The narrative technique of mise-en-abyme, characterized by its creation of a frame-within-a-frame, provides a unique space for the interplay and integration of narrative levels. Exploring the dynamics between mise-en-abyme and metalepsis can unveil new dimensions of their functioning, laying the groundwork for future scholarly investigations. Given the limited scholarly attention on short films, this study aims to investigate the interaction between practical and innovative narrative techniques within this format. This research focuses on examining the manifestation of metalepsis within short fiction films through the mise-en-abyme structure. The study aims to explore the benefits of employing mise-en-abyme in short films, particularly in compressing narrative timelines and introducing boundary-breaking techniques. Utilizing a qualitative approach with a narratological lens, this study combines models proposed by Lucien Dällenbach and William Nelles to develop a dual pattern capable of covering common dimensions between mise-en-abyme and metalepsis. To elucidate the mechanism of interaction between these phenomena, three short fiction films, namely "Reflection," "The Changing Room," and "Room 8," have been selected as case studies.
This research introduces five different types of metalepsis that occur in three reflective types: simple, infinite, and paradoxical, as well as in two directions, internal and external. In conclusion, the examination of mise-en-abyme alongside metalepsis within short film narratives not only reveals their complex interplay but also underscores their profound implications for narrative construction and audience engagement.