<i>The Big Short</i> 's Incoherence, Documentary Aesthetics, and Use of Direct Address

“How do you explain to an innocent citizen of the free world importance a credit default swap on double-A tranche subprime-backed collateralized debt obligation” (Lewis 222-3)? This question, asked by author Michael Lewis through eyes one his subjects – Ben Hockett appears have answer: with great difficulty. Lewis's book, The Big Short: Inside Doomsday Machine, lays out internal workings investment side mortgage crisis 2007-8 which was instrumental global economic recession, and is riddled deeply complex details necessary telling story. Even acknowledges this, yet takes pains attempt make book accessible. “Dear Reader: If followed story this far, deserve not only gold star but answer complicated question […],” (77) he writes in book's footnotes. For film adaptation, Short (2015) director, Adam McKay, could stripped down its most accessible elements. It be argued that as screenwriters, Charles Randolph McKay did so, order three-act narrative draw stars receive funding from major studio. However, aesthetically, convolutes distracts straightforward elements, such coherently integrated sound image well traditional Hollywood methods composition, almost frustrating difficult follow source material. At point film, narrator character Jared Vennett (Ryan Gosling), who filmic counterpart for banker Greg Lippman identifies complexity accessing banking concepts voice over: “Mortgage Backed Securities, Sub-prime Loans, Tranches. It's pretty confusing, right? Does it feel bored or stupid? Well, it's supposed to. Wall Street loves use confusing terms think they can what do. Or even better, just leave them fuck alone.” relishes these convoluted terms, uses significant points storytelling. focuses four groups people anticipated, capitalized upon, crash housing market essentially betting homeowners would begin their mortgages bulk simultaneously. event sent banks firms into financial tailspin both, because large swaths money going unpaid toward them, turn meant owed bet happen. Dr. Mike Burry (Christian Bale) based real person same name, first anticipate trends, much chagrin fear investors, took insurance on, ‘shorting,’ (low-quality) loans. Vennett, works Deutsche Bank, finds about Burry's deals, researches tries selling idea companies entirely believe him. He does convince investor Morgan Stanley, Mark Baum (Steve Carrell, upon real-life Steve Eisman), team defaulting en masse will certainly happen, profits sales shorts. Charlie Geller (John Magaro) Jamie Shipley (Finn Wittrock), are Ledley James Mai, respectively, low-level independent investors discover Vennett's pitch portfolio, after conducting own research, decide invest similarly. company enough seek help personal friend former securities trader, Rickert (Brad Pitt, Hockett), helps get door buy, later sell. follows transactions process researching likelihood bursting bubble show corruption, fraud, arrogant cluelessness within industry leads collapse. In end, all vast profit, grapple consciences, comment effects institutions' actions general population. While may long synopsis, reduced bare essentials, considering complexity, runs 130 minutes making dense, stylistics taken account, cognitively challenging experience. Exemplary unusual structural choices makes, worth application classical structure contrast David Bordwell's model. retain division (see (Bordwell 28-9), patterns temporally structure. Where Bordwell cites research roughly recommends acts divided fractionally Act 1: ¼, 2: ½, 3: act breaks transitions accompanied quotes at (0:01:05), (1:01:56), (1:34:33) runtime (2:10:15). makes 1 approximately under 2 little over 3 ¼ is, say least, unconventional. creates pacing odds viewers' sense rhythm. A useful contemporary has narrative, thematic, stylistic similarities Martin Scorsese's Wolf (2013) indulges then eschews exploration ins outs investment. Reviewer Peter Bradshaw highlights moment narrational strategy relation density detail (and frankly, our world). character, Jordan Belfort, played Leonardo DiCaprio figure made trading empire low-cost (“penny”) stocks high rate failure poor before being arrested defrauding clients, “will often stop middle explaining scam, we don't want hear anything boringly technical surely naked girls wild times, that's get” (Bradshaw). Therefore, Scorsese doesn't let terminology way good time overtly acknowledging explanations sidestepped. contrast, fun stylistically “a more baffling inaccessible, primarily trying distract viewer information actually requires care, attention, comprehension. understood discussion theories incoherence, cognition, form hybridity. strongly exemplified direct address narrators, secondary characters, celebrity cameos disorient create cognitive distraction. Furthermore, frustrates clear processing complicating viewer's trust whether depicted true untrue, ultimately, becomes relevant accurate meta-depiction difficulty communicating understanding processes economy crashed. Todd Berliner's work incoherence provides unique metric gauging aesthetic quality, much-needed vocabulary identification anomalies. consideration analysis particularly texts, precedent speaking complexities via extensive “incoherence,” also demonstrates how kinds incoherencies