Metamodernism

The perverse amalgam of technophile pop-, meme- and game-culture styles with archaic interpretations of religion, of technicist-narzissist-self-realisational thinking and magical thinking, of versed image propaganda and archaic iconoclasm, is anything but exclusive to Islamist extremists. In fact, the ideological aspect appears to function as a pretext to legitimise the unfettered exertion of brutal power and the acting-out of ultra-violence, while in a state of severely repressed sexuality and mass-psychotic aversion of self-reflection (cf. Améry 1980; Scarry 1987; Theweleit 1987)

Consequently, super-hybridity needs to be explored as more than just a set of artistic practices, but as a social practice that can be exploited for all sorts of ideological and political ends

What we get is historioplastic metafiction

longer on the possibility of rewriting the past but (rather) the finite malleability of that past

and historioplastic metafiction (which shifts our attention to the infinite yet bound pliability of the past

preeminently Lacanian (yet adamantly post-postmodern) Slajov Žižek explains that ‘the pervert’s universe is the universe of the pure symbolic order

seminar that follows the session of ‘play’) the metafictional implications of Poe’s story, the fact that each character ‘plays [a] role’ (194), that each role has a ‘destiny’ (195), that the story stages and reduplicates a ‘human drama … founded on the existence of established bonds, ties, pacts’ (197)

his seminar on 30 March 1955, Jacques Lacan asks his participants to play a game of ‘odds and evens’, the very same game Dupin describes in Poe’s ‘The Purloined Letter’ (1998 [1844]). The session of play begins (as the seminar

The quirky, as I define it in relation to film, often features a number of conventions: a modal combination of the melodramatic with the comedic; a mixing of comic styles such as bathetic deadpan, comedy-of-embarrassment and slapstick

Lars and the Real Girl (2007