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::This is an excellent (and very elegant) example of the self-referentiality device (widely used in many television shows, movies and books), by which the audience becomes part of the action. The episode deliberately breaks the "fourth wall" between the action and the audience. As a television criticism junkie, I am endlessly tickled by the beauty of this device and the subtlety with which it's used here. Come weigh in on the subject on my blog, at http://bit.ly/4W6rxA! | ::This is an excellent (and very elegant) example of the self-referentiality device (widely used in many television shows, movies and books), by which the audience becomes part of the action. The episode deliberately breaks the "fourth wall" between the action and the audience. As a television criticism junkie, I am endlessly tickled by the beauty of this device and the subtlety with which it's used here. Come weigh in on the subject on my blog, at http://bit.ly/4W6rxA! | ||
:::Except ''Doctor Who'' never explicitly acknowledges the fourth wall, and really it's not the kind of show where it fits. | :::Except ''Doctor Who'' never explicitly acknowledges the fourth wall, and really it's not the kind of show where it fits. | ||
::::Never? Have you forgotten [[DW]]: ''[[Attack of the | ::::Never? Have you forgotten [[DW]]: ''[[Attack of the Graske]]''? Anyway, whether it is intentionally breaking the fourth wall or not, it does serve to make the monsters as creepy to the viewer as they are to the characters in the story, which was probably the true intention. This effect is only discarded when it is necessary that the Angels move ''in order to'' scare the viewer, in [[DW]]: ''[[Flesh and Stone]]''. |
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