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The presence of metalanguage in the cinema is contemporary to the invention of the film device. The silent cinema has prodigally shown itself in function, with goals as vast as they are contradictory: to historicize about itself; to invite the audience to immerge in the filmic diegesis, while explaining the inherent discontinuity of the cinematic image; to wave to the paradoxes contained in the image, questioning its alleged “objectivity”. Through a transdisciplinary perspective this article aims to reflect upon the meanings of metalanguage in the cinema from 1896 to 1914.

Metalinguagem no cinema silencioso (1896-1914): a sedução do aparato cinematográfico, os paradoxos da imagem fílmica, a imersão diegética