Metacinema

When a work of art shows an interest in its own status as a work of art¿either by reference to itself or to other works¿we have become accustomed to calling this move "meta." While scholars and critics have, for decades, acknowledged reflexivity in films, it is only in Metacinema, for the first time, that a group of leading and emerging film theorists join to enthusiastically debate the meanings and implications of the meta for cinema. In newessays on generative films, including Rear Window, 8 1/2, Holy Motors, Funny Games, Fight Club, and Clouds of Sils Maria, contributors chart, explore, and advance the ways in which metacinema is at once a mode of filmmaking and a heuristic for studying cinematic attributes. What results is not just an engagement withcertain practices and concepts in widespread use in the movies (from Hollywood to global cinema, from documentary to the experimental and avant-garde), but also the development of a veritable and vital new genre of film studies. With mo