{"id":2828,"date":"2022-11-10T23:31:29","date_gmt":"2022-11-10T22:31:29","guid":{"rendered":"https:\/\/afea.fr\/news\/?p=2828"},"modified":"2022-11-10T23:31:30","modified_gmt":"2022-11-10T22:31:30","slug":"publ-meta-in-film-and-television-series","status":"publish","type":"post","link":"https:\/\/afea.fr\/news\/publication\/publ-meta-in-film-and-television-series\/2828\/","title":{"rendered":"PUBL Meta in Film and Television Series"},"content":{"rendered":"<p><strong>Roche, David. <em>Meta in Film and Television Series<\/em>. Edinburgh University Press, 2022. 376p. ISBN 9781399508032<\/strong><br \/>\n<a href=\"https:\/\/edinburghuniversitypress.com\/book-meta-in-film-and-television-series.html\">https:\/\/edinburghuniversitypress.com\/book-meta-in-film-and-television-series.html<\/a><\/p>\n<h4>The first book-length study of meta-phenomena in film and television series<\/h4>\n<ul>\n<li>Works discussed include: <em>Sunset Blvd., Fellini Roma, Twin Peaks, Scream, Community<\/em>, and <em>NO<\/em><\/li>\n<li>Explores the theory and history of meta<\/li>\n<li>Provides methodology for the analysis of meta-phenomena<\/li>\n<\/ul>\n<p>\u201cThat\u2019s so meta!\u201d The emergence of the prefix-turned-adjective \u201cmeta\u201d to describe media productions is, no doubt, symptomatic of an increasingly media-savvy audience; it has also drawn attention to the lack of scholarship on meta-phenomena in film and television studies.<\/p>\n<p><em>Meta in Film and Television Series<\/em> aims to make up for this. Meta is defined as an intense form of reflexivity, that is characterized by its aboutness; meta-phenomena are not just an arsenal of devices but suppose an interpretive act and an active audience. Meta creates a framework with which to interrogate a work\u2019s relationship to its production, reception, medium, forms, and the world, and to explore its potentials and limitations. Meta supports the intuition latent in the popular usage that meta-phenomena are deeply entangled, while demonstrating that analysis stills requires such concepts to make sense of them.<\/p>\n<blockquote><p>In this impressive study Roche weaves together numerous strands of thought on the \u2018meta\u2019 and reflexive in cinema, television and media culture, with admirable clarity and focus. Full of insightful analysis of a diverse corpus of moving-image works \u2013 and engaging with important non-English language scholarship \u2013 this timely, indeed long\u3000overdue, book will no doubt be a standard point of reference on a perennially fascinating topic.<\/p>\n<p>\u2013 <em>Daniel Yacavone, University of Edinburgh<\/em><\/p><\/blockquote>\n<blockquote><p>David Roche is one of the best film theorists. His <em>Meta in Film and Television Series<\/em> is the most comprehensive study dedicated to metacinema and metafilms. It is a crowning achievement dwelling with a considerable number of examples, always lightened by David Roche&rsquo;s free ruminative thought.<\/p>\n<p>\u2013 <em>Marc Cerisuelo, author of Hollywood \u00e0 l&rsquo;\u00e9cran : les m\u00e9tafilms am\u00e9ricains<\/em><\/p><\/blockquote>\n<p> David Roche, a 2022\u20137 IUF member, is Professor of Film Studies at Universit\u00e9 Paul Val\u00e9ry Montpellier 3, France and President of SERCIA. He is the author of <em>Quentin Tarantino: Poetics and Politics of Cinematic Metafiction<\/em> and <em>Making and Remaking Horror in the 1970s and 2000s<\/em>, and has co-edited several collected volumes, including <em>Women Who Kill: Gender and Sexuality in Film and Series of the Post-Feminist Era<\/em> (with Cristelle Maury) and <em>Transnationalism and Imperialism: Endurance of the Global Western Film<\/em> (with Herv\u00e9 Mayer).<\/p>\n<p><strong>Contents<\/strong><\/p>\n<p>Acknowledgements<br \/>\nForeword<\/p>\n<p>Part I: The Theory and History of Meta<\/p>\n<p>1. What Is Meta and Who Uses the Term?<\/p>\n<p>2. How Does Meta Work?<\/p>\n<p>3. When, Where and Possibly Why Did it Appear?<\/p>\n<p>Part II: The Aboutness of Meta<\/p>\n<p>4. Industry and Creation<\/p>\n<p>5. Apparatus and Spectatorship<\/p>\n<p>6. Medium and Materiality<\/p>\n<p>7. Adaptation and Remake<\/p>\n<p>8. Genre<\/p>\n<p>9. Seriality<\/p>\n<p>10. History and Historiography<\/p>\n<p>11. Politics<\/p>\n<p>Conclusion<\/p>\n<p>Notes<br \/>\nGlossary of Meta-Phenomena<br \/>\nFilmography<br \/>\nBibliography<br \/>\nIndex<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/afea.fr\/news\/wp-content\/uploads\/sites\/2\/2022\/11\/Unknown.jpeg?ssl=1\" rel=\"attachment wp-att-2829\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/afea.fr\/news\/wp-content\/uploads\/sites\/2\/2022\/11\/Unknown.jpeg?resize=300%2C300&#038;ssl=1\" alt=\"\" title=\"unknown-jpeg\" width=\"300\" height=\"300\" class=\"alignnone size-medium wp-image-2829\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Roche, David. Meta in Film and Television Series. Edinburgh University Press, 2022. 376p. ISBN 9781399508032 https:\/\/edinburghuniversitypress.com\/book-meta-in-film-and-television-series.html The first book-length study [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[103],"tags":[176,1104,1105],"class_list":["post-2828","post","type-post","status-publish","format-standard","hentry","category-publication","tag-film","tag-meta-phenomenon","tag-television-series"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"Admin","author_link":"https:\/\/afea.fr\/news\/author\/yanb\/"},"uagb_comment_info":0,"uagb_excerpt":"Roche, David. Meta in Film and Television Series. Edinburgh University Press, 2022. 376p. ISBN 9781399508032 https:\/\/edinburghuniversitypress.com\/book-meta-in-film-and-television-series.html The first book-length study [&hellip;]","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2828"}],"collection":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/comments?post=2828"}],"version-history":[{"count":1,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2828\/revisions"}],"predecessor-version":[{"id":2830,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2828\/revisions\/2830"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/media?parent=2828"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/categories?post=2828"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/tags?post=2828"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}