Torrentz2 is a free, fast and powerful meta-search engine combining results from dozens of search engines Torrentz is a meta-search engine ( aggregator ) and a Multisearch. This means we just search other search engines. 4 Months, 3 Weeks and 2 Days movie reviews & Metacritic score: During the final days of communism in Romania, two college roommates Otilia and Gabita are busy preparing for a night away. But rather than planning for a holid.
Meta (from the Greek μετά-, meta-, meaning 'after' or 'beyond') is a prefix meaning more comprehensive or transcending.[1]
Original Greek meaning[edit]
In Greek, the prefix meta- is generally less esoteric than in English; Greek meta- is equivalent to the Latin words post- or ad-. The use of the prefix in this sense occurs occasionally in scientific English terms derived from Greek. For example: the term Metatheria (the name for the clade of marsupialmammals) uses the prefix meta- in the sense the Metatheria occur on the tree of life adjacent to the Theria (the placental mammals).
Epistemology[edit]
In epistemology, and often in common use, the prefix meta- is used to mean about (its own category). For example, metadata are data about data (who has produced them, when, what format the data are in and so on). In a database, metadata are also data about data stored in a data dictionary and describe information (data) about database tables such as the table name, table owner, details about columns, – essentially describing the table. Also, metamemory in psychology means an individual's knowledge about whether or not they would remember something if they concentrated on recalling it. The modern sense of 'an X about X' has given rise to concepts like 'meta-cognition' (cognition about cognition), 'meta-emotion' (emotion about emotion), 'meta-discussion' (discussion about discussion), 'meta-joke' (joke about jokes), and 'metaprogramming' (writing programs that manipulate programs).[citation needed]
In a rule-based system, a metarule is a rule governing the application of other rules.[2]
On higher level of abstraction[edit]
Any subject can be said to have a metatheory, a theoretical consideration of its properties, such as its foundations, methods, form and utility, on a higher level of abstraction. In linguistics, a grammar is considered as being expressed in a metalanguage, language operating on a higher level to describe properties of the plain language (and not itself).
Etymology[edit]
The prefix comes from the Greekpreposition and prefixmeta- (μετά-), from μετά,[3] which meant 'after', 'beside', 'with', 'among' (with respect to the preposition, some of these meanings were distinguished by case marking). Other meanings include 'beyond', 'adjacent' and 'self', and it is also used in the form μητα- as a prefix in Greek, with variants μετ- before vowels and μεθ- 'meth-' before aspirated vowels.
The earliest form of the word 'meta' is the Mycenaean Greekme-ta, written in Linear B syllabic script.[4] The Greek preposition is cognate with the Old English preposition mid 'with', still found as a prefix in midwife. Its use in English is the result of back-formation from the word 'metaphysics'. In origin Metaphysics was just the title of one of the principal works of Aristotle; it was so named (by Andronicus of Rhodes) because in the customary ordering of the works of Aristotle it was the book following Physics; it thus meant nothing more than '[the book that comes] after [the book entitled] Physics'. However, even Latin writers misinterpreted this as entailing metaphysics constituted 'the science of what is beyond the physical'.[5] Nonetheless, Aristotle's Metaphysics enunciates considerations of natures above physical realities, which one can examine through this particular part of philosophy, for example, the existence of God. The use of the prefix was later extended to other contexts based on the understanding of metaphysics to mean 'the science of what is beyond the physical'.
Early use in English[edit]
The Oxford English Dictionary cites uses of the meta- prefix as 'beyond, about' (such as meta-economics and meta-philosophy) going back to 1917. However, these formations are parallel to the original 'metaphysics' and 'metaphysical', that is, as a prefix to general nouns (fields of study) or adjectives. Going by the OED citations, it began being used with specific nouns in connection with mathematical logic sometime before 1929. (In 1920 David Hilbert proposed a research project in what was called 'metamathematics.')
A notable early citation is Quine's 1937 use of the word 'metatheorem',[6] where meta- has the modern meaning of 'an X about X'. (Note earlier uses of 'meta-economics' and even 'metaphysics' do not have this doubled conceptual structure – they are about or beyond X but they do not themselves constitute an X).
