Public Idea About Cinema:A Cognitive Guidance Of Meta-Cinema Based On Self-Reflection Strategy

The meta-cinema takes itself as the object of expression,which is equivalent to pushing the film from behind the scenes to the front stage and exposing it on the screen.However,the foreground behind the scenes does not eliminate the existence of the backstage.The meta-cinema tells its own story in public is more like a means of performing at the front stage.Therefore,meta-cinema should be understood as a method and strategy.Its reflexivity is only a display of facts,but also a cognitive interpretation of self-construction.And how to conceive the film,deal with the film,then express the view and realize the communication intention,has also become the focus and direction of this article.In Chapter 1,this chapter attempts to start from the historical origin of the "meta" phenomenon,explore the specific direction and cultural connotation of "meta",and sort out the definition of "meta-cinema" by experts and scholars in various periods and countries,and then describe a relatively clear concept category.At the same time,judging a concept is based on the premise of differentiation.Therefore,distinguishing what is not a meta-cinema helps to better understand the concept.In addition,because the boundary of the film itself is in a state of sliding and changing,and is located in the family similarity system of "video",the definition of the meta-film can not be taken in a "one-size-fits-all" way.It has a certain fuzzy and transitional gray zone.In Chapter 2,This chapter starts with the meta-cinema as a "solution to the cinematic problem"."Meta-Cinema" exposes the cinema itself on the screen in the way of backstage and foregrounding,becoming an object for the audience to examine,and weaves a social network system about cinema through the database form of combining vertical and horizontal in the text,and the dimensional transformation between cinema and reality.As a result,the meta cinema has established a text world with the cinema as the subjectivity.On the one hand,it determines its own subject position through the mirror feedback of the "other";On the other hand,by fighting for the right of "appearance",they constantly create their own proof of existence.The situation transformation from the beginning to the end enables the cinema to complete self correction and adjustment while reviewing itself,and forms the change track of the subject position from the transcendental self to the ideal self.This not only reflects the "trial" process of the film author in seeking solutions for the film in the preset context,but also provides a textual reference for the "can do" of the film in the real world.In Chapter 3,This chapter starts with the mete-cinema as a "propaganda for creating a image of cinema".Although the meta-cinema exposes itself on the screen in the way of backstage foreground,the backstage foreground is still a "performance" behavior facing the audience,the purpose of which is to establish the "character setting" label of the film and realize the "image management" of itself.First of all,the autobiographical writing with history as the content not only makes the old film get attention again,but also explores the legitimacy of its existence through the nostalgic tracing of the golden age of the film,and then maintains people’s identity of the cinema.Secondly,the film is used as a defense site to reverse "prejudice",and the audience’s understanding,recognition and comfort are queried through the discourse strategy of accusation,self-deprecating defense and topic transfer.Finally,by demonstrating the supernatural power of the cinema,the devotion and faithfulness of the film and the enchantment of the film full of mystery,it injects the film-centered myth belief into the text world,and then continuously spreads the propaganda ventriloquism of the self.In Chapter 4,This chapter starts with the meta-cinema as a "medium for writing film theory",using film as a medium for thinking about cinema,and explores the dimensions of cinema-theory contained in the meta-cinema.First of all,the layered structure of the play in the play has established the observation base of "external play" and "internal play",and the character setting of "meta audience" has established the evaluation standard of viewing the film production and screening links with people;Secondly,through the intertextuality of quotation,excerpt,collage and mixed cutting,the meta-cinema can not only use the textual meaning of "finished image",but also can be used as a way of eliciting and exemplifying the concept of film;Thirdly,with the film director as the reference pedigree,the meta-film can be divided into the research category of "essay film",which has become a research model with "academic" value,and has shown strong author characteristics in the "research" proposition,"writing" method and value system.Finally,standing on the cross section of the era,the group effect of the meta-film creation shows a highly similar concept orientation and converges into a special ideological trend of cinematic theory.Meta-cinema reflexes are often associated with "paradoxes".On the one hand,there are blind spots of reference;On the other hand,it is also easy to fall into the language cage by using films to reflect on films.At the same time,as Bao Weihong said,film is the medium of "fire",emphasizing the irrational dimension.The combination of the two makes the "true" value of the meta-cinema reflexivity suspicious.Therefore,reflexivity should be an appendage of the way of "reflexivity",which should still belong to the ideographic system of the film and constitute a practical strategy to convey the film knowledge.