Arnold avoids
most narrative conventions.
Not exact matches
One has to question just how formulaic this epic Roman drama is, because the formula was still fresh by the time this film came along, establishing certain tropes that would be shamelessly slammed into by future epics of this type time and again, and yet, outside of what would go on to become
conventions, this film does
most of what you'd expect, with a predictable
narrative, storytelling style, dialogue, and, for that matter, portrayal of Ancient Rome.
While never the
most conventional screenwriter to begin with («Pulp Fiction» is a sprawling, ambitious jigsaw puzzle, for one), in recent years Tarantino's screenplays have pushed the envelope further, eschewing
most cinematic
narrative conventions, with his movies becoming more like filmed novels that don't bother with traditional structure.
My first collection of stories, Faith, consisted of fourteen stories that fell within the 3500 - 6000 word length and, at least structurally, obeyed
most of the
conventions the fiction writing texts of the time recommended, as each
narrative hinges upon a protagonist in a vividly rendered place who faces a conflict and makes a discovery.
In my
most recent solo show there were paintings that could fall into a range of visual
conventions - from portraits, to still lives, to studio interiors, and allegorical
narratives and of all sizes.