When a Film References Another Film or Work of Art It Is Called

Type of self reference

Meta-reference is a special type of self-reference that tin occur in all media or media artifacts, for example literature, film, painting, Television series, comic strips, or video games. It includes all references to, or comments on, a specific medium, medial artifact, or the media in general. These references and comments originate from a logically higher level (a "meta-level") within whatever given artifact, and draw attending to—or invite reflection about—media-related issues (e.g. the production, functioning, or reception) of said artifact, specific other artifacts (as in parody), or to parts, or the entirety, of the medial arrangement. Information technology is, therefore, the recipient's awareness of an artifact's medial quality that distinguishes meta-reference from more full general forms of self-reference. Thus, meta-reference triggers media-sensation inside the recipient, who, in turn "becomes conscious of both the medial (or "fictional" in the sense of artificial and, sometimes in add-on, "invented") status of the piece of work" also as "the fact that media-related phenomena are at issue, rather than (hetero-)references to the world exterior the media."^[1] Although certain devices, such equally mise-en-abîme, may be conducive to meta-reference, they are not necessarily metareferential themselves.^[ii] Similarly, innately metareferential devices, such as metalepsis, are to be seen equally special cases of meta-reference. The terms meta-reference and metalepsis can, therefore, not be used synonymously.

History of the concept and the term [edit]

While meta-reference every bit a concept is not a new phenomenon and can be observed in very early works of art and media non tied to specific purposes (due east.thou. Homer'due south invocation of the muses at the beginning of the Odyssey in order to evangelize the ballsy better), the term itself is relatively new.^[3] Before discussions of metareferential issues often opt for more specific terminology tied to the respective subject field. Notable discussions of meta-reference include, just are not limited to, William H. Gass's^[4] and Robert Scholes's^[5] exploration of metafiction, Victor Stoichita's test of early on modernistic meta-painting,^{[half dozen]} and Lionel Abel's^[7] investigation of metatheatre. In the context of drama, meta-reference has besides become colloquially known equally the breaking of the 4th wall. The commencement study to underscore the problem resulting from the lack of cohesive terminology, likewise as the necessity to acknowledge metareference every bit transmedial and trans-generic phenomenon, was published in 2007 by Hauthal et al.^[8] Publications by Nöth and Bishara^[9] besides equally Wolf^[10] followed suit, raised similar concerns, included case studies from various media, coined and helped institute the more than uniform umbrella term meta-reference as define above.

Examples [edit]

While every medium has the potential for meta-reference, some media can send meta-reference more hands than others. Media that can easily realise its meta-referential potential includes, for case, literature, painting, and flick. Although music can be meta-referential fifty-fifty outside the confines of lyrics, meta-reference in music is much harder to create or detect.^[11] ^[12] Music, therefore, would be a less typical medium for the occurrence of meta-reference. Nöth argues in this context that although non-verbal media can be the home of meta-reference, the contained meta-reference can only be implicit considering non-verbal media tin only prove similarities, but never bespeak directly (or explicitly) to meta-referential elements.^[13] Others, yet, argue that meta-reference is explicit equally long as it is clear.

Literature [edit]

John Fowles begins chapter thirteen of his novel The French Lieutenant's Woman with the words

This story I am telling is all imagination. These characters I create never existed outside my own mind. If I have pretended until at present to know my characters' mind and innermost thoughts, information technology is considering I am writing in [...] a convention universally accustomed at the time of my story: that the novelist stands next to God.^[14] [emphases added]

This is an instance of explicit meta-reference considering the text draws attention to the fact that the novel the recipient is reading is but a fiction created by the author. It likewise foregrounds the convention that readers of realist fiction have the presence of an all-knowing narrator, and breaks it by allowing the narrator to take centre stage which invites meta-reflections by the recipient.

In American comic books published by Marvel Comics, the character Deadpool is enlightened that he is a fictional comic book character. He usually breaks the quaternary wall, to humorous effect. To other non-aware characters in the story, Deadpool'due south self-awareness as a comic book character appears to exist a form of psychosis. When other characters question whether Deadpool's real name is even Wade Wilson, he jokes that his truthful identity depends on which writer the reader prefers.^[15]

Picture show [edit]

The Truman Show is a movie that contains a high caste of meta-reference. Truman, the protagonist, is unaware that he is part of a reality Telly show, but the audience knows about the artificiality of both Truman's life and, by extension, the movie that is existence watched. This is underscored by putting emphasis on the product process of the fictional reality TV testify, which makes the audition aware of the same features being used in the movie at the time of watching. Further examples of meta-reference in the movie include spotlights falling from the sky seemingly out of the blueish, or a raincloud which is curiously only raining on Truman following him around on Seahaven Beach. Both instances point to the artificiality of Truman's life as well as the moving picture itself.

