One genre in particular devotes itself almost wholly ______. That genre rests on the promise of murder.
to cultivating an appreciation of formal artifice
…______: How shall we order the story events in the plot we put before our audience? How shall they be narrated? How shall we segment the plot into parts (scenes, chapters, time periods)? At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film?
…the “how” of storytelling
…the “how” of storytelling: ______ in the plot we put before our audience? How shall they be narrated? How shall we segment the plot into parts (scenes, chapters, time periods)? At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film?
How shall we order the story events
…the “how” of storytelling: How shall we order the story events ______? How shall they be narrated? How shall we segment the plot into parts (scenes, chapters, time periods)? At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film?
in the plot we put before our audience
…the “how” of storytelling: How shall we order the story events in the plot we put before our audience? ______? How shall we segment the plot into parts (scenes, chapters, time periods)? At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film?
How shall they be narrated?
…the “how” of storytelling: How shall we order the story events in the plot we put before our audience? How shall they be narrated? ______ into parts (scenes, chapters, time periods)? At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film?
How shall we segment the plot
…the “how” of storytelling: How shall we order the story events in the plot we put before our audience? How shall they be narrated? How shall we segment the plot ______? At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film?
into parts (scenes, chapters, time periods)
…the “how” of storytelling: How shall we order the story events in the plot we put before our audience? How shall they be narrated? How shall we segment the plot into parts (scenes, chapters, time periods)? ______, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film?
At the most fine-grained level
…the “how” of storytelling: How shall we order the story events in the plot we put before our audience? How shall they be narrated? How shall we segment the plot into parts (scenes, chapters, time periods)? At the most fine-grained level, ______ - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film?
how shall we handle style
…the “how” of storytelling: How shall we order the story events in the plot we put before our audience? How shall they be narrated? How shall we segment the plot into parts (scenes, chapters, time periods)? At the most fine-grained level, how shall we handle style - ______, the panoply of techniques of the theater, the images and sounds of film?
the use of language in prose
…the “how” of storytelling: How shall we order the story events in the plot we put before our audience? How shall they be narrated? How shall we segment the plot into parts (scenes, chapters, time periods)? At the most fine-grained level, how shall we handle style - the use of language in prose, ______, the images and sounds of film?
the panoply of techniques of the theater
…the “how” of storytelling: How shall we order the story events in the plot we put before our audience? How shall they be narrated? How shall we segment the plot into parts (scenes, chapters, time periods)? At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, ______?
the images and sounds of film
At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film? On top of this, ______ should we make the narration? Should we … tease the audience to assemble the story parts, to play the game of form with some awareness?
how self-conscious
At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film? On top of this, how self-conscious ______? Should we … tease the audience to assemble the story parts, to play the game of form with some awareness?
should we make the narration
At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film? On top of this, how self-conscious should we make the narration? Should we … ______, to play the game of form with some awareness?
tease the audience to assemble the story parts
At the most fine-grained level, how shall we handle style - the use of language in prose, the panoply of techniques of the theater, the images and sounds of film? On top of this, how self-conscious should we make the narration? Should we … tease the audience to assemble the story parts, ______?
to play the game of form with some awareness
The Usual Suspects (1995), The Matrix (1999), Memento (2000), Adaptation (2002), Primer (2004), and many other films of the 1990s and 2000s ______. They had counterparts elsewhere, as in Chungking Express (1994) and Run Lola Run (1998). Nonlinearity became a badge of honor; viewpoint breakdowns were welcomed; twists came to be expected. Form, people started to say, was the new content.
signaled a trend of “new narrative complexity” in American cinema
The Usual Suspects (1995), The Matrix (1999), Memento (2000), Adaptation (2002), Primer (2004), and many other films of the 1990s and 2000s signaled a trend of “new narrative complexity” in American cinema. They had counterparts elsewhere, as in Chungking Express (1994) and Run Lola Run (1998). ______ became a badge of honor; viewpoint breakdowns were welcomed; twists came to be expected. Form, people started to say, was the new content.
Nonlinearity
The Usual Suspects (1995), The Matrix (1999), Memento (2000), Adaptation (2002), Primer (2004), and many other films of the 1990s and 2000s signaled a trend of “new narrative complexity” in American cinema. They had counterparts elsewhere, as in Chungking Express (1994) and Run Lola Run (1998). Nonlinearity ______; viewpoint breakdowns were welcomed; twists came to be expected. Form, people started to say, was the new content.
became a badge of honor
The Usual Suspects (1995), The Matrix (1999), Memento (2000), Adaptation (2002), Primer (2004), and many other films of the 1990s and 2000s signaled a trend of “new narrative complexity” in American cinema. They had counterparts elsewhere, as in Chungking Express (1994) and Run Lola Run (1998). Nonlinearity became a badge of honor; ______; twists came to be expected. Form, people started to say, was the new content.
viewpoint breakdowns were welcomed
The Usual Suspects (1995), The Matrix (1999), Memento (2000), Adaptation (2002), Primer (2004), and many other films of the 1990s and 2000s signaled a trend of “new narrative complexity” in American cinema. They had counterparts elsewhere, as in Chungking Express (1994) and Run Lola Run (1998). Nonlinearity became a badge of honor; viewpoint breakdowns were welcomed; ______. Form, people started to say, was the new content.
twists came to be expected
The Usual Suspects (1995), The Matrix (1999), Memento (2000), Adaptation (2002), Primer (2004), and many other films of the 1990s and 2000s signaled a trend of “new narrative complexity” in American cinema. They had counterparts elsewhere, as in Chungking Express (1994) and Run Lola Run (1998). Nonlinearity became a badge of honor; viewpoint breakdowns were welcomed; twists came to be expected. ______, was the new content.
Form, people started to say
The Usual Suspects (1995), The Matrix (1999), Memento (2000), Adaptation (2002), Primer (2004), and many other films of the 1990s and 2000s signaled a trend of “new narrative complexity” in American cinema. They had counterparts elsewhere, as in Chungking Express (1994) and Run Lola Run (1998). Nonlinearity became a badge of honor; viewpoint breakdowns were welcomed; twists came to be expected. Form, people started to say, ______.
was the new content
