Sieranevada, avagy a köztesség művészete
Sieranevada, or the Art of In-Betweenness

Summary/Abstract: Starting from the ideas of Raymond Bellour’s “l’entre images” / “images-inbetween” and his concept of “the double helix”, the article identifies in contemporary cinema a new type of cinematic intermediality. This “expansive” type of intermediality is defined, on the one hand, by a tendency to strengthen both cinema’s connections to reality and its inter-art entanglements. On the other hand, this appears as a form of “expanded cinema” within cinema that may also integrate elements of transmediality by adding new artworks conceived in different media and extending the same fictional universe. This poetic strategy is presented in the context of Eastern European cinema through the comparative analysis of Cristi Puiu’s film, Sieranevada (2016), and the exhibition organized with the same title, displaying photographs made by the director while searching for the poster image of the film. Although highly successful on their own, Cristi Puiu’s intertwined artworks of film and photography become effective through their inbetweenness and the multiplication of perspec-tives, which we can interpret also in the sense in which Jacques Rancière conceived “dissensus” as “a gap in the sensible itself” when describing the “political” effect of an aesthetic experience.

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