It has to be admitted that the Third Reich, which flourished due to war and "makes great fortunes in the national crisis", accumulated "bright scenes" under the city of Berlin.

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

Don’t forget that in order to fight this war to unify Europe, the people of the Third Reich who implemented a strict rationing system "tighten their belts". So they wanted to become famous overnight, become Berlin movie stars, and achieve class leap, and beauties were really "numerous" in 1943.

Those top-notch delicacies that are "luxury" when you eat a bite, champagne, chocolate, and caviar piled up the entire press conference. Even the waitresses in uniforms have all the blonde hair and blue eyes, red lips and jade faces. Wartime shortage supplies - nylon stockings and lace gloves, are the standard for German girls.

As long as the head of state attends, they must not be able to get involved in Jewish descent. Blonde hair and blue eyes are said to be the most eye-catching racial characteristic of the Aryans.

This is also why the Berlin film industry in the 1930s and 1940s was enjoying it and constantly introducing female stars from Nordics. In terms of blonde hair and blue eyes, Nordic women are the best in Europe.

As special guests, the two "first ladies" and the "Berlin Socialite Group" led by each attended the film's press conference. They listened with great interest to the endless "tricky angle" questions from reporters from all walks of life, as well as the clever answers of the "Battle" team headed by female director Leni Rivenstale on the rostrum.

In the auditorium, which attracted bursts of applause from time to time, the spotlights were flashing with laughter. These scenes were far away from the war and escaped from suffering, making the 10 German stars who were "SA3 Sisters Group" sitting on the stage feel dazed. If it weren't for the high-dimensional perspective of the plot that jumped out of the plot time and space in advance and immersed in the original role, who could withstand the temptation of the word "fame and fortune".

"Director Leni, does this live-action film, known as the war documentary film "The Great Battle" has had a positive impact on the Sicily anti-landing war situation?"

"First of all, I want to make it clear that movies are an art. Even if you claim to be a 'documentary film', it cannot be equated with reality. Because the subjective 'lens language' has already preset a position for the audience. With the advancement of the camera and the unfolding of the plot, whether the 'emotion', 'thinking' or 'faith' that the film creators want to convey to the audience is full of subjective colors that cannot be erased. As you can see, history is created by vivid individuals. Of course, there are also 'filmmakers' with full emotions and passion."

"Director Leni says that movies have no borders, but you also say that 'lens language' is the subjectiveness of the filmmakers. Is this contradictory?"

"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 Italian film artist Giotto Canudu in 1911. He first called film an art in the Seventh Art Manifesto. In this regard, I believe that the essence of film without borders is the 'resonance of art'. The sadness and joy of characters in the play under the 'lens language' can break the 'fourth wall' and arouse the general resonance of the viewers. It is the simplest and most intuitive connotation of the 'borderless film' that transcends language, words, race and belief, and it is also the lifelong pursuit of the filmmaker. As for the 'lens language' of filmmakers, it obviously inherits the subjective position of language, words, race and belief. It is not contradictory to each other."

The fourth wall, referred to as the "fourth wall", was originally a dramatic term, referring to a "wall" fictional in a traditional three-wall framed stage. It allows the audience to see the audience in the drama. In the theater, the fourth wall exists in the space at the end of the stage and the beginning of the audience. The other three walls are located on the left, right and rear of the stage. Correspondingly, in film and television production, the fourth wall exists in front of the screen and the screen.

From another perspective, the audience appears in movies and TV shows to build a scene of "play in play" to some extent, it can be seen as "breaking the fourth wall". In 1987, Vincent Canby, a famous American film and drama critic who served as the New York Times' chief film critic from 1969 to the early 1990s, gave the first clear definition of the fourth wall, which he called "an invisible scrim that forever separates the audience from the stage." A transparent "wall".

