http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
Demonstrating how radical political transformation might be facilitated from within the much maligned aesthetic category of realism, the author examines a number of contemporary works from Big Brother, Melancholia, catfish, and This is Not a Film to Alize Shvarts' "abortion art." Her discussion of these pieces suggests new understandings of the role of trope l'oeil in illusion, the rendering of realism's limitations, and relationships between hypervirtuality and simulation. The author's core project throughout is to develop a framework for thinking about contemporary forms of realism which, rather than focusing on the importance of seeing beyond deceptions that distort reality, argues that reality lies within the deceptions themselves.
Acknowledgments -- Introduction: realism and deception -- The realistically deceptive, or the deceptively real? Ron Mueck and the internal illusion -- Documentary real-ism: Catfish and This is not a film -- An uncertain indeterminacy: Aliza Shvarts's unseen senior project -- A ruse for the real: Christoph Schlingensief's deportation installation -- The faux and the schmo: parodying reality TV -- Corporeal realism: Bodyworlds and Cloaca -- "Something I can't quite articulate": breastfeeding and the real -- melancholia and the real of illusion -- Conclusion: on being duped -- Notes -- Bibliography -- Index.
Includes bibliographical references and index.