Urban Dictionary offers other helpful examples as how “meta” pertains to the arts. For instance, a footnote that contains its own explanatory footnote, or a film about filmmakers making a movie which itself is about the film industry, or anything with so many layers of abstraction as to become mid-bending.
It’s a common misconception that meta-horror originated in the 1990s, but I’m here to set the record straight, my little cephalopods. The 1990s may have popularized the narrative style in our lifetime, but it has existed for centuries, popping up cyclically when a genre is seemingly in its death throes.
This is a big problem with horror, which tends to use the same tropes and core narratives over and over. When a genre recycles its own ideas so relentlessly, and overtly pays homage to the films and stories that came before, much of it is arguably meta.
So for my purposes, I’m going to limit my discussion of meta-horror to those works which self-consciously reference academic works about the horror genre, and those works which are determined to rupture reality itself. We are talking about works that make real people into fictional characters, postmodern arguments that fiction is as real as reality, and narratives that cause readers to be lost in a hall of mirrors.