In the world after the appearance of Covid-19, where the news sometimes gives the impression of going beyond the wildest predictions of science fiction stories, the border between fiction and reality seems more and more porous. The pandemic thus echoed disturbingly in the film. Contagion, by Steven Soderbergh, released in 2011. In this feature film, the MEV-1 virus leaves the virgin forest through a pig, to disrupt the course of the world and make early winks at our day-to-day. From where this diffuse feeling that, more and more often, the fiction ends up being realized, as if it had become matrix. Would she have reached a new status?
Even before the Covid-19 epidemic, an OpinionWay survey for Fob Paris published in October 2019 told us that 74% of our fellow citizens estimated that they are now living in the midst of science fiction. Like the vapors in the alleys of Blade runner, a veil of bad dystopia hangs over our everyday life. “With the rise of conspiracy and ‘fake news’, the truth is increasingly threatened with being seen as false. In mirror image, we give more and more importance to fictions in our perception of the world ”, underlines Anne Besson, professor of literature at the University of Artois and author of The Powers of Enchantment, Political Uses of Fantasy and Science Fiction (Vendémiaire, 228 pages, 21 euros).
As Mark Zuckerberg aspires to tip us into the metaverse, transforming our social lives into a remake of the film Avatar, the border between realistic aesthetics and fictional aesthetics seems increasingly thin, as the researcher Marine Malet underlines in the collective work The Reality of Fiction 2 (L’Harmattan, 196 pages, 20.50 euros): “Today, and in particular on themes relating to new technologies, factual writings and fictional writings are more and more alike, to the point of sometimes producing new hybrid writings. Discourse on technoscience and technological advancements sometimes echo things that anticipatory fictions predicted in the past – we can think of the work of George Orwell, 1984. As for the fictions, they are more and more realistic, and the dystopias summon real collective fears. For example, the series Black mirror today seems to have become a grid for reading and understanding the real world. “
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