The villain also has spring 2

Chapter 1433 11432 Breaking the 4th Wall

Chapter 1433 1.1432 Breaking the Fourth Wall

We have to admit that the Third Reich, which prospered due to the war and "made great fortunes in the country", plundered the wealth from the occupied areas and piled up "a brilliant scene" under the city of Berlin.

Under the "whitewash" of the propaganda machine of the Third Reich, in addition to the blood and tears of the Jews, there was also the accumulation of industrialization throughout Europe.

Don’t forget that in order to fight the war to unify Europe, the people of the Third Reich, which implemented strict rationing, “tightened their belts” in every household. So in 1943, there were so many handsome men and women who wanted to become famous overnight, become Berlin movie stars, and make a class jump.

The entire conference venue was filled with top-notch delicacies that were considered "luxury" after one bite, such as champagne, chocolate, and caviar. Even the waitresses in uniforms are all blonde, with red lips and beautiful faces. Nylon stockings and lace gloves, which were in short supply during the war, were standard equipment for Germanic girls.

As long as it is an occasion where the head of state is present, Jewish ancestry must not be mixed. Blonde hair and blue eyes are said to be the most striking racial feature of the Aryans.

This is also the reason why the Berlin film circle in the 30s and 40s was always willing to introduce female stars from Northern Europe. When it comes to blond hair and blue eyes, Nordic women are the best in Europe.

As special guests, the two "First Ladies" and their respective "Berlin Ladies Group" attended the film's press conference. I listened with great interest to the endless "tricky angle" questions from reporters from all walks of life, as well as the witty and clever answers from the "Battle" team headed by female director Leni Riefenstahl on the podium.

In the auditorium, which attracted bursts of applause from time to time, the spotlights flashed continuously accompanied by laughter. This "splendid scene" far away from the flames of war and suffering made the 10 German stars of the "SA3 Sisterhood" sitting on the stage inevitably feel in a trance. If the actors in the drama had not obtained a high-dimensional perspective that jumped out of the time and space of the plot in advance and were immersed in the original characters, who could resist the temptation of the word "fame and fortune".

"Director Leni, would you like to ask if this real-life shooting of "The Great Battle", which is known as a war documentary film, had a positive impact on the situation of the anti-landing war in Sicily?"

"First of all, I want to explain that film is a kind of art. Even if it is called a 'documentary film', it cannot be equated with reality. Because the subjective 'lens language' has already preset the position for the audience. As the camera progresses and As the plot unfolds, whether it is 'emotions', 'thinking' or 'belief' that the film creators want to convey to the audience, they are all full of subjective colors that cannot be erased. As you can see, history is made up of vivid moments. Individuals create together. Of course, among the ‘living individuals’ there are also ‘filmmakers’ who are full of emotions.”

"Director Leni, they say movies have no borders, but you also say that the 'lens language' is subjective to the filmmaker. Is this a contradiction?"

"As we all know, film is defined as the seventh art after the six traditional arts of literature, drama, music, sculpture, painting, and architecture. This view was first proposed by the Italian film artist Giotto Canudo in 1911. In the "Seventh Art Manifesto", film is called an art for the first time. In this regard, I believe that the essence of film without borders is the "artistic resonance" that can break through the tragedy and joy of the characters in the film's "lens language". "Four Walls" has aroused widespread resonance among moviegoers. It is the simplest and most intuitive connotation of "Cinema Without Borders" that transcends language, text, race and belief. It is also the lifelong pursuit of filmmakers. As for the filmmaker's lens. Language' obviously inherits the subjective positions of language, writing, race and belief, and they are not contradictory to each other."

The Fourth Wall (Fourth Wall), referred to as "the fourth wall", was originally a theatrical term and refers to an imaginary "wall" in the traditional three-walled frame stage. It allows the audience to see the audience in the play. In theater, the fourth wall exists in the space where the stage ends and the audience begins. The other three walls are on the left, right and rear of the stage. Correspondingly, in film and television production, the fourth wall exists on and in front of the screen.

From another level, the audience appears in movies and TV shows to create a "play within a play" scene, which can be regarded as "breaking the fourth wall" to a certain extent. In 1987, Vincent Canby, a famous American film and theater critic who served as the chief film critic of The New York Times from 1969 to the early 1990s, gave the first comment on the fourth wall. Defining it clearly, he called it "the invisible scrim that forever separates the audience from the stage." A transparent "wall".

