Abstract
The article explores the employment of the “aside” in film and in TV series, a device originating from the stage, but increasingly appropriated by the screen in recent years. The impact of the direct address is analyzed at the level of the mise-en-scène, the dramatic structure, and the emotional involvement of the viewers. Particular attention is given to the question of the reliability of what is expressed
in the asides. Three forms of unreliability appear most suited for the device: underreporting, misreporting and contradictory reporting; these are exemplified by the examples of the television series Fleabag (2016–2019, created by Phoebe Waller-Bridge) and the films Alfie (1966, Lewis Gilbert), and I, Tonya (2017, Graig Gillespie), respectively. In conclusion, the article speculates about possible reasons for the recent blossoming of this niche phenomenon, invoking popular formats on social media.
Brütsch, Matthias