remembered, analyzed, critically praised, widely revisited sources pleasure. incoherent specifically 1970s, differs Robin Wood's term. structure, whereas latter concerned conceptual sensemaking. Whilst both Wood Berliner focus cinema I contend should detract utilising similar analyses other decades, past present, understand determine function, value. fact, Jason Mittell shown been introduced media, namely television. Mittell's case studies late 1990s, 2000s, 2010s, periods when audiences showed taste developments storytelling serialised, televised narratives, rise HBO's popular series Sopranos (Chase) Wire (Simon). “approach comprehension poetic model developed narration” (164) me here. Ultimately, concern surrounds processing, familiarity tropes, subversion expectation. trends television primed viewers ludic films, like Short, ways media tempered mainstream materials following similarly products 1970s discusses. definition however, deviates models: “I am films wish be, appear, so nonetheless, drive ordering experience visibly defeated” (47). discusses similar, distinct, conceptualization texts. writes, word ‘incoherence’ here, everywhere common metaphoric irrationality meaninglessness rather literal mean lack connectedness integration among different elements” (26). Here, see distinction: text's message cultural critique, pleasures, strikes heart two theorists’ ontological views movies purpose. then, structured range calls “conceptual incongruities” These are: “Moral ideological incongruities, denote discrepancy between ethical beliefs belief systems” (26); “Factual contradictions, contradicts information” “Logical inconsistencies, inconsistencies story's underlying system principles inferences derives them,” “Characterological characters behave inconsistent previous characterizations” framework fundamental pleasures rife incongruities details. Moral incongruity central part film's narrative. heroes, root for, succeed if there was) large-scale devastation, some affected most, everyone reading this. continues remind us, monologue Rickert, cost homes, jobs, lives, thus, still must struggle successful. That know stake easier us ultimately rooting against ourselves. Incoherencies, while sole my analysis, provide starting functions. key types demonstrate communicates, communication, information. template delivery informational frustration done approach generic modal hybridity, told using links documentary filmmaking. Short's evident movie addresses utilizes genre, including genre deviation incorporating format fictionalized account identified generically comedy (albeit dark sort) numerous critics Robbie Collin, Joanna Connors, Kermode, amongst others. noted applied throughout narration strongest moments shock further already “While elegant tracking shots, handheld movements effective response unplanned events. And determined less premeditated design than contingencies situations documented, authenticate representation. strong association aesthetics fiction filmmakers sometimes used add realistic quality images” (193). With respect editing, cuts Spence Navarro identify “Graphics, Tempo, Rhythm”. (170) They write, “[c]ontinuities discontinuities contrasts light, texture, shape, movement, tone, direction bind shot next. duration shots simply amount contained rhythmic possibilities” (170). Also, (here writing Carl Lewis), multitude strategies seen statement: “the sounds images documentaries, attempts impose discontinuity otherness sociohistorical world” (263). studio, recruit experienced craftspeople inherent historically discontinuous other. approaches camerawork, continuity discontinuity, formulated seem truthful, real, authentic. efforts authenticity assist undercut regularly. Stylistically, adhere form, specific type popular, modern form. forerunner influential filmmaker whose style politics') apparent Moore. Matthew Bernstein, analyzing multimodal Moore Roger Me (1989), argues that, combining Bill Nichols's typology modes explored 1983 article, “The Voice Documentary” 1991 Representing Reality, particularly, expository interactive, uncompromising rhetorical strategy, documentary, created highest-grossing, political documentaries Bowling Columbine (2002) Fahrenheit 9/11 (2004), earned $58million according Box Office Mojo (BoxOfficeMojo.com, Columbine); £222.4million Mojo, 9/11) become synonymous documentary. “Through filmmakers, mock grow popularity distinction grows increasingly blurry; together, stands influence subsequent wave reality-based entertainments offbeat portrait reality shows, prank hoax documentary/fiction hybrids” (23). far stretch read progeny ‘reality-based entertainments’ Middleton, close similarity Moore's McKay's movie, extracted Middleton's observation “[o]ne goal (Moore's) humor pointed rhetoric forms public shaming” (24). Middleton notes applicable Short), method “engaging enhancing films’ impact effectivity” (28). “rhetorical editing techniques humorously without him having state directly” (39). techniques, archival footage, music videos, moment, confound any point. One sequence comprised occurs buys batch swaps mortgage-backed Goldman Sachs $100 million. camerawork mainly smooth, careful gradually incorporate small, unexpected short snap zooms unsteady come fluid-head tripod-mounted cameras, ease quick movement catch outside