Professor Wai Chee Dimock positions her reading of Tender Is the Night alongside F. Scott Fitzgerald’s career as a Hollywood screenwriter. She shows how the novel borrows narrative techniques from film, particularly flashback, “switchability” on a macro and micro scale, and montage. Invoking the theories of Sergei Eisenstein, she reads scenes of wartime death and individual murder to show how love and war are cross-mapped, superimposed onto one another as part of the narrative fabric of Tender Is the Night.