art. Hyperrealism in painting, sculpture, and cinema uses similar techniques. Therefore, the purpose of this article is to find out the techniques and means of hyperrealism in the French literature of the 20th-21st centuries. Works of French writers whose creativity is consonant with the techniques of creating/reproducing excessive reality in a literary text were selected as the illustrative base of the research. The methods of component and linguostylistic analysis, as well as elements of communicative-pragmatic and descriptive analyzes were applied to achieve the desired objective. Thus, in the article the narrative technique of detailing the image is positioned as the dominant technique of hyperrealism in French prose works, functioning at the compositional, linguistic, and syntactic levels of the literary text. It is found out that this technique is accompanied by a detailed description of the photograph as a reflection of the development of photorealism precisely in this period and by a realistic description of the city acquiring forms of working with the map. Detailing that runs through the whole content and structure of a fictional work of art is aimed at the reader, in particular at gaining his/her confidence in the events and/or actions depicted. Herewith, the text has a minimum of evaluative characteristics that could simulate the reader's opinion regarding events and/or actions, since all the detailing is directed to the free judgment of the reader. Therefore, the detail is the key element by which you can "grab" the reality, because changing the detail gives rise to a new spiral of reality. The content of the article can serve for further studies of modifications of the concept of reality, its dependence on the worldview of a man, and its multidimensionality on the material of works of fiction or other arts from the perspective of psycho or sociolinguistics.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Hyperrealism as an Artistic Phenomenon in French Literature of the 20th-21st Centuries","attachmentId":116443741,"attachmentType":"pdf","work_url":"https://www.academia.edu/121607573/Hyperrealism_as_an_Artistic_Phenomenon_in_French_Literature_of_the_20th_21st_Centuries","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/121607573/Hyperrealism_as_an_Artistic_Phenomenon_in_French_Literature_of_the_20th_21st_Centuries"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="2458332" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/2458332/How_to_Tell_a_Fairy_Tale_with_Images_Narrative_Theories_and_French_Paintings_from_the_Early_Nineteenth_Century_Relief_4_2_2010_p_198_212">How to Tell a Fairy Tale with Images: Narrative Theories and French Paintings from the Early Nineteenth Century”, Relief 4/2 (2010), p. 198-212</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="142531" href="https://rug.academia.edu/MargrietHoogvliet">Margriet Hoogvliet</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"How to Tell a Fairy Tale with Images: Narrative Theories and French Paintings from the Early Nineteenth Century”, Relief 4/2 (2010), p. 198-212","attachmentId":31963277,"attachmentType":"pdf","work_url":"https://www.academia.edu/2458332/How_to_Tell_a_Fairy_Tale_with_Images_Narrative_Theories_and_French_Paintings_from_the_Early_Nineteenth_Century_Relief_4_2_2010_p_198_212","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/2458332/How_to_Tell_a_Fairy_Tale_with_Images_Narrative_Theories_and_French_Paintings_from_the_Early_Nineteenth_Century_Relief_4_2_2010_p_198_212"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="16355199" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/16355199/The_Broom_of_the_System_On_the_Quarrel_between_Art_and_Narrative">The Broom of the System: On the Quarrel between Art and Narrative</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="239435" href="https://napier.academia.edu/LouiseMilne">Louise Milne</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Tramway, Glasgow, 2008</p><p class="ds-related-work--abstract ds2-5-body-sm">The sign, wrote Volosinov, is always the site of a struggle. 2 It is no accident that normative realist narrative (in mainstream fiction, film and TV) rose to its present state of hegemony in the same moment as its avant-garde counter-part: the anti-narrative movement in the visual arts. The reasons why contemporary artists approach issues of narrative from an essentially adversarial stance derive from the situation of the first Western avant-garde, whose members were raised in a culture which officially regarded "history painting" (of Christian and Classical myths) as the highest Academic ideal. The force of their reaction to and against this brief set up a powerful and complex anti-narrative agenda for twentieth century art. Narrative came to be treated as an objective correlative for the investigation of stylistic codes. As story diminished in importance, preoccupations with style, with the manner of depiction, took over as the motive force in novel art. Though certain realists found new narratives in politics, documentary and satire, this approach found its main home in the mass media;</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The Broom of the System: On the Quarrel between Art and Narrative","attachmentId":39748546,"attachmentType":"pdf","work_url":"https://www.academia.edu/16355199/The_Broom_of_the_System_On_the_Quarrel_between_Art_and_Narrative","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/16355199/The_Broom_of_the_System_On_the_Quarrel_between_Art_and_Narrative"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="43584836" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/43584836/Childrens_Fantasy_and_Moroccan_Social_Issues_in_Francophone_Film">Children's Fantasy and Moroccan Social Issues in Francophone Film</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="76734514" href="https://ui.academia.edu/JoesanaTjahjani">Joesana Tjahjani</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Proceedings of BASA , 2020</p><p class="ds-related-work--abstract ds2-5-body-sm">Fantasy is a pleasure and, in essence, is a way to escape from human's condition or reality by building a second life. In the film Ali Zaoua: Prince de la Rue, children's fantasy is shown through narrative and cinematographic aspects. This article focuses on the depiction of fantasy using a qualitative method and a textual approach. This analysis utilizes Greimas Actantial Model, film art by Boggs and Petrie, as well as structural semiotics by Barthes. The concept of fantasy by Rosemary Jackson is also utilized to deepen the analysis. The purpose of this study is to portray children's fantasy and social issues related to poverty and family in the movie Ali Zaoua: Prince de la Rue. The finding of the analysis shows that fantasies created by children, are a way to escape reality. The fantasies that were represented as children's imagination and becomes an antithesis to the fulfillment of real-life desires. This is related to the condition of street children who wish for a better livelihood.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Children's Fantasy and Moroccan Social Issues in Francophone Film","attachmentId":63890005,"attachmentType":"pdf","work_url":"https://www.academia.edu/43584836/Childrens_Fantasy_and_Moroccan_Social_Issues_in_Francophone_Film","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/43584836/Childrens_Fantasy_and_Moroccan_Social_Issues_in_Francophone_Film"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":65494081,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":65494081,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_65494081" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. You can download the paper by clicking the button above.</p></div></div></div></div><div class="ds-sidebar--container js-work-sidebar"><div class="ds-related-content--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="0" data-entity-id="112228259" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/112228259/Art_et_illusions_%C3%89ditorial">Art et illusions : Éditorial</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="7983045" href="https://independent.academia.edu/IsabelleLelarge">Isabelle Lelarge</a></div><p class="ds-related-work--metadata ds2-5-body-xs">ETC MEDIA, 2015</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" 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