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Metacinema as authorial enunciation: a taxonomy of hybrid films

2021Journal article Open access
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dc.contributor.authorChinita, Fátima
dc.date.accessioned2022-01-03T09:59:27Z
dc.date.available2022-01-03T09:59:27Z
dc.date.issued2021
dc.descriptionErratum: The published version contains the following typos. • Section “Self-Reflexivity as the Height of Metacinema”, paragraph 22: please read ‘metacinematic reflexivity’, ‘I make no distinction’, and ‘metafilms’ • Section “An Enunciative Taxonomy of Hybrid Metafilms”, paragraph 24: please read ‘the importance creators have’; paragraph 27, please read ‘analogical photography’; paragraph 29, please read ‘does not originate the same way’; paragraph 31, please read ‘proves to be too violent’; paragraph 32, please read ‘intradiegetic’; paragraph 36, please read ‘photogram’ (twice), ‘addresses…to’pt_PT
dc.description.abstractABSTRACT - Metacinema is a cinephilic enterprise: whereas some film directors, bound by their urge for expression, seek to make their authorial discourse on such matters manifest; some compulsive film viewers aim to become film directors themselves. Both gladly engage with authorial enunciation, which evinces the technical and aesthetic work and choices undertaken by the film directors together with their “cinevision,” i.e., their worldview and artistic philosophy made explicit as the films’ on message(s) (or “discourse”). Taking metacinema as a practice situated in between reflexive cinema and cinema about cinema, this article defines it as simultaneously revealing the technique, including the apparatus that enables it, and the authorial discourse that voices the director’s position on his or her art. In order to better explain the four simultaneous conditions of metacinema in my own conception of it, an empirical taxonomy of hybrid films— one of the categories in a larger taxonomy I devised elsewhere—is drawn here. Thus the tautological expression of “self-reflexive metacinema,” as a deliberate thematization of this reflection, is expounded, with ample and varied examples, over a threefold enunciative taxonomy composed of three subcategories focusing on, respectively, the production stage, entailing the creative work of the filmmakers; the reception stage, illustrating the emotional and physiological response of the viewers; and a well-balanced comingling of these two stages. Through this categorization, it will become obvious that metafilms are the essence of metacinema, because in them the artists look foremost for the materiality of expression whereby they find themselves.pt_PT
dc.description.versioninfo:eu-repo/semantics/publishedVersionpt_PT
dc.identifier.issn2037-0431
dc.identifier.urihttp://hdl.handle.net/10400.21/14126
dc.language.isoengpt_PT
dc.peerreviewedyespt_PT
dc.publisherToni D'Angelapt_PT
dc.relation.publisherversionhttp://www.lafuriaumana.it/index.php/75-archive/lfu-41/1030-fatima-chinita-meta-cinema-as-authorial-enunciation-a-taxonomy-of-hybrid-filmspt_PT
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/pt_PT
dc.subjectMetacinemapt_PT
dc.subjectAuthorial discoursept_PT
dc.subjectSelf-reflexivitypt_PT
dc.subjectHybrid filmspt_PT
dc.subjectTaxonomypt_PT
dc.subjectEnunciationpt_PT
dc.subjectCinephiliapt_PT
dc.subjectCinevisionpt_PT
dc.titleMetacinema as authorial enunciation: a taxonomy of hybrid filmspt_PT
dc.typejournal article
dspace.entity.typePublication
oaire.citation.titleLa Furia Umanapt_PT
oaire.citation.volumeLFU/41pt_PT
person.familyNameMata
person.givenNameMaria
person.identifier.orcid0000-0001-7494-1039
rcaap.rightsopenAccesspt_PT
rcaap.typearticlept_PT
relation.isAuthorOfPublication4e5f0177-6b2a-4c33-8259-2ff05d9c945a
relation.isAuthorOfPublication.latestForDiscovery4e5f0177-6b2a-4c33-8259-2ff05d9c945a

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