Painting [edit]

An example of meta-reference in painting is Manet's Balcony by René Magritte. It comments on another painting, The Balcony past Édouard Manet, by mimicking both the setting of the balcony as well equally the poses of the depicted people, but places them in coffins. Thus, the recipient'southward attention is drawn to the fact that non only are the people in the painting long dead and only still "live" in the representation, but arguably besides that the artist (Manet) and the impressionist painting fashion are just as dead as the portrayed individuals. Furthermore, it is foregrounded that the impressionist painting fashion is just a style that may be copied, which further emphasises the fact that both works are only paintings created in a specific mode.

See too [edit]

Frame story – Story in a nested narration that brackets one or more embedded stories
Induction
Hypostasis
Meta- – Prefix
Metacomic
Meta-discussion
Meta-joke
Metaknowledge
Self-reference – Sentence, idea or formula that refers to itself
Story within a story – Literary device
Mise en abyme
Metafiction – Genre of fiction nigh fiction
Metatheatre
Metalepsis – Effigy of speech
Metafilm

References [edit]

^ Wolf, Werner (2009). Metareference across Media. Theory and Case Studies. Amsterdam - New York, NY: Rodopi. p. 31. ISBN978-90-420-2670-4.
^ Wolf, Werner (2009). Metareference beyond Media. Theory and Case Studies. Amsterdam - New York, NY: Rodopi. p. 63. ISBN978-ninety-420-2670-iv.
^ Werner, Wolf (2009). Metareference beyond Media. Theory and Example Studies. Amsterdam - New York, NY: Rodopi. p. 73. ISBN978-90-420-2670-4.
^ Gass, William (1970). Fiction and the Figures of Life. New York, NY: Knopf.
^ Scholes, Robert (1970). "Metafiction". Iowa Review. 1 (4): 100–115. doi:10.17077/0021-065X.1135.
^ Stoichita, Victor (2015). The Self-Aware Image. An Insight into Early Modern Meta-Painting. Antwerp: Studies in Bizarre Fine art. ISBN978-1909400115.
^ Abel, Lionel (1963). Metatheatre. A New View of Dramatic Form. New York, NY: Hill & Wang.
^ Metaisierung in Literatur und anderen Medien : theoretische Grundlagen, historische Perspektiven, Metagattungen, Funktionen. Hauthal, Janine. Berlin: De Gruyter. 2007. ISBN978-3110199451. OCLC 155834217. {{cite book}}: CS1 maint: others (link)
^ Self-reference in the media. Bishara, Nina, 1977-, Nöth, Winfried. Berlin: Mouton de Gruyter. 2007. ISBN978-3110194647. OCLC 471132600. {{cite book}}: CS1 maint: others (link)
^ Metareference beyond media : theory and example studies. Wolf, Werner, 1955-, Bantleon, Katharina., Thoss, Jeff., Bernhart, Walter. Amsterdam: Rodopi. 2009. ISBN9789042026704. OCLC 436342321. {{cite book}}: CS1 maint: others (link)
^ Michaelsen, René (2009). "Exploring Metareference in Instrumental Music -- The Example of Robert Schumann". In Wolf, Werner (ed.). Metareference across Media. Theory and Instance Studies. Amsterdam - New York, NY: Rodopi. pp. 235–259. ISBN978-xc-420-2670-iv.
^ Wolf, Werner (2007). "Metafiction and Metamusic: Exploring the Limits of Metareference". In Nöth, Winfried (ed.). Self-Reference in the Media. Berlin: Mouton de Gruyter. pp. 303–325. ISBN978-3-eleven-019464-7.
^ Nöth, Winfried (2009). "Metareference from a Semiotic Perspective". In Wolf, Werner (ed.). Metareference across Media. Theory and Example Studies. Amsterdam - New York, NY: Rodopi. pp. 889–121. ISBN978-xc-420-2670-4.
^ Fowels, John (2005). The French Lieutenant'southward Adult female. London: Vintage. p. 97. ISBN978-0-099-49707-iii.
^ "Cablevision and Deadpool" #47.

External links [edit]

List of films that break the fourth wall, The Art and Popular Culture Encyclopedia
alt.tv.simpsons listing of Meta References in The Simpsons
Harris, Matthew,Metafiction in New Zealand. Massey University, 2011.

mullinshather.blogspot.com

Source: https://en.wikipedia.org/wiki/Meta-reference

When a Film References Another Film or Work of Art It Is Called

History of the concept and the term [edit]

Examples [edit]

Literature [edit]

Picture show [edit]

Painting [edit]

See too [edit]

References [edit]

Further reading [edit]

External links [edit]

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