This transparent "wall" is invisible to the audience, so they can see the performance, but opaque to the actors, blocking their connection with the audience. The performer therefore acts as if the audience is not present, thereby resisting the temptation to address the audience directly or look directly into the camera, allowing the audience to observe the narrative from a "voyeur's" perspective, resulting in a more realistic performance. This transparent imaginary wall is the audience's "Suspension of Disbelief" (Suspension of Disbelief), proposed by the British poet and philosopher Samuel Taylor Coleridge. The original meaning is that in supernatural/fictional works , the author needs to do his best to allow readers to temporarily suspend their disbelief when reading, ignore the untrue/unreasonable, and become immersed in it. This theory was born in literature and was later widely used in film, television, animation, games and other media) "a part of. Therefore, viewers of the work unanimously believe that observing "seeing is believing" from the perspective of a "voyeur" is crucial to appreciating and enjoying novels. "Suspension of disbelief" means creating as much as possible the so-called "sense of immersion". The concept of the fourth wall was developed to meet the requirements of drama to express the lives of ordinary people and truly express the living environment. During the Renaissance, it was argued that if an interior setting was represented on stage, a room lacking a fourth wall would appear unrealistic. Denis Diderot, a representative figure of the Enlightenment in the 18th century, also touched upon the concept of the fourth wall. He mentioned in "On Dramatic Art": Imagine that there is a wall at the edge of the stage separating you from the audience in the pool. In the second half of the 19th century, as the "three walls" set form became more and more finalized, the non-existent "wall" at the entrance of the stage became the section of the fourth wall of the box-type set room, thus the "fourth wall" came into being. The name "wall" allows the audience to distinguish between the third wall and the fourth wall.

The first person to use the term "fourth wall" was the French playwright Jean Roulin. In 1887, he proposed that actors should perform as if they were at home, regardless of the audience's reaction, whether it was applause or disgust. The front edge of the stage should be a fourth wall that is transparent to the audience but opaque to the actors.

The famous French naturalist writer Émile Zola, who was accused of ruining literature by his extreme pursuit of "photographic objective reality (sense)", believed that "art is a true reproduction of life." The emergence of the concept of four walls has a direct relationship. But its development and spread are inseparable from critical realism and realist performance practices in the second half of the 19th century. The drama theory formed under the influence of democratic aesthetics in the 19th century believed that art is a reflection of real life, requiring drama to reflect life realistically on the stage, and gradually formed the concept of drama to create the illusion of real life on the stage. The fourth wall is a concrete embodiment of this theatrical concept in performance practice.

The drama creations of Ibsen, Chekhov, Gorky, Bernard Shaw and others had an important influence on the development of the concept of the fourth wall on the stage. The "fourth wall" used by Stanislavsky in his theory of acting and directing reflects exactly this concept of theater viewing. In performance practice, in order to help actors create such a strong illusion of real life, props that can evoke the illusion of the fourth wall are sometimes arranged along the stage curtain line in the set, such as tables, chairs, vase stands, etc. placed with their backs facing away. , and use these props as fulcrums to arrange stage arrangements with some actors' backs to the audience, etc.

"You mean that nationalized filmmakers have a borderless 'lens language'."

"If the purpose is to 'break the Fourth Wall'." Female director Leni Riefenstahl added with a smile.

"So, did you do this movie?" The voice came from behind.

The reporters turned around and saw that it was Joseph Goebbels, the belatedly arrived second-in-command, the Third Reich's most senior producer and director's propaganda minister.

"Not really." Female director Leni Riefenstahl replied loudly across the long press box.

"So, what do you think we need to do to truly 'break the fourth wall'?" Propaganda Minister Joseph Goebbels, the second-in-command, walked towards the podium step by step.

"The audience can have an effective interaction with the characters in the play that is 'related to the plot.'" Female director Leni Riefenstahl gave a blunt answer: "The audience is no longer just an audience, and the actors are no longer just actors. "

"So your argument that 'letting the audience take a voyeuristic view of the film's narrative, thereby producing a more realistic performance' is not really 'breaking the fourth wall.'" No. 2 Propaganda Minister Joseph Goebbels Essence The author is a doctor of literature: "So, if 'the audience can have effective interaction with the characters in the play related to the plot', how can both parties be made to 'suspend their disbelief'?"

“‘Turn the character in the play into a card, and let the audience become the players on the card table (oh my god...is this the insurmountable creative gap between A-level and B-level?)’”