A Quote by Jonathan Franzen

Just as the camera draws a stake through the heart of serious portraiture, television has killed the novel of social reportage. — © Jonathan Franzen
Just as the camera draws a stake through the heart of serious portraiture, television has killed the novel of social reportage.
We can put a stake through the heart of Islamic State as an army. We can put a stake through the heart of its leaders. You can take away its territory. But you can't put a stake through the heart of the ideas, of the ideology, that sadly, tragically, still has some attraction for some small numbers in the Islamic faith.
... into the novel goes such taste as I have for rational behaviour and social portraiture. The short story, as I see it to be, allows for what is crazy about humanity: obstinacies, inordinate heroisms, "immortal longings.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
Do you think we should drive a stake through his heart just in case?
For a Jewish Puritan of the middle class, the novel is serious, the novel is work, the novel is conscientious application why, the novel is practically the retail business all over again.
The difference does not lie in the things that news does that novels do not do, but in the things that novels do that news cannot do. In other words, this basic technique of news - just one among many - is something a novel can use, but a novel can deploy a multitude of other techniques also. Novels are not bound by the rules of reportage. Far from it. They're predicated on delivering experience.
Ah! Portraiture, portraiture with the thought, the soul of the model in it, that is what I think must come.
There's a tradition in American fiction that is deadly serious and earnest - like the Steinbeckian social novel.
Great, big, serious novels always get awards. If it's a battle between a great, big, serious novel and a funny novel, the funny novel is doomed.
I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.
A form of art that I like is portraiture. I've been thinking about portraiture, and its relationship to writing and literature, biography and autobiography, and so that will be my next thing.
I suppose drama can either take the place of a novel or can be very closely allied with it. It's quite customary to turn a successful novel into a film or a television series because you can dramatize and pictorialize a novel.
'Ready Player One' has it all - nostalgia, trivia, adventure, romance, heart, and, dare I say it, some very fascinating social commentary. The novel follows Wade Watts through the virtual reality world, the OASIS, and on a quest to uncover and unlock the secrets buried deep inside.
The only continent where social movements have led to political parties that have pushed through serious social and political reforms is in South America.
There will be a time very shortly that I just might not be in front of the camera at all, and I might just be behind the scenes. I love doing television, though. I don't necessarily love being in front of the camera.
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