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Breaking the fourth wall : direct address in the cinema / Tom Brown.

By: Brown, Tom [ author]Edinburgh : Edinburgh University Press, [2012]Description: 188 pages: illustrations,; 25cmContent type: text Media type: computer Carrier type: volume 001: 41862ISBN: 9780748683079Subject(s): Motion pictures -- History | Dialogue in motion pictures | Motion pictures -- HistoryDDC classification: 791.436 BRO
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Book MAIN LIBRARY Book PRINT 791.436 BRO (Browse shelf(Opens below)) 1 Available 111281

Enhanced descriptions from Syndetics:

What happens when fictional characters acknowledge our 'presence' as film spectators? By virtue of its eccentricity and surprising frequency as a filmic device, direct address enables us to ask some fundamental questions of film theory, history and criticism and tackle, head-on, assumptions about the cinema as a medium. Brown provides a broad understanding of the role of direct address within fiction cinema, with focused analysis of its role in certain strands of avant-garde or experimental cinema, on the one hand, and popular genre traditions (musicals and comedies) on the other.

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CHOICE Review

In this book based on his dissertation, Brown (Univ. of Reading, UK) presents the challenges and curiosities inherent in the cinematic technique of direct address, which is defined as the actor/character's purposeful breaking of the imaginary fourth wall to "acknowledge [spectators'] presence" (as distinguished from Brechtian alienation or distancing techniques in theater). The author defends direct address as a tool of emotional engagement between character and audience. After a brief historical, theoretical, and critical review of notable comic, melodramatic, and musical films--including Chaplin's The Tramp--Brown dedicates chapters to three films: Federico Fellini's Le Notti di Cabiria (1957), Stephen Frears's High Fidelity (2000), and Max Ophuls's La Ronde (1950). Direct address moments in these films underscore notions of character self-actualization, reflection, silence, irony, and comic relief. Such film critics as David Bordwell and Andre Bazin make appearances. Brown concludes that direct address is effective for film adaptations from literature or plays that use a stronger and singular narrative voice (e.g., Alfie). Direct address does not force the audience to detach from the film experience, but rather enriches the exchange. Includes an extensive bibliography, detailed notes, and screen captures. Summing Up: Recommended. Graduate students, researchers, professionals. J. Artman Chapman University

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