Documentary Related Quotes

Life cannot be possessed. You cannot have it in your fist. If you want to have it, you have to keep your hands open.

I took a job teaching private-school white teenagers how to edit video. They used their newly developed skills to make documentaries about poor brown people in other countries. It's not oil that runs the world, it's shame.

Uncompromising struggle against class and national enemies they knew well. Close unity with friends and relatives they also knew. But how to struggle and unite spontaneously, how to deepen unity through struggle, how to conquer weakness with criticism, how to exorcise the bad in friends and allies while developing the good - all this had to be learned.

The Netflix documentary Sour Grapes is a fascinating insight into this world. A crooked, though brilliant, Indonesian wine connoisseur called Rudy Kurniawan was able to replicate great burgundies by mixing cheaper wines together, before faking the corks and the labels. He was rumbled only when he attempted to fake wines from vintages that did not exist. I am told that it is possible to detect a forged Kurniawan wine by analysing the labels, but not by tasting the wine. I hate to say this, but Rudy was an alchemist. Several experts I have talked to in the high-end wine business regard their own field as essentially a placebo market; one of them admitted that he was relatively uninterested in the products he sold and would sneak off and fetch a beer at premium tastings of burgundies costing thousands of pounds a bottle. Another described himself as ‘the eunuch in the whorehouse’ – someone who was valuable because he was immune to the charms of the product he promoted.

Orange Book produced after the outbreak of war by the Russian government to justify its actions during the crisis, the editors backdated by three days the Austrian order of general mobilization so as to make the Russian measure appear a mere reaction to developments elsewhere. A telegram dated 29 July from Ambassador Shebeko in Vienna stating that an order of general mobilization was ‘anticipated’ for the following day, was backdated to 28 July and reworded to say ‘The Order for General Mobilization has been signed’ – in fact, the order for Austrian general mobilization would not be issued until 31 July, to go into effect on the following day. The French Yellow Book played even more adventurously with the documentary record, by inserting