Like the collector, the photographer is animated by a passion that, even when it appears to be for the present, is linked to a sense of the past.
Susan SontagRead
Science fiction films are not about science. They are about disaster, which is one of the oldest subjects of art.
Interpretation
Science fiction films explore themes of disaster rather than focusing solely on scientific concepts.
In this quote, Susan Sontag emphasizes that the true essence of science fiction films lies in their exploration of human experiences in the face of disaster. Although these films may be set in futuristic or scientific contexts, their core narratives often reflect timeless themes of conflict, fear, and survival, placing them within the broader tradition of art that deals with human suffering and existential crises.
In practice
In a discussion about the deeper meanings of science fiction films during a film studies class.
Like the collector, the photographer is animated by a passion that, even when it appears to be for the present, is linked to a sense of the past.
Gide and I have attained such perfect intellectual communion that I experience the appropriate labor pains for every thought he gives birth to!
Volume depends precisely on the writer's having been able to sit in a room every day, year after year, alone.
In NY sensuality completely turns into sexuality - no objects for the senses to respond to, no beautiful river, houses, people. Awful smells of the street, and dirt... Nothing except eating, if that, and the frenzy of the bed.
It hurts to love. It's like giving yourself to be flayed and knowing that at any moment the other person may just walk off with your skin.
Conventions vs. spontaneity. This is a dialectical choice, it depends on the assessment you make of your own times. If you judge that your own time is ridden with empty insincere formalities, you plump for spontaneity, for indecorous behavior even...Much of morality is the task of compensating for one's age. One assumes unfashionable virtues, in an indecorous time. In a time hollowed out by decorum, one must school oneself in spontaneity.
It's about the stories. If I write 14 stories that I love, then the next step is to get the environment of music around it to best envelop the story, and all kinds of sonic goodness - sonic goodies.
I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment.
... The 'cleverness' syndrome has taken the place of melody. It's like everyone has come down with this terrible disease in jazz....you are always expected to do your own material, which is a strange thing to do if you're a poor composer but a great player.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
I don't know what the hell I'm doing up there half the time. These performers that go on about their technique and craft - oh, puleeze! How boring! I don't know what technique means. But I do know what experience is. I know in my gut when I've done a scene right.
They ... asked me: 'How do you make your pictures?' I was puzzled ... I said, I don't know, it's not important.
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