The Poetics and Politics of American Metacinema in the 1990s
https://doi.org/10.58186/2782-3660-2023-3-4-6-34
Abstract
While engaging with traditional cinema, viewers typically immerse themselves in the film’s fictional world, accepting it as real and emotionally investing in the diegesis. This effect is challenged by metacinema, which exposes the fictionality of on-screen action. Initially, metafilms were perceived as experimental deviations from the norm. However, since the 1990s, self-reflexive techniques have proliferated in Hollywood, exploring mechanisms to manipulate viewers from within. Why does this period trigger popular culture’s inclination for self-reflection and self-criticism? This study proposes that the reasons are linked to the socio-political transformations of US culture, as conceptualized by cultural theorist Philip Wegner. His notion of ‘late’ postmodernism posits that the culture of the 1990s signifies the release of ‘radical political energy’ stemming from the uncertainty of the historical moment after the end of the Cold War. In this context, metacinema gains popularity as a strategy to challenge the capitalist world order. Its alienation effect stimulates critical perception of reality, urging viewers to take political action. The article traces the history of political interpretations of metacinema and conceptualizes the poetics of ‘late’ postmodernism by analyzing metafilms from Quentin Tarantino, David Lynch, Spike Jonze, and Charlie Kaufman, the film franchise “Scream,” as well as cinematic allegories and movies centered on filmmaking.
About the Author
V. Potapova
National Research University — Higher School of Economics (HSE University)
Russian Federation
Russian Federation
Moscow
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Review
For citations:
Potapova V. The Poetics and Politics of American Metacinema in the 1990s. Versus. 2023;3(4):6-34. (In Russ.) https://doi.org/10.58186/2782-3660-2023-3-4-6-34
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