Meta in Film and Television Series

Cover
Half Title
Title Page
Copyright
Contents
List of Figures
Acknowledgments
Preface
Part I The Theory and History of Meta
	Chapter 1 What Is Meta and Who Uses the Term?
		“That’s so meta”
		Metafiction, Metanarrative, Metafilm, Metacinema, Metafilmic . . . and Reflexivity
		A Theoretical Proposition
	Chapter 2 How Does Meta Work?
		Typologies of Metafiction, Metareference, Metacinema, etc.
		Problems when Doing Meta
	Chapter 3 When, Where and Possibly Why Did Meta Appear?
		A Short History of Reflexivity and Meta in Film and Television
		Is Meta Specific to Western Culture?
		Did Meta Come from Literature?
		Did Meta Come from Modernism and/or the Avant-Gardes?
		Are the Origins of Meta the Same in Television as in Film?
		Can Silent Films Be Meta Anyway?
		A Series of Tentative Conclusions
Part II The Aboutness of Meta
	Chapter 4 Industry and Creation
		Movies about Making Movies
		More than Just about the Industry (Sunset Blvd., Contempt, Mulholland Dr.)
		Allegories of the Film and Media Industry (Westworld)
		Conclusion
	Chapter 5 Apparatus and Spectatorship
		Movies about Movie-going
		Movie-going as Ritual (Cinema Paradiso)
		Adventures in Metalepsis (The Purple Rose of Cairo)
		Allegories of Spectatorship Revisited (Rear Window, ­Blow-up, Blow Out)
		Conclusion
	Chapter 6 Medium and Materiality
		Synchretism, Intermediality, Remediation
		Cinema and the Fine Arts (Fellini Roma)
		Film, Television, Video (Family Viewing)
		Film and Comics (American Splendor)
		Digital and Interactive Media (Black Mirror: Bandersnatch)
		Conclusion
	Chapter 7 Adaptation and Remake
		Engaging with the Original: Statements of Intent Part I (The Portrait of a Lady)
		Adapting the Metafictional Novel (The French Lieutenant’s Woman, A Cock & Bull Story, Inherent Vice)
		Metadaptations (Adaptation, Psycho, Bram Stoker’s Dracula)
		Conclusion
	Chapter 8 Genre
		This Is a Genre Film/Series and You Know It: Statements of Intent Part II
		Is Parody Essentially Meta? (Lemonade Joe, My Name Is Nobody, Blazing Saddles)
		The Ethics of Genre Play (Funny Games, Scream, Community)
		Conclusion
	Chapter 9 Seriality
		Metamoments in Series
		Allegories of Seriality (This Is Us)
		Metaseries (LOST, The Prisoner, Twin Peaks)
		Conclusion
	Chapter 10 History and Historiography
		Historiographic Metafiction (Culloden)
		Are Allohistories Always Meta? (Inglourious Basterds, The Man in the High Castle)
		Self-conscious Historical Film (Schindler’s List, JFK, No)
		Conclusion
	Chapter 11 Politics
		The Political Potential of Meta (Tout va bien)
		Questioning the Efficacy of Political Films and Series (Colossal Youth, Black Mirror, I, Daniel Blake)
		Conclusion
Conclusion
Notes
Glossary of Meta-phenomena
Filmography
Bibliography
Index