Prebijanje četrte stene: uporaba neposrednega nagovora v filmu

Mlakar, Urška (author), Stanković, Peter (mentor)

V nalogi raziskujem uporabo neposrednega nagovora v filmu. Pri neposrednem nagovoru gre za trenutek, ko se fiktivni filmski lik začne zavedati prisotnosti gledalca, pogleda v kamero in ga nagovori. Vsesplošna predpostavka filmske teorije je, da se z neposrednim nagovorom filmskega lika razbije iluzija filmskega sveta in da pride do potujitvenega učinka, ki ni združljiv z vživljanjem v film ali ustvarjenjem empatije do gledanega. Ker je kot metoda prebijanja četrte stene neposredni nagovor prisoten tako v art kot mainstream filmu in se v zgodovini filma pojavlja že od samega začetka, je izhodiščno raziskovalno vprašanje naloge: »Ali ima neposredni nagovor res zgolj funkcijo potujenosti ali je njegovih funkcij več?« V danem delu prikazujem Brechtovo teorijo potujitvenega učinka, Brownovo kategorizacijo sedmih funkcij in razlikovanje neposrednega nagovora na ravni povedanega in na ravni prikazanega. Na primerih petnajstih filmov ugotavljam, da lahko neposredni nagovor ustvarja empatijo do gledanega in posledično poveča vživljanje v filmsko fikcijo in da njegova funkcija ni zgolj odmik od nje same.

• Language: Slovenian
• Keywords: četrta stena, neposredni nagovor, potujitveni učinek, vživetje
• Work type: Master's thesis/paper
• Organization: FDV - Faculty of Social Sciences
• Year: 2018
• PID: 20.500.12556/RUL-101704
• COBISS.SI-ID: 35681373
• Publication date in RUL: 29.06.2018

MLAKAR, Urška, 2018, Prebijanje četrte stene: uporaba neposrednega nagovora v filmu [online]. Master’s thesis. [Accessed 8 April 2025]. Retrieved from: https://repozitorij.uni-lj.si/IzpisGradiva.php?lang=eng&id=101704

Secondary language

• Language: English
• Title: Breaking the fourth wall: The use of direct address in the Cinema

Abstract

In my assignment, I explore the use of the direct address in the cinema. We recognize direct address as the point, when the fictional film character starts to acknowledge the presence of the viewer, makes eye contact with the camera and directly addresses the viewer. General presumption of film theory is, that direct address by a film character breaks the illusion of the cinematic world and introduces an alienation effect incompatible with the viewers immersion or emphatic relation with the on-screen action. Since direct address is present as a method of breaking the fourth wall in art as well as mainstream cinema and its' occurrence can be traced to the very beginning of the film art, the initial question of this assignment is »Whether direct address provides solely the function of the alienation or are there multiple functions tied to it?« In my assignment I demonstrate Brecht's theory of the alienation effect, Brown's seven function categorization and differentiation of the direct address usage based on verbal and/or visual implementation. Based on examples of fifteen movies, I argue that direct address can generate empathy for the observed material and consequently increases immersion in cinematic fiction, hence its' function not being solely creating distance between the viewer and the observed film fiction.

• Keywords: fourth wall, direct address, alienation effect, immersion