ABSTRACT Valeria Gai Germanika has established herself as a leading director of post-Soviet cinema, earning major accolades and provoking audiences with her feature films, television serials and documentaries. This article draws on 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, we analyse not only the aesthetic and thematic hallmarks of Germanika’s filmography, but also her prominent role as media presence and cultural agent. We argue that the thematic preoccupations of Germanika’s films, such as female identity, coming of age and fantasy, are imbricated throughout her filmography and closely connected to a carefully cultivated authorial myth. These themes are united by a shared epistemology of radical liminality, rebellion, performativity and a rejection of stable ideologies. An understanding of transgression helps to account for her complex and contradictory views on social, political and religious questions. We observe a marked shift in Germanika’s later films from aesthetics of hyperrealism to a new expressionism. In this evolution we discern a certain internal logic, where elements of fantasy and imagination present in her early works have come to dominate in later films.

中文翻译：

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Valeria Gai Germanika 作品中的新浪漫主义和作者神话

摘要 Valeria Gai Germanika 已经确立了自己作为后苏联电影的主要导演的地位，她的故事片、电视连续剧和纪录片赢得了重大赞誉并激起了观众的兴趣。本文借鉴当代作者理论，在她的作品中确定一个可辨别且不断发展的作者签名。通过拓宽对 21 世纪导演的理解，我们不仅分析了日耳曼尼卡电影的美学和主题特征，还分析了她作为媒体存在和文化代理人的突出作用。我们认为，日耳曼妮卡电影的主题关注点，例如女性身份、成年和幻想，贯穿于她的电影作品中，并与精心培育的作者神话密切相关。这些主题由激进的界限的共同认识论统一起来，叛逆、表演性和对稳定意识形态的拒绝。对违法行为的理解有助于解释她对社会、政治和宗教问题的复杂和矛盾的看法。我们观察到日耳曼尼卡后来的电影从超现实主义美学到新表现主义的显着转变。在这种演变中，我们发现了某种内在逻辑，她早期作品中的幻想和想象元素在后来的电影中占据了主导地位。