Everything is cyclical. Historical eras go through times of intense cynicism, broken by periods of intense idealism.
I always say 300 is a sci-fi movie as much as anything. It's like that could be another planet. It doesn't have to be earth necessarily. That's like when people get so wrapped up in the politics of 300 I always go, "By the way, that's a sci-fi movie. It's not really a historical film."
For me, the historical and genealogical library is the one I use. I'm working on, I'll say, it's a time travel novel. I haven't written very much of it. That's the dirty secret of the Cullman center: The writers don't write their fiction there, they just do their research.
The question 'Why white kids love hip-hop?' forces us immediately to deal with the historical weight of race in America. On the surface people see hip-hop and race as nothing new. I think the ways young white Americans are engaging hip-hop suggest something more.
The historical weight of gender inequality has tended to concentrate women in lower-paid jobs with fewer benefits and at the same time made them primarily responsible for care giving.
Post World War II America draws a great deal of interest, but the students also seem to know quite a bit about American exceptionalism and its historical roots.
There is no need for historical research. The war didn't take place a thousand years ago. Over a million Iranians served at one time or another in the war fronts and most of them are living ordinary lives today and are available for interviews. These stories are largely unknown in Iran and when I tell them to my friends or students they usually laugh.
If one were to claim that the U.S. occupation forces in Iraq have been provided with "keys to heaven" by the Pentagon, would that need historical research to be disproved or would you just say, "That's just propaganda"? Indeed, how can you disprove the claim that U.S. soldiers have such keys? Or why should you disprove such ridiculous claims? It is the accusers who must provide the evidence.
Whenever I went to an historical moment that was sad or where something terrible happened, it was, for me, a learning moment, a teaching moment for those who survived.
With the historical fictions, I was already doing so much research, and so much of the stories was anchored by historical truth that the move to nonfiction didn't feel all that dramatic - just another half-step to the right.
I look at it scene-by-scene. Whether it's a historical character or not, whatever, on the page is one thing and delving into the history or somebody is one thing, but making something work for an audience in front of a camera is another exercise and you bring whatever authenticity you can to it.
The truth is that History, with its imposing capital H, is simply the amalgamation of many quotidian lives lived in very ordinary ways. History is always personal. If you read Holocaust survivor or American slavery survivor narratives, you realize all too well that these great Historical moments were personal to someone at some time.
I think we are living in an era of being hyper-concerned about, Is it us? Because we have this historical awareness. People really want to know: will it be us or our kids or our grandkids to live through this? We don't want it to happen, we don't want to be the ones with the poisoned water, but at the same time, I think there is this curiosity, like, Am I one of the "lucky" ones who gets to be here at the end? That's the tension I'm interested in.
I've been told by people who write historical novels that you just sort of write the emotional truth first, the story at the core, and then you go back and research it at the end.
If anyone ever said biopic I would say, "It's not a biopic." We're fighting uphill against the weight of history. I was like, why don't we just call it historical fiction?
The more you learn about yourself and your family tree, your self-esteem goes up. They will learn archival skills, historical analysis and science skills. You learn all this in the most seductive way, and that is through learning about yourself. Who doesn't like talking about themselves? It doesn't seem like science or history, it's just fun.
Instead of giving it [war] a rest I continued pursuing more research, talking to more people on the subject as if I was to please this aftermath of the book by knowledge that was more historical and psychological than literary and aesthetical.
Historical novels are about costumery. I think that's the magic and mystery of fiction. I don't want to write historical fiction but I do want the story to have the feel of history. There's a difference.
The story in that particular spot was an ancient history story, and we wanted to give it a historical feeling, which was why we used a historical calligraphy scroll come to life.
As a biracial girl growing up in England, I'd never really seen any historical characters who looked like me depicted on film before that weren't being brutalized or playing slaves.
I had a long writing history behind me before I got into anything in film. It comprehended science fiction, it comprehended historical, it comprehended, you know, just about everything that you can think of.
For a hundred years we have been one of the largest oil-producing countries in the world but with a 60 percent poverty rate and now we are canceling the historical debt.
Utopian fiction is really boring. I had to read a lot of it, and it's not that much fun. But they're fascinating to me as historical documents. Cabet [Icaria's founder and author of the utopian novel, Travels in Icaria], is writing in the 1830s, and his idea of the perfect society reveals a lot about his time. But his book is uniquely bad.
While I was drawn to the Renaissance, my first (unpublished) novels took place in modern times. When the subject of alchemy started creeping into my stories, an astute mentor observed that the bits about alchemy might fit better in another time frame. When I finally decided to weave the pieces about the medieval science into historical settings, a successful novel began to emerge. (And I dusted off that art history book, and put it to use once again.)
As far as benefits to reading historical novels, there are several! For one thing, you learn about life in another era. Secondly, these novels help us to develop a deeper understanding of the legacy of women who came before us and the strides made by our ancestors.
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