Post by mdkabila on Mar 12, 2024 2:07:44 GMT -8
Then of course, there are the bullshit. Those who tell lies have short legs. And yet there are those who always want to talk and don't have the gift of synthesis, and always intervene when they shouldn't or don't necessarily want to be the center of attention. And finally those who know how to listen, those who generally tell true things, or at least plausible ones (this word will return), focusing on the details, starting from the end, building suspense or alternating verbal and para-verbal. So yes, you are inside a story. Rivalry, goodbyes, returns
You are inside a story when you watch a Denmark Phone Number show or a match: a recent article by Katie Baker published in the "New York Times Magazine" claims that more and more women are watching sport on television because reporters have learned to package it like a soap work: characters, rivalries, farewells, returns. To introduce my partner to football, I myself showed her "World Stories" by Federico Buffa, a format where the football World Cup is an excuse to remember history, music, cinema and society. From then on it was all downhill. I remember that I was also one of the first - four years have already passed - to explain the success of Wrestling thanks to the narrative
plot: the show, the choreography, the heroes to love and the scoundrels to hate. A crude melodrama where betrayals, secrets and revenge also enter the scene. We are in full suspension of disbelief. The use of stories is not a passive act Stories guide our way of imagining, but they do not determine it. Think of an author who writes words that are inert. To be brought to life they need a catalyst, and that is the user's imagination. The narrator then forces the user to do most of the work. The mistake is considering reading or watching an emotional video as a passive act. It's not like that at all. When we come into contact with a story, our mind grinds continuously. It's like with painting: it's our mind that provides most of the information to the scene. Try watching this 1 minute and a half video and tell me if most of the emotions don't come from unspoken words, from those that your imagination suggests.
You are inside a story when you watch a Denmark Phone Number show or a match: a recent article by Katie Baker published in the "New York Times Magazine" claims that more and more women are watching sport on television because reporters have learned to package it like a soap work: characters, rivalries, farewells, returns. To introduce my partner to football, I myself showed her "World Stories" by Federico Buffa, a format where the football World Cup is an excuse to remember history, music, cinema and society. From then on it was all downhill. I remember that I was also one of the first - four years have already passed - to explain the success of Wrestling thanks to the narrative
plot: the show, the choreography, the heroes to love and the scoundrels to hate. A crude melodrama where betrayals, secrets and revenge also enter the scene. We are in full suspension of disbelief. The use of stories is not a passive act Stories guide our way of imagining, but they do not determine it. Think of an author who writes words that are inert. To be brought to life they need a catalyst, and that is the user's imagination. The narrator then forces the user to do most of the work. The mistake is considering reading or watching an emotional video as a passive act. It's not like that at all. When we come into contact with a story, our mind grinds continuously. It's like with painting: it's our mind that provides most of the information to the scene. Try watching this 1 minute and a half video and tell me if most of the emotions don't come from unspoken words, from those that your imagination suggests.