The fourth wall is a term that television borrowed from its first origin (theater) represented by the interface of the screen displaying the work. One scene on television is a theatrical clip within a group of scenes that confines the subject between four walls, the fourth of which is removed and replaced by the camera, which represents the viewing angle for the viewer and a difference can be recorded Between parties in the theater the distance and angle of view are constant between the audience and the message does not change, but while this distance is defined and new while the room was closed.
Buen día, yo no sé si comprendí correctamente su consulta. Pero, según mi parecer, recién se rompería cuando los personajes miran directamente al lente de la cámara y dialogan con la cámara. No hay interacción, como en un teatro, pero logra hacer un llamado de atención a quien esté mirando la pantalla. Y eso queda para cada reproducción... Habría que ver si las culturas venideras podrían comprender este acto de conversación con el público.
Salam Alaikum. Breaking the "4th wall" works in film and TV exactly as it does in theatre. Namely, a character directly addresses the audience (as Carlos Alberto Naveira also mentioned) and can represent the character expressing their state of mind to the audience or providing exposition to move the plot forward (similar to how a Greek Chorus comments on the dramatic action). This type of direct address is often considered "nondiegetic" in that the other characters on stage (or, in the film or TV scene) are completely unaware of this interaction with the audience. However, film & TV are somewhat unique in that the "4th wall" operates somewhat differently than it does in theatre due to the lack of a formal proscenium. In film and television, the "audience" (who typically identifies with the camera lens) can be an "invisible" (i.e., nondiegetic) presence anywhere within the 3-dimensional space comprising the scene. Thus, the "4th wall" is constantly changing as the camera moves through the scene's space.
If a character directly addresses another character from that other character's perspective, this is called a point-of-view shot (POV) and is NOT considered a direct address to the audience even though it is delivered directly to the camera. In such instances, the audience has assumed the perspective (or, POV) of the character being spoken to and we may also get a "reverse-shot" of the first speaker listening to the other character's response. Yasujiro Ozu made such POV dialogue scenes a trademark in many of his films.
Hope this helps! :-)
One of the most common ways to break the fourth wall is by speaking to the viewer, that is, an interpellative shot or in theater talk with the audience.
Breaking the forth wall in TV and film is not possible. In theatre and performance the forth wall is broken when the actors or performers step down from the stage and start to communicate with the audience. Or when the member(s) of the audience come to the stage and take part in the paly or performance. But the brake is just liminal. Once the actors established the contact with the audience and vice versa, the proces of re-establishment of theatre space immediately begins. In the end, the theatrical wall is build anew, ad the art 'conquer' the reality. In Film, a contact with the audience is practically impossible. The interaction between art and reality is possible, but only when it is filmed, which means that reality is transformed into art. Just take for example the movie Spaceballs, when the actors during the duel accidentally knock down the cameraman. :-) TV stands a bit better. But for the spectator at home, the break of the fourth wall happens 'on the stage', as they perceive it as part of TV show. It is the live presence of actors and performers in theatre affords the break of the forth wall. This is the quality which is unfortunately not possible to be produced in the case of TV and film.
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