Dear Screen-L subscribers

Apologies for adding another email to your inboxes and for any
cross-posting. I hope the moderators will allow this message because it
contains important clarification about a previous posting.

The publishers of my book sent the message below by mistake and it does
not entirely accurately reflect the contents of the book.

Any fans of Annie Hall, The Devil's advocate or The Ides of March, beware!
The first two are mentioned in the briefest possible ways in the book and
The Ides of March not at all!

The book contains individual case studies chapters on Nights of Cabiria
(Fellini, 1957), High Fidelity (Frears, 2000) and La Ronde (Ophuls, 1950).
A wide range of
other films are discussed including Two
or Three Things I Know About Her (Godard, 1967), Funny Games (Haneke,
1997), Make
Way for Tomorrow (McCarey, 1937), Magnolia
(Anderson, 1999), Easter Parade (Walters,
1948) and The Circus (Chaplin, 1928).


See also the following blogs on direct address, which also
contain short samples from the book.

Dr. Tom Brown,

Chair of Undergraduate Examiners &
Lecturer in Film
Film Studies Department
King's College London
Norfolk Building
Strand Campus

Tel: 020 7848 2018

On 27/02/2014 12:45, "Emma Rees" <[log in to unmask]> wrote:

>Film characters are not supposed to look at the camera, so what happens
>when they do acknowledge our Œpresence¹ as spectators? It is often
>assumed that this is incompatible with the Œvoyeurism¹ and the
>Œpresence-absence¹ that defines the cinema experience and disrupts our
>involvement in the fiction ­ but Tom Brown, author and lecturer at King¹s
>College London, successfully flips this assumption on its head.
>Now available in paperback, 'Breaking the Fourth Wall' is the first book
>to provide a broad understanding of the role of direct address within
>fiction cinema. Featuring a range of case studies including: Laurel and
>Hardy¹s Sons of the Desert (1933); Annie Hall (1977); The Devil¹s
>Advocate (1997); Wayne¹s World (1992); The Ides of March (2011); and many
>more, Tom Brown demonstrates that direct address is compatible with ­ and
>is in some cases a convention of ­ various traditions of filmmaking.
>Find out more about direct address by reading the 'Screens and Stages'
>If you'd like any more information about the book, please feel free to
>get in touch with us at Edinburgh University Press at
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