Dramatic effect Quotes

“educational television had a dramatic effect on relational aggression. The more the kids watched, the crueler they’d be to their classmates. This correlation was 2.5 times higher than the correlation between violent media and physical aggression.”

“The theater itself is a lie. Its deaths are mere special effects. Its tales never happened. Even the histories are distorted for dramatic effect. The theater is unnatural, a place of imagination. But the theater tells the audience something true: that the world requires judgments.”

“But Time Lords always travel in the T – in their Spectrels, don't they?""Only if absolutely necessary.""You what?""It's another myth put about by those scoundrels. Dramatic effect and all that. It's all his fault.""What do you mean?""Who's fault.""No, I asked you first.""No, you clot. It's Who's fault – Dr bloody Who. That's who!""Why?""No, not Why. I said it's Who's fault.""Whose fault?""Yes. Who.""What?""No! Listen, damn you. Don't bring Why or What into it. It's nothing to do with them. It's Who's fault.""That's what I'm trying to establish, Doctor. Whose fault is it?""Yes. It's Who's fault; now, can we just bloody get on with it and stop arguing the toss and bringing the others into it?”

“From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony. ... A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror.”

“It often happens that the real tragedies of life occur in suchan inartistic manner that they hurt us by their crude violence, theirabsolute incoherence, their absurd want of meaning, their entire lackof style. They affect us just as vulgarity affects us. They give usan impression of sheer brute force, and we revolt against that.Sometimes, however, a tragedy that possesses artistic elements ofbeauty crosses our lives. If these elements of beauty are real, thewhole thing simply appeals to our sense of dramatic effect. Suddenlywe find that we are no longer the actors, but the spectators of theplay. Or rather we are both. We watch ourselves, and the mere wonderof the spectacle enthralls us.”

“What had happened in these ten years for there suddenly be so much to say — so much so pressing that it couldn’t wait to be said? Everywhere I walked, somebody was approaching me talking on a phone and someone was behind me talking on a phone. Inside the cars, the drivers were on the phone. When I took a taxi, the cabbie was on the phone. For one who frequently went without talking to anyone for days at a time, I had to wonder what that had previously held them up had collapsed in people to make incessant talking into a telephone preferable to walking about under no one’s surveillance, momentarily solitary, assimilating the streets through one’s animal senses and thinking the myriad thoughts that the activities of a city inspire. For me it made the streets appear comic and the people ridiculous. And yet it seemed like a real tragedy, too. To eradicate the experience of separation must inevitably have a dramatic effect. What will the consequence be? You know you can reach the other person anytime, and if you can't, you get impatient—impatient and angry like a stupid little god.”