A Quote by Jon Rubin
Controlling the master narrative of Israel means vigilantly controlling the narrative about Palestine.
Related Quotes
If we are not in conflict with Palestine than why are they so afraid of us presenting Palestinian voices? Of course the answer is obvious, and we see it throughout the U.S. and the world, controlling the master narrative of Israel means vigilantly controlling the narrative about Palestine.
Novelists have to be adept at controlling the flow of information, and, most crucially, they have to be in charge of the narrative.
In the future, I think movies are going to be more of data sets that viewers have a hand in controlling - where the narrative originates and what happens to the content.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
The pro-life movement is and has been led by women for decades. The history of the movement shows this, despite the current narrative about men 'controlling' or making laws about women's bodies.
Sexism is not inevitable. It's only about controlling reproduction and therefore controlling women.
I need to tell the things that are important but which don't make sense in terms of the narrative, things that would destroy symmetry or narrative pace. This is my personal belief about what it means to write nonfiction.
While the Passover narrative [in Exodus] energizes Israel's imagination toward justice, Israel's hard work of implementation of that imaginative scenario was done at Mt. Sinai. . . . Moses' difficult work at Sinai is to transform the narrative vision of the Exodus into a sustainable social practice that has institutional staying-power, credibility, and authority.
Normally, I'm a very controlling director. Directors are controlling. It's part of the job, but there's various degrees of it and the constructs I normally work on are very controlling constructs.
I have a theory that, for people of color or others who have been cut out of the master narrative, just telling your personal survival tale, your story, is civic engagement. It is a kind of political performance and is really crucial in that storytelling is how the writers connect with people and change. It's how we collect and add to and complicate the master narrative.
I don't think people want to look at problems. They want a continuous narrative, an optimistic narrative. A narrative that says there's a present and a future - and what was in the past no longer exists.
The Israeli lobby has clout in the U.S., which means that re-arranging the region and controlling its resources one way or another, will serve Israel through its control over the American administration.
It's going to take a while because for the last 500 years patriarchal societies have been devoted to controlling reproduction and that means controlling women. So we got into this masculine/feminine, dominant/passive paradigm, and it's going to take a while to get out.
You have to understand: the narrative that people have about business and capitalism is that they are fundamentally selfish, greedy, and exploitative. Of course, I don't agree with that narrative.
Worries typically follow such lines, a narrative to oneself that jumps from concern to concern and more often than not includes catastrophizing, imagining some terrible tragedy. Worries are almost always expressed in the mind's ear, not its eye - that is, in words, not images - a fact that has significance for controlling worry.
As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.
