This book examines the role of direct address within fiction
cinema. Film characters are not supposed to look at the camera, so
what happens when they do acknowledge our presence as spectators?
It is often assumed that this is incompatible with the voyeurism
and the presence - absence that defines the cinema experience and
disrupts our involvement in the fiction. This book revaluates these
and other fundamental assumptions about the medium by demonstrating
that direct address is compatible with - and is in some cases a
convention of - various traditions of filmmaking. Breaking the
Fourth Wall is the first book to provide a broad understanding of
the role of direct address within fiction cinema. Chapters on the
role of direct address in Hollywood comedies and musicals, as well
as in some 'alternative' film practices, are accompanied by
extended readings of individual films in which the illusion of eye
contact between spectator and character offers a rich metaphor for
the problems of vision (insight, foresight, other kinds of
perceptiveness) that are so often the currency of movie narratives.
In examining direct address, it returns the reader to fundamental
and foundational debates concerning how cinema has been defined
since the early part of the 20th century, making it an invaluable
resource for students and researchers in Film Studies.
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