# Mise en abyme |  | In Western art history, **Mise en abyme**, literally "placement in abyss", is a formal technique of placing a copy of an image within itself, often in a way that suggests an infinitely recurring sequence. In film theory and literary theory, it refers to the technique of inserting a story within a story. The term is derived from heraldry and literally means "placed into abyss". It was first appropriated for modern criticism by the French author André Gide. | |-|-| | | wikipedia:: [Mise en abyme](https://en.wikipedia.org/wiki/Mise_en_abyme) | > [!summary]- Wikipedia Synopsis > In Western art history, **Mise en abyme** (French pronunciation: [miz ɑ̃n‿abim]; also mise en abîme), literally "placement in abyss", is a formal technique of placing a copy of an image within itself, often in a way that suggests an infinitely recurring sequence. In film theory and literary theory, it refers to the technique of inserting a story within a story. The term is derived from heraldry and literally means "placed into abyss". It was first appropriated for modern criticism by the French author André Gide. > > A common sense of the phrase is the visual experience of standing between two mirrors, seeing as a result an infinite reproduction of one's image. Another is the Droste effect, in which a picture appears within itself, in a place where a similar picture would realistically be expected to appear. That is named after the 1904 Droste cocoa package, which depicts a woman holding a tray bearing a Droste cocoa package, which bears a smaller version of her image.