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The postmodern stories are extremely self-conscious and self-reflexive, and are considered to exemplify metafiction. Though Barth's reputation rests mainly on his long novels, the stories "Night-Sea Journey", "Lost in the Funhouse", "Title" and "Life-Story" from Lost in the Funhouse are widely anthologized.
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John Simmons Barth (/ b ɑːr θ /; [1] May 27, 1930 – April 2, 2024) was an American writer best known for his postmodern and metafictional fiction. His most highly regarded and influential works were published in the 1960s, and include The Sot-Weed Factor, a whimsical retelling of Maryland's colonial history; Giles Goat-Boy, a satirical fantasy in which a university is a microcosm of the ...
Modernist film came to maturity in the era between WWI and WWII with characteristics such as montage and symbolic imagery, and often took the form of expressionist cinema and surrealist cinema (as seen in the works of Fritz Lang and Luis Buñuel) [5] while postmodernist film – similar to postmodernism as a whole – is a reaction to the modernist works and to their tendencies (such as ...
Postmodern television is a category or period of modern television related to the art and philosophy of postmodernism, often making use of postmodern principles such ...
This is a partial list of works that use metafictional ideas. Metafiction is intentional allusion or reference to a work's fictional nature. It is commonly used for humorous or parodic effect, and has appeared in a wide range of mediums, including writing, film, theatre, and video gaming.
In 1964, he began to publish short stories collections beginning with Come Back, Dr. Caligari in 1964, followed by Unspeakable Practices, Unnatural Acts (1968) and City Life (1970). Time magazine named City Life one of the best books of the year and described the collection as written with "Kafka's purity of language and some of Beckett's grim ...
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