His own books anticipate many of the visual storytelling techniques — flash-forward, flashback, close-up, pan — that we have come to associate with cinema.
This book presents a panorama of the Russian Revolution of 1917 and the Russian Civil War (1918 20) as seen through a series of flashbacks and close-ups encompassing all levels of society.
Slow TV treats extended monologues, flashbacks, and close-ups with the same reverence that Michael Bay treats explosions and fighting robots.
He wants to know what really happened, but the story revealed through dialogue and flashback will come close to destroying him.
That day, he was snared in a speed duel up front with Flashback, only to weaken close home, a spent force.
In addition, he takes a highly visual, filmic approach, using flashback, establishing shots and close-up with panache.
And Phillips, using jagged pen-and-ink work and a shadowy palette in the book's grimy '80s sequences, devises a neat trick: drawing '60s-era high school flashbacks in a style close enough to the broad, bright-hued slapstick of old "Archie" comics to get the point across.
At this point, via a series of flashbacks which edge Lonergan closer and closer to the event that turned Lee – once a gregarious fun uncle, with a happy ish) marriage to his wife (Michelle Williams) – into a monosyllabic malcontent.
