'high fidelity'

On 10/26/07, Michalis Theodorou <[log in to unmask]> wrote:
> Errol Morris' contribution in film-making devices is quite significant
> regarding addressing the audiences, since he makes use for his interviews of
> a patent, which was invented by him. The patent is somehow complicated to be
> described, yet it allows the interviewee to address directly to the camera
> when he answers to the interviewer (more information can be found in Errol
> Morris website: www.errolmorris.com
>
> Now, in fiction films there is a huge tradition of addressing the
> audience/camera characters. For instance, it could be argued that the final
> outside-of-the-narrative shot from Potter's "The Great Train Robbery" is an
> addressing to the audience (the gunman shots the audience from a
> medium-close shot). The same can be said for the final sequence of "The
> Cabinet of Dr Caligari" when Caligari argues that he will cure the
> patient... For this early addressing to the audience, I think that the
> theory of attraction clarifies the device.
>
> In Brechtian tradition, there are many films, which make use of the device.
> I would like to mention, Theo Angelopoulos' "The Travelling Players", where
> there are three interview-like accounts of recent Greek history, Jean Luc
> Godard's "Pierrot Le Fou", where both Belmondo and Carina address to the
> camera (although in a non-diegetic manner), Godard's "Week-End", (the
> personal accounts from the African immigrants and early in the film the
> narration of an orgy). Of course there is the famous scene from "Persona",
> when Alma and Elizabeth talk to each other addressing to the camera, and
> perhaps there is the sequence with the psychologist from Truffaut's "The 400
> Blows" (this, I belief, is the most interesting example, since it is
> diegetic, and anticipates the famous last freeze-frame of the film). Also,
> there are interviews in Bergman's "The Passion of Anna".
>
> Finally, I would like to mention the diegetic, direct addressing to the
> camera from the characters in Tarkovsky's "Mirror", in Makavejev's "V.R. The
> Mysteries of the Organism" and in Sokurov's "The Russian Ark".
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