The first section poses general question about the aims and context of the study. The category of surrealism is held in this study to be more a productive analogy than implying a direct line of influence from historical practices to the present day. For this reason the term neosurrealism is preferred: to underline historical difference. The second section addresses the study's methodological orientation, which revolves around two main axes: academic criticism and phenomenological description. The latter concept requires attention in close analytical readings to the specific audiovisual performances. When considered in the light of recent critical theory, performances are always performative insofar as they invoke lingering cultural memories. The final section discusses Sedgwick's idea of performativity in which the affectivity of performances is accorded a prominent position.
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