frame. As agree deal, hook “Money Maker” Ludacris featuring Pharrell, catchy hip-hop song wherein encourages someone dance money. leaves meeting room confident off rack showing representatives smiling celebrating each other, ones deal. slick, well-lit, brightly colored group scantily-clad women dancing, comes directly video. Drew Antzis's 2007 Landlord, comedian, Will Ferrell, confronted vicious, money-hungry, alcoholic landlord two-year old daughter, Pearl McKay. shot, young subtitles translating toddler-pronunced English saying Ferrell's money,” “bitch” covered black box. video again rap artist, Ludacris, sitting front car draped hood, another cut dancers video, cutting back celebrations inside office. We wry multimedia films. example, Marilyn Manson's “Fight Song” introduce (now disgraced) singer's interview, Manson projected seemed scare talking heads previously montage. Additionally, opening credits show, Bonanza (Dortort), President George W. Bush cabinet members’ superimposed actors’ faces suggest U.S.'s escalation military activity Afghanistan result “wild-west,” invasive, colonialist policy. Moore, montage subtle commentary film. despite creating challenges comprehension, Randoph ensure clarity overarching stating, especially messages. establishes Short. parallels mockumentary. very conventions establish vision undermining cohesion. multigeneric focus, particular reliance results viewing neither truth untruth, diegetically depictions events simultaneously conflicting ways. outlined, addressed here length (though area discussion), highlight systematically plays perceptions truth. philosophical foundation clearly address. Direct address, context essay, refers instances where subject, either fictional actual, looks camera and, cases, speaks viewer. voice-over subject addressing camera, beyond, physically embodied onscreen. Tom Brown beneficial introductory functions significations fictions” (13). insofar theoretical guide expect used. Brown's function “Intimacy” viewer/audience, whilst second “Agency”, suggests “direct province single protagonist principal agent narrative” Third, “[s]uperior epistemic position world,’ meaning ‘the perform generally greater knowledge characters” (14). Fourth “Honesty” (15), gesture open ‘honest’ expression”, fifth, “Instanciation” (16). concept, distinguish Brechtian concept “distanciation.” Susan Hayward defines “distanciation” designed “distance audience, strategies, adopt critical stance perceive theatre practices characterization serve reproduce society ideologically institutionally constructed” (105). “Alienation” stated next proviso “we restore Brecht's proper relationship long-established entertainment ‘alienation’ consistent influences drew culture” Finally, “(Sometimes) stillness” “may occur pause, reflection arrests apart forward motion (17). demonstrate, mimicking multiple adheres functions, manages subvert well. established, adhering categorization ‘comedy,’ background supports expectation important explicitly states “[c]omedy common, ‘natural’ home cinema” (41). brought relevance considers overt claims Godard (41-2). happen mode however wishes define (unless you're watching Errol Morris film) expected Thus, extensively. To recount somewhat consistently beginning although assume power regularly contribute extra information, comedic moments, stated, guided ared seen. concise, vulgar, turns, detachedly cynical morality. heard slowly moving, grainy, white grey placid men pleasantly greeting “In 70s, wasn't job went sums fucking snooze, filled losers. Like insurance, or…” it/we cut/s leaning chair desk surrounded others job. looking difference along sudden change voice, reflect diegetic space opposed clean, bass-heavy god narration, shock. immediately face go Michel Chion names “de-acousmatization,” removes omniscient (27-9). denotes immediate shift slow-moving placidity backed soothing, happy, ethereal moderately paced moving engaging finishes sentence, “…accounting.” extremely ambiguous introducing Jared, alignment aforementioned emulates elements stillness, time, marks speed increases, pace industry. From changing industry, fast pace, increasing capital, until 2007. Jared's varied depictions, exemplifies characterological inconsistency alternately trustworthy untrustworthy, morally conscious bereft. giant lie economy,” foresaw disaster “weirdos” sure knows he's “pretty cool.” resurfaces scene club plan market. informed plan. filmed shoulder colleague, typeface, name lower left-hand corner. purpose viewer: we'd meet later. Unfortunately place never be. hung idiots work, ever. had fashion friends.” return line dialogue later, sufficient note Gosling's across disingenuous comedic, therefore, suggesting tell himself look impressive. Whatever intimacy discomfort alters dynamic speaker intensifying vulnerability, established said de-acousmatization. regards agency Although agent, catalyst, Iago Shakespeare's Othello, volition, primary causal agent. given, now verified diegesis. unexplained why rest over, therefore logical inconsistency. instanciation, emotionally moment. distasteful constructed potentially untrue people. disconnect sincere bit smarmy, due desire incorporates complicates many enhanced third involved action, able unflattering way, sell buying Once explained, Mark's colleague Danny (Rafe S