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More subtly, Western notions of story and plot have a kind of war built into them as part of the standard three-act or five-act narrative structure, in which a conflict arises and is resolved. Is any other structure possible that isn’t dull, that still qualifies as a plot? Yes. As the blogger ‘Still Eating Oranges’ observes, the East Asian story structure called Kishōtenketsu in Japanese is not based on conflict. But we in the West almost universally experience a story as something in which someone or something must be overcome. This surely colors our worldview, making ‘evil’ — the essence of that which must be overcome — seem quite natural a basis for the stories we construct to understand the world and its problems.
See the events in life of Bernhard Riemann in Chronological Order
Blick Law Firm is grounded in Christian values, & strives to meet the legal needs of its clients & their families, while providing physical &
If he was inept with individuals, Eisenstein exhibited an epic mastery of crowds and crowd movement that has perhaps only been surpassed by David Lean and Akira Kurosawa (the German hordes going from a thin line to a looming presence over the horizon of ice in Nevsky reminds me of Lean). Nowhere have the masses seemed to more convincingly rise up than in the set pieces from Potemkin and October . Unlike the frequent depictions of mob violence that reflected the reactionary suspicion of the masses and mass movements that was rampant in the Hollywood of the 1920s and 1930s (see, for example, Fury [Fritz Lang, 1936]), the people are shown to be heroic, and shrewd judges of character (they mob the bourgeois racist that yells “Down with the Jews” in Potemkin ). If authority figures in the traditional regime are mere caricatures, the proles are noble and reliable, at times straining credulity just as far in the other direction.