Szabolcs Kisspál's docu-fiction lays out the architecture and ethnographic space of Budapest Zoo, along with the long European history ob objectification of the Other and the post-Trianon discourse on Transylvania. The discourse constructs the otherness and identity of the region through a system in which Transylvania appears as the ultimate source of authentic and essential "Hungarianness", while at the same as the place that is archaic, backwards and pre-modern. The double system of Transylvanian-Hungarian "pecularities" is thus a product of a colonial imagination which, as an instrument for the symbolic occupation of space, bring the Other into being not merely as a subject of desire, but also of domination, in other words, as a 'miniature replica'. (Zoltán Kékesi)