Download 1001 Things You Didn't Know You Wanted to Know by Anna Mantzaris PDF

By Anna Mantzaris

Minutiae buffs of the world—this is your publication! It’s full of 1,001 tidbits of data in such different types as foodstuff & Drink, tv, artwork, enterprise, healthiness, faith, etc. for instance, were you aware that each strawberry comprises over 2 hundred seeds? That the 1st equipped hard work strike within the U.S. happened in Philadelphia in 1786, while neighborhood printers demanded larger wages? Or that Jack London used to be the 1st novelist to earn a million money from his writing? Highlighted with maps and illustrations, this compilation encompasses a wealth of lists, together with the least densely populated nations, the academic associations of the Ivy League, bands that performed at Woodstock, or even the main stressful clichés, as voted through humans in 70 countries.

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1 Realist Documentary Who, What, When, Where, Why, and How? ” Lúcia Nagib and Cecilia Mello2 The term realism originated in France from a literary and art movement that flourished from the 1840s until the late 19th century. Going against the classical and romantic traditions, realist artists gave special attention to the appearance of reality, which they attempted to depict as accurately as possible seeking to convey an objective vision of everyday life and ordinary people. 3 Indeed, by affording artists the opportunity to capture faithful and detailed renditions of reality, the camera proved to be the ideal medium for realist art.

Deeply personal, these modes convey the documentarian’s subjective impressions either through “a series of fragments [. . and] loose associations”40 or performative and reflexive acts. For example, in the 1920s, Soviet montage director Dziga Vertov decided to put himself in front of the camera to make viewers aware of the ways in which filmmakers construct representations of the world through realist documentary conventions. As Nichols claims, the reflexive mode “arose from a desire to make the conventions of representation themselves more apparent and to challenge the impression of reality,”41 which Griersonian documentarians regularly exploited to conceal their ideological messages.

25 To better understand Grierson’s documentary approach, however, we need to insert it within the context of 19th century Eurocentric philosophy, dominated by Georg Wilhelm Friedrich Hegel’s Idealism and Auguste Comte’s Positivism. Indeed, in legitimating his liberal humanist claims about the social through positivist devices such as the camera and the historical archive, Grierson’s documentary approach shows the influence of both positivistic and idealistic principles. Paradoxically, whereas Positivists claimed that universal knowledge rests on objective, empirical results dissociated from the subjectivity of the investigator, Idealists criticized the Cartesian distinction between subject and object.

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