The power of story and the power of a well-crafted film or television show is really all you need to speak to people. I think Hollywood is sort of catching up to that.
Jordan PeeleRead
Writing historical novels can be dangerous. We need to be as accurate and as fair about the historical record as we can be, at the same time as creating our fictional characters and, hopefully, telling a good story. The challenge is weaving the fiction into the history.
Interpretation
Writing historical novels requires a balance between factual accuracy and creative storytelling.
Edward Rutherfurd highlights the complexities of writing historical novels, emphasizing the necessity for authors to accurately portray historical events while simultaneously developing engaging fictional characters. The challenge lies in skillfully blending historical facts with imaginative narratives to create compelling stories that respect the integrity of the past.
In practice
Discussing the responsibilities of authors at a literary conference.
The power of story and the power of a well-crafted film or television show is really all you need to speak to people. I think Hollywood is sort of catching up to that.
Great works of art have no more affecting lesson for us than this. They teach us to abide by our own spontaneous expression with good humored inflexibility whether the whole cry of voices is on the other side.
Scientists do stand on the shoulders of giants, just as do writers. Conversely, in the arts we do make discoveries. We do refine our tools. So I am arguing with, or at least playing with, the idea that art never improves.
Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts.
I want people to come to me open and vulnerable. When they come to the gallery, they have to leave their watches, their computers, their Blackberrys, iPads, iPhones, because we are so incredibly used to technology, and I wanted to remove that.
The Photograph is an extended, loaded evidence — as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.
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