"In the beginning, Mary Sue committed suicide often for pretend, but also for real. She was just a paper girl in flashy colors. Then she molded her personality as far as to become this simultaneously distinctive and changeable character, whose height and age vary according to the vicissitudes of the moving image. Sometimes her transformations bring her closer to the reality of life, sometimes closer to the characters in fanzines of which she is clearly the heir. Although Betty Boop’s influence is obvious, Mary Sue no longer belongs to the generation of comic strip heroes and heroines but rather to that of the mangas and of the comikets. (With its barely concealed infantile and sadistic sexuality, Japanese imagery has an undeniable influence on the new heroines). Mary Sue is not a pure video product ; she is the fruit of a hybrid, artisanal practice, driven by the desire to control everything, to leave nothing to chance for the perfect, all-encompassing artifice. A home-made work (...) By definition, the viewer –voyeur– is outside of the frame. For Mary Sue, the whole world is outside of the frame. Her character is the warm center of a convergence, through a high or low angle shot, of the gazes and of the more or less steamy responses that she arouses. Mary Sue’s solitude in the face of the world and of her humors is that of all domestic stars. She has little adventures, accomplishes small feats, experiences small moments of illumination." (After H.Besacier The true story of Mary Sue , 2004)
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