Douglas Hofstadter, in his 1979 book Gödel, Escher, Bach (and in the sequel, Metamagical Themas), popularized this meaning of the term. The book, which deals with self-reference and strange loops, and touches on Quine and his work, was influential in many computer-related subcultures and may be responsible for the popularity of the prefix, for its use as a solo term, and for the many recent coinages which use it.[7] Hofstadter uses meta as a stand-alone word, as an adjective and as a directional preposition ('going meta,' a term he coins for the old rhetorical trick of taking a debate or analysis to another level of abstraction, as when somebody says 'This debate isn't going anywhere'). This book may also be responsible for the association of 'meta' with strange loops, as opposed to just abstraction.[citation needed] The sentence 'This sentence contains thirty-six letters,' and the sentence which embeds it, are examples of 'metasentences' referencing themselves in this way.
See also[edit]
Fourth wall – Concept in performing arts separating performers from the audience
ML (programming language) – General purpose functional programming language, a language for handling languages
Wikipedia – Free online encyclopedia that anyone can edit, a Wikipedia page about Wikipedia, an example of a meta Wikipedia page
References[edit]
^'Definition of META'. www.merriam-webster.com. Retrieved 2019-12-01.
^Schild, Uri J.; Herzog, Shai (1993). The Use of Meta-rules in Rule Based Legal Computer Systems. Proceedings of the 4th International Conference on Artificial Intelligence and Law. ICAIL '93. Amsterdam, The Netherlands: ACM. pp. 100–109. doi:10.1145/158976.158989.
^μητά, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library
^'The Linear B word me-ta'. Palaeolexicon.com.
^'Metaphysics'. Online Etymology Dictionary.
^Willard Van Orman Quine, 'Logic Based on Inclusion and Abstraction', The Journal of Symbolic Logic, Vol. 2, No. 4, pp. 145–152, December 1937
^Cohen, Noam (Sep 5, 1988). 'Meta-Musings'. The New Republic.
External links[edit]
List of ancient Greek words starting with meta-, on Perseus
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Meta&oldid=982198109'
7. Day for Night (François Truffaut, 1973)
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The film that destroyed the friendship between Godard and Truffaut is one of the core examples of films about filmmaking. It stars Truffaut himself as Ferrand, a film director facing troubles in the middle of the production. With this obvious alter-ego, Truffaut shows the process of filmmaking as an exhaustive task where emotions are not controlled and everyone has something more important to do.
How much can someone sacrifice through filmmaking? Can someone give up their life for filming? These questions couldn’t be more personal coming from Truffaut, a filmmaker with a great and deep love toward cinema. But becoming a filmmaker after his life as a critic on cahiers seemed to be hard, and all the emotions involved in making a film are shown as something that consume your life little by little.
The film echoes a prior work by Fassbinder, “Beware of a Holy Whore”, where filmmaking is shown as a way to exploit emotions and to generate dependence from anyone.
8. Monty Python and the Holy Grail (Terry Gilliam and Terry Jones, 1975)
Comedy was one of the first genres to explore self-reflection as tool, because of the potential that parody had to make people laugh. Film conventions are one of the ways to make every film look the same without making a reflection, but revealing these conventions proved to be a very effective way to make the audience laugh.
Monty Python wasn’t a crew that was interested in portraying society in a realistic way; instead they preferred to exaggerate and make everything bigger and ridiculous. In their first feature, they made an epic based on King Arthur, and they used and revealed every topic of knight films.
From the indisputable courage of their characters to the rudeness of the villain, “The Holy Grail” was a funny film because it made fun of what the film was supposed to be. One of the most brilliant gags of the film makes fun of how the film’s sound is unrealistic, and how we are used to it. We hear the sound of the horses before they appear, and it sounds grand and rude.
Then we can see one of the members is in charge of going around hitting two shoes to make the sound of the horses. Monty Python made a funny joke out of it, and at the same time made an ahead-of-time reflection on the nature of sound on film.
Woody Allen’s films are full of cinema references; his passion for making films comes from cinephilia and he doesn’t hide the fact at all. Fellini and Bergman are clearly his two favorites and most referenced directors, but he plays with their themes in a more relaxed and lighter way. His films are more of an honest tribute to his idols, and to the experience of watching a film rather than a theoretical way to play with narrative.
His most explicit love letter to this experience is “The Purple Rose of Cairo”. Cecilia (Mia Farrow) is an unmotivated waitress who runs every night to the cinema to disconnect from her problems. She gets especially engaged with “The Purple Rose of Cairo” and she goes to see it every day.
