How To Analyse Without Writing a Review
Looking at the role of the author.
In Riccardino, the 28th and final novel in The Inspector Montalbano series, the author of these books, Andrea Camilleri, decided to insert himself in the novel as ‘the author’. This character contacts Montalbano, our protagonist sporadically throughout the story. Each time Montalbano seems frustrated; questioning as to why this is the first time he’s heard from him, convincing him that both have learnt from each other, reminding him that if he gets stuck, he will let him know. ‘The author’ retorts with the fact that he created the town Montalbano lives in, that he knows more than given credit for, and that he can help him make decisions which propel the case, and the story. The entire series is written in third-person omniscient narration.
A TV series adaptation of the novels is also mentioned, Montalbano is preoccupied with what the TV version of himself, the younger more seamless version of himself would do, why his girlfriend is not bothered by how she is portrayed in the show. In the series, the creation of these books and series is linked to the Inspector sharing his life story with a writer. After which, a whole series erupted. It does not seem that the fictional character is based on any real-life detective. It is only the fictional television character who is based on the fictional book character, who appears to be. The acknowledgement of a real-life book series and real-life television series based on a fictional character by the fictional character himself speaks to a process which we as the audience are normally left out of. Speaks to a process which the fictional character is almost left out of.
This goes beyond a mere, ‘dear reader’ recognition.
In many novels, the reader is acknowledged in that perhaps they are being written to, or a story recounted to them. This is John Watson writing or, in the BBC adaptation, blogging about his adventures with Sherlock Holmes. It is Hastings as ‘companion-chronicler’ in Agatha Christie’s Poirot. However, in both these situations, the narrator as character does not know what our protagonist is thinking, this remains a mystery to dazzle the reader which later. In the excellent series Bosch, which has been adapted from a novel, a poster for a fictional film ‘The Black Echo’ hangs in Bosch’s house. The insertion that he received money for selling (?) his story serves the main purpose as to how a detective can earn the kind of money that bought the stunning house Bosch lives in.
In Montalbano, Camilleri as author provides insights into Montalbano’s thought process, Camilleri as the character of the author reminds the reader of the construction of the novel. Of whom is making the decisions.
The inclusion of the author, or the creator is interesting. It is probably linked to the conversation of the art being separated from the artist. Something we like to do when the artist themselves is involved in questionable behaviour which we don’t want to prevent us from watching their movies or listening to their songs.[1]
In film, a cameo can become an easter egg. Hitchcock, Tarantino, and Stan Lee having a minor role. It simply reminds you that they are there. This feels different to people who have written the shows being in them, such as Aisling Bea in This Way Up, Scott Ryan in Mr Inbetween, Rose Matafeo in Starstruck etc. etc.
We also have ‘breaking the fourth wall’, where the audience is acknowledged when they are literally spoken to. The most famous example is probably Ferris from Ferris Bueller’s Day Off, soap in his hair, not only recognising the existence of the audience but coercing them into being a part of the adventure. The Office and other mockumentaries have pieces to camera, but often are talking to a ‘producer’ just off to the side. Every so often, the character makes eye contact with the ‘audience’ (camera). We feel as if we are being included. The audience needs to be in on the joke.
In social media, the creator can be integral to the product they have created[2]. In fact, being the ideas person, stylist, photographer, distributor, is a badge of honour and expectation when working in this sphere. There is reference to the editing the person is doing, the behind-the-scenes work of uploading and scheduling, the preparation. A recent influx of streaming service produced documentaries highlight the desire for a behind-the-scenes look. Social media and influencers provided a steppingstone to this access. GRWM content, whether it be for school or for The Met Gala reflect this interest.
Even as creators grow, those who work with them are seen as anonymous contributors. Like a ghost writer. In some cases, the building of a team is essential to the work. In some cases, a team can simply add new characters to the content they create. Like a radio show producer who gets a following because they speak on the microphone every so often. Or the lead performer on the house band of a late-night show. The purpose is to put the creator back at the centre, give them someone to riff off. Even if it is in fact, a team effort.
Taylor Swift is so embedded in her art that people spend (and are encouraged to spend) huge hordes of time unpacking the meaning of every song, lyric, date, time, picture, movement. As if an understanding of these things means a deeper enjoyment of the song. The Miss Americana documentary (Netflix), as well as The Long Pond Studio Sessions (Disney) enhance this feeling. Returning to Bosch, actor Titus Welliver is, from what we can see covered in tattoos. Once answering the questions if they were real or not, he responded something to the effect of, my tattoos are Bosch’s, Bosch’s tattoos are mine. Apparently Welliver convinced them to keep the tattoos as a part of the character because he had them and covering them up would take too much time.
Interestingly, the selfie relies on the fact you assume that this person has indeed taken this photo of themselves. Sometimes out of necessity, but often, it is choice. It is different to an artist documenting themselves on camera. A photo series by Cindy Sherman places the camera in the role of observer. After the photos are taken, the artist becomes the eye. The purpose of the camera on the phone, the video camera with the flip up screen, the webcam etc. is that you can be both creator and observer at once. And then the audience is observer. The constructed elements are made indivisible because the work is hidden, and they become spectators once more. And just like that, the audience is put in a different place, one which benefits how the creator wants us to consume and take meaning from the text.
Much is said about our relationship with the media. The hybrid term prosumer is a strange word to remind us that we both produce and consume. Yet, being an audience member can often be a situation which leaves us helpless. We can vote and block profiles and not see films. We can complain we prefer the original or create a fan casting.
However, in Riccardino, Montalbano reminds us that we can sit and watch, but not even the character who we must assume is in control for our sanity when reading, has any say over their own fate.
That’s all for the author.
[1] This sounds like I have a clear opinion on it. I don’t.
[2] There is a hesitancy to call it art.