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. http://fttreading.wordpress.com/2012/05/31/breaking-the-fourth-wall-direct- address-in-the-cinema-4/ http://filmstudiesforfree.blogspot.co.uk/2013/03/on-cinematic-direct-addres s-part-one.html http://directaddress.tumblr.com/ Dr. Tom Brown, Chair of Undergraduate Examiners & Lecturer in Film Film Studies Department King's College London Norfolk Building Strand Campus London WC2R 2LS Tel: 020 7848 2018 On 27/02/2014 12:45, "Emma Rees" <[log in to unmask]> wrote: >INTRODUCING 'BREAKING THE FOURTH WALL' IN PAPERBACK > >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' >blog >http://fttreading.wordpress.com/2012/05/31/breaking-the-fourth-wall-direct >-address-in-the-cinema-4/ > >If you'd like any more information about the book, please feel free to >get in touch with us at Edinburgh University Press at >[log in to unmask] > >Thanks, > >Emma > >---- >To sign off Screen-L, e-mail [log in to unmask] and put SIGNOFF >Screen-L >in the message. Problems? Contact [log in to unmask] ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama: http://www.tcf.ua.edu