Vanilla 1 0 8. Suddenly, the main character realizes that she came again to see the film and starts to talk with her. The rest of the film follows this impossible love between a girl and a movie character, and the difficult love between life and cinema in Allen’s world.
10. Close-Up (Abbas Kiarostami, 1990)
Iranian cinema pays a special attention to the way people behave toward the “other”. In this questioning, the directors had included their own way to relate as filmmakers and as celebrities. So when Abbas Kiarostami found the history of Hossain Sabzian in a newspaper, he decided to make a film about it immediately.
During the late 80s, a cinephile named Sabzian convinced a family that he was Mohsen Makhmalbaf, one of the most famous directors in Iran. Sabzian made many visits to their place and asked them for money to finance the film, a film that he obviously wasn’t prepared to make. After some suspicions, the family called a journalist and they denounced Sabzian to the police.
Kiarostami makes a documentary on this process, recording the whole trial and a series of interviews with both Sabzian and the family. In the middle he makes re-enactments of the facts, but the special and brilliant element of these re-enactments is that they are played by Sabzian himself and the family.
Kiarostami asks about the nature of reality, and the nature of film, which are both extremely close to each other. “Close-Up” made it impossible for festivals and producers to label it between documentary and fiction, and after this film’s release, those borders are harder to distinguish.
11. The Player (Robert Altman, 1992)
Altman was always an outlaw inside Hollywood, pulling out narrative mainstream films with an authorial point of view. This way wasn’t easy for Altman, as he always found different difficulties coming from the studios. Tired of a homogeneous and non-creative industry, he made a film about it. Tim Robbins portrays a cruel executive producer in charge of choosing potential films. When he starts to receive death threats by mail, the film turns into a dark thriller.
The film is full with meta jokes all around. Altman throws darts against every Hollywood convention about how a movie should be, and the restrictions against a more courageous kind of film. Adobe lightroom classic cc 8 3 10. It seems that the critique was widely shared between his co-workers, as we can see cameos from every popular actor from the early 90s: Julia Roberts, Bruce Willis, Susan Sarandon, John Cusack, Jeff Goldblum, and many, many more.
Toward the end, the meta references start to go in a serious direction, turning the film into a much more complex tale. The Hollywood spirit starts to take control of the film and takes it out of Altman’s intentions in one of the most funny and smart meta narrative closing of a film.
12. Scream (Wes Craven, 1996)
“What’s the point? They’re all the same. Some stupid killer stalking some big-breasted girl who can’t act who’s always running up the stairs when she should be going out the front door. It’s insulting.”
Later in the scene, we see Neve Campbell trying to escape through the front door, but when she is blocked by Ghostface she has to run up the stairs. This is only one of many meta jokes in “Scream”. The actualization made by Craven is pretty ingenious: a slasher film in the 90s couldn’t ignore the fact that the victims knows how a slasher works. Some of our fears are configured by cinema, and the way we should react imitates it.
In “Scream”, there is a horror fan geek who explains the rules of slasher to everybody in the room: the virgin lives, the other ones die. Craven explains the rules of his film directly to the audience, and then adds some changes both surprise and also subvert the genre.
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13. Irma Vep (Olivier Assayas, 1996)
A film about a crew trying to pull out a film wasn’t such a novelty idea in the 90s. But the way Assayas mixes elements from everywhere makes the film go beyond this notion, turning it into a reflection about the French and world cinema situation.
An old novelle vague director played by Jean-Pierre Léaud wants to make a remake of “Les Vampires” (Louis Feuillade, 1915), but he finds constant trouble with his crew and his own mental stability. Maggie Cheung plays herself as the Chinese protagonist of the film. It is not a coincidence to put the main novelle vague actor to play the old novella vague director, or to have Maggie Cheung play herself as a naïve and complacent foreigner.
With this exercise, Assayas can question French cinema audiences and their excitement toward Asian action cinema. Assayas is not defending the old art-house cinema against John Woo, but he makes us question what to do with this old-fashioned cinema when no one wants to see it.
The ending is probably one of the most radical closings in French cinema since Godard’s filmography. This confusion around film itself gets condensed in this extremely weird segment. “Irma Vep” works as an intellectual reflection, which mocks intellectual exercise at the same time. The film questions its own themes and dialogues and constantly gives back the look to the audience.