WRITING OUT OF YOUR SKIN" Writing in the Zone by craig lock Thoughts along the writing journey A collection of writing thoughts and quotes from famous and not-so famous writers to hopefully encourage, uplift and perhaps even "inspire" you down the writing path. One cannot always tell what it is that keeps us shut in, confines us, seems to bury us, but still one feels certain barriers, certain gates, certain walls. is all this imagination, fantasy? I do not think so. And then one asks: My God! Is it for long, is it forever, is it for eternity? Do you know what frees one from this captivity? It is very deep serious affection. Being friends, being brothers, love, that is what opens the prison by supreme power, by some magic force." - Vincent Van Goch, letter to his brother, July 1880 (from Open: An Autobiography by Andre Agassi) "Suddenly I realised that I was no longer driving the car consciously. I was kind of driving by instinct, only I was in a different dimension. I was way over the limit; but still I was able to find even more. It frightened me, because I realised I was well beyond my conscious understanding." - the late, great Ayrton Senna (at the Monaco Grand Prix 1988) Writers, like racing drivers, challenge themselves and their readers in new ways, They find new niches. I want to continually test my own writing "limits", the "boundaries of my imagination." Albert Einstein famously said, "Imagination is everything. It is the preview of life's coming attractions." From www.raceinthezone.wordpress.com and www.writingandformula1.wordpress.com and https://craigsbooks.wordpress.com/2014/06/04/imagination-is/ "Art is at the highest reach of one's creative imagination." "Your only limits are your own imagination." "Talent develops in tranquillity, character in the full current of human life." - Johann Wolfgang von Goethe. Leonardo da Vinci once said: "Art is never finished, only abandoned." "All the world will be happier and better, when men and women have the souls of artists, like that of an Ayrton Senna." - craig (as inspired by Rodin's famous words) Writing in the Zone: Thoughts on the Writing Journey from https://craigsbooks.wordpress.com/2013/11/30/writing-in-the-zone-thoughts-on-the-writing-journey/ "artty-farty/ airey-fairey writer type meets rough handed petrol-head" "When this happens it's the best feeling a driver* can have." * or writer from http://www.overdrivef1.com/thebook.html "When you're writing there are times when you feel it's a bit of a struggle. However, at other times you're in what is called 'the Zone' and writing just feels effortless. This happens when finding the right words is no longer a struggle; but this heightened state, as with most crafts usually comes with practice. Then words simply flow into your head faster than you can write them down (or can press the keyboard). But you have to really push your writing limits to get this kind of experience. " Then later you look what you've written and think: "Bloody hell. That's good. Did I really write that seemingly without much effort? Wonder where all that came from (a cerebral thing or "outer space?)"!" - A "nony-moose" writer To the sounds of click on http://www.youtube.com/watch?v=ogPZ5CY9KoM "I'd like to tell you how wonderful I am. I'm an excellent writer. I've won too many awards to list. I've sold a bunch of books. I can do 10 push-ups without a break, and while I can't run a four-minute mile, I can drive it in about a minute and a half" "Life is far too important (a subject) to be taken too seriously" "Life should not be a journey to the grave with the intention of arriving safely in a pretty and well preserved body, but rather to skid in broadside, in a cloud of smoke, thoroughly used up, totally worn out, and loudly proclaiming, 'Wow! What a Ride!" - Hunter S Thompson "Write, create, innovate" and have fun on the journey!
Since the early days of film, critics and theorists have contested the value of formula, cliche, conventional imagery, and recurring narrative patterns of reduced complexity in cinema. Whether it's the high-noon showdown or the last-minute rescue, a lonely woman standing in the window or two lovers saying goodbye in the rain, many films rely on scenes of stereotype, and audiences have come to expect them. Outlining a comprehensive theory of film stereotype, a device as functionally important as it is problematic to a film's narrative, Jorg Schweinitz constructs a fascinating though overlooked critical history from the 1920s to today.
Drawing on theories of stereotype in linguistics, literary analysis, art history, and psychology, Schweinitz identifies the major facets of film stereotype and articulates the positions of theorists in response to the challenges posed by stereotype. He reviews the writing of Susan Sontag, Roland Barthes, Theodor W. Adorno, Rudolf Arnheim, Robert Musil, Bela Balazs, Hugo Munsterberg, and Edgar Morin, and he revives the work of less-prominent writers, such as Rene Fulop-Miller and Gilbert Cohen-Seat, tracing the evolution of the discourse into a postmodern celebration of the device. Through detailed readings of specific films, Schweinitz also maps the development of models for adapting and reflecting stereotype, from early irony (Alexander Granowski) and conscious rejection (Robert Rossellini) to critical deconstruction (Robert Altman in the 1970s) and celebratory transfiguration (Sergio Leone and the Coen brothers). Altogether a provocative spectacle, Schweinitz's history reveals the role of film stereotype in shaping processes of communication and recognition, as well as its function in growing media competence in audiences beyond cinema.
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