Metacinema
From The Art and Popular Culture Encyclopedia
Revision as of 12:38, 16 February 2013 Jahsonic (Talk | contribs) (→Examples of films) ← Previous diff |
Current revision Jahsonic (Talk | contribs) |
||
Line 1: | Line 1: | ||
- | [[Image:Reverse Side Of a Painting.jpg|thumb|right|200px|''[[Reverse Side of a Painting]]'' (1670) by [[Cornelis Norbertus Gysbrechts]], an example of ''[[metapainting]]''.]] | + | {| class="toccolours" style="float: left; margin-left: 1em; margin-right: 2em; font-size: 85%; background:#c6dbf7; color:black; width:30em; max-width: 40%;" cellspacing="5" |
+ | | style="text-align: left;" | | ||
+ | "A [[Metacinema|self-referential film]] is one which is about itself. Unlike the traditional [[narrative film]], which seeks to maintain the illusion that what we are seeing is reality, the self-referential film wants to show that it itself is an illusion. Consequently, one often sees the camera, the mike, the movieola, the cutting board, even, occasionally, the audience—us. In showing that it is an illusion, however, the self-referential film also suggests another [[reality]]—that, for example, of the makers of the self-referential film we are seeing. This reality is presented as a more real reality than that which the ordinary illusion-film offers. All self-referential cinema becomes, then, a search for reality, or for truth." --[[Donald Richie]], "[[Self-Referential Cinema]]" (1971) | ||
+ | |} | ||
+ | [[Image:Reverse Side Of a Painting.jpg|thumb|right|200px| | ||
+ | This page '''{{PAGENAME}}''' is part of the ''[[meta]]'' series.<br> | ||
+ | Illustration: ''[[Reverse Side of a Painting]]'' (1670) by [[Cornelis Norbertus Gysbrechts]], an example of ''[[metapainting]]''.]] | ||
{{Template}} | {{Template}} | ||
Similar to [[metafiction]] in technique, the style of the film-making shows that the film is a metaphor about the production of the film and that the audience is tied in with the drama unfolding on the screen. | Similar to [[metafiction]] in technique, the style of the film-making shows that the film is a metaphor about the production of the film and that the audience is tied in with the drama unfolding on the screen. | ||
Line 27: | Line 33: | ||
* ''[[Hugo (film)|Hugo]]'' ([[Martin Scorsese]], 2011) | * ''[[Hugo (film)|Hugo]]'' ([[Martin Scorsese]], 2011) | ||
* ''[[Holy Motors]]'' ([[Leos Carax]], 2012) | * ''[[Holy Motors]]'' ([[Leos Carax]], 2012) | ||
+ | ==References== | ||
+ | *Ames, Christopher. Movies About the Movies. p. 15 | ||
+ | * Ames, Christopher. [[Movies About the Movies]]. p. 41, 56 | ||
+ | * Stam, Robert. [[Reflexivity in Film and Literature]]. | ||
==See also== | ==See also== |
Current revision
"A self-referential film is one which is about itself. Unlike the traditional narrative film, which seeks to maintain the illusion that what we are seeing is reality, the self-referential film wants to show that it itself is an illusion. Consequently, one often sees the camera, the mike, the movieola, the cutting board, even, occasionally, the audience—us. In showing that it is an illusion, however, the self-referential film also suggests another reality—that, for example, of the makers of the self-referential film we are seeing. This reality is presented as a more real reality than that which the ordinary illusion-film offers. All self-referential cinema becomes, then, a search for reality, or for truth." --Donald Richie, "Self-Referential Cinema" (1971) |
Related e |
Featured: |
Similar to metafiction in technique, the style of the film-making shows that the film is a metaphor about the production of the film and that the audience is tied in with the drama unfolding on the screen. Similar to metafiction in technique, metafilm is a style of film-making which presents the film as a story about film production. Examples of this would be Federico Fellini's 8½, François Truffaut's Day for Night, Jean-Luc Godard's Le Mepris, Spike Jonze's Adaptation., Tom DiCillo's Living in Oblivion, Alejandro Jodorowsky's The Holy Mountain, Wes Craven's New Nightmare, Michael Powell's Peeping Tom, David Lynch's Mulholland Drive, Charlie Kaufman's Synecdoche, New York.
An example of a comparable technique in theater would be Six Characters in Search of an Author by Luigi Pirandello and Living in Oblivion by Tom DiCillo.
Another example of metafilm is the use of film within a film, used as a plot device in such films as Circuito chiuso.
Examples of films
- Metafiction#Film_and_television; Story_within_a_story#Film_within_a_film, List of films that break the fourth wall
- Peeping Tom (Michael Powell, 1960)
- La Ricotta (Pier Paolo Pasolini, 1962)
- 8½ (Federico Fellini, 1963)
- Le Mépris (Jean-Luc Godard, 1963)
- Day for Night (François Truffaut, 1973)
- The Holy Mountain (Alejandro Jodorowsky, 1973)
- Epidemic (Lars von Trier, 1987)
- Wes Craven's New Nightmare (Wes Craven, 1994)
- Living in Oblivion (Tom DiCillo, 1995)
- Irma Vep (Olivier Assayas, 1996)
- Mulholland Drive (David Lynch, 2001)
- Adaptation. (Spike Jonze, 2002)
- A Cock and Bull Story (Michael Winterbottom, 2006)
- Synecdoche, New York (Charlie Kaufman, 2008)
- Tropic Thunder (Ben Stiller, 2008)
- The Artist (Michel Hazanavicius, 2011)
- Hugo (Martin Scorsese, 2011)
- Holy Motors (Leos Carax, 2012)
References
- Ames, Christopher. Movies About the Movies. p. 15
- Ames, Christopher. Movies About the Movies. p. 41, 56
- Stam, Robert. Reflexivity in Film and Literature.
See also
- Self-reference
- Meta-
- Meta-reference
- Metafiction
- Metatheatre
- Metalanguage
- Meta-discussion
- Meta-joke
- Metaknowledge
- Story-within-a-story
- Show-within-a-show
- Fourth wall
- Aside
- Prologue
- Epilogue
- Induction
- Frame story
- Frame tale
- Fictional fictional character