This transparent "wall" is invisible to the audience, so the audience can see the performance, but it is opaque to the actors, blocking their connection with the audience. Therefore, the performers act as if the audience is not present, thus resisting the temptation to speak directly to the audience or look directly at the camera, allowing the audience to observe the narrative from a "voyeurist" perspective, thus producing a more realistic performance. This transparent wall in imagination is the audience's "suspension of Disbelief," by the British poet and philosopher Samuel Taylor

Coleridge proposed that the original meaning means that in supernatural/fictional works, the author needs to do his best to let readers temporarily put aside their doubts when reading, ignore unrealities/unreasons, and immerse them in it. This theory, born in literature, was later widely used in film, television, animation, games and other media)". Therefore, the audience of the work unanimously believes that from the perspective of "voyeurists", observing "the view of the play in the play is real", is crucial to appreciating and enjoying novel works. "Suspending doubt" means creating the so-called "sense of substitution" as much as possible.

The concept of the fourth wall is a result of adapting to the requirements of drama to express the lives of ordinary people and truly express the living environment. During the Renaissance, some people proposed that if the indoor environment is expressed on the stage, the room would be unreal if it lacks the fourth wall. Denis Diderot, a representative figure of the Enlightenment in the 18th century, also involved the concept of the fourth wall. In "On Drama Art", he mentioned: Imagine there is a wall on the edge of the stage to isolate you from the audience in the pool. In the second half of the 19th century, as the "three-wall" setting form became increasingly fixed, the "wall" at the entrance of the platform became the section of the fourth wall of the box-style set room, thus becoming the "fourth wall", which made the audience differentiate between the third wall and the fourth wall.

The first person to use the term "fourth wall" was French dramatist Jean Rowren. In 1887, he proposed that actors should perform like they were at home, ignoring the audience's reactions and letting him applaud or disgusted. The front of the stage should be a fourth wall, which is transparent to the audience and opaque to the actors.

émile Zola, a famous French naturalist writer who was accused of ruining literature because of his extreme pursuit of "photographical objective reality (sense)", believed that "art is a copy of life", which is directly related to the emergence of the concept of the fourth wall. However, its development and dissemination are inseparable from the performance practices of critical realism and realism in the second half of the 19th century. The drama theory formed under the influence of democratic aesthetic thought in the 19th century believes that art is a reflection of real life, requiring drama to reflect life on the stage, and gradually formed a theatrical concept of creating illusions of real life on the stage. The fourth wall is a concrete manifestation of this theatrical concept in performance practice.

The drama creations of Ibsen, Chekhov, Gorky, Shaw and others had an important influence on promoting the development of the concept of the fourth wall on the stage. The "Fourth Wall" used by Stanislavsky in his performance and director theory reflects this concept of viewing. In performance practice, in order to help actors create such strong illusions of life, sometimes some props can evoke the illusion of the fourth wall along the curtain line of the stage mouth in the set, such as placing tables and chairs, vase holders, etc. on the back, and using these props to arrange some actors to carry their backs to the audience, etc.

“You mean, national filmmakers have a 'shot language' without borders."

"If the purpose is to 'break the Fourth Wall','" female director Leni Rivenstad added with a smile.

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

The reporters looked back one after another, Joseph Goebbels, the late second-ranked producer and director of the Third Reich.

"No." Female director Leni Rivenstale replied loudly through the long press seat.

"So, what do you think should be considered to be truly 'breaking the fourth wall'?" Joseph Goebbels, the Minister of Propaganda of No. 2, stepped towards the rostrum.

"The audience can have an effective interaction with the people in the play that are 'relevant to the plot'." Female director Leni Rivenstale gave the answer bluntly: "The audience is no longer just the audience, and the actor is no longer just the actor."

“So, you think that ‘letting the audience to observe the film’s narrative from a voyeur perspective, thus producing a more realistic performance’ does not really ‘break the fourth wall’.” Joseph Goebbels, Minister of Propaganda of No. 2, is essentially a Doctor of Literature: “So, if ‘the audience can have effective interactions with the people in the play’, how can they ‘pause suspicion’ between the two sides?”
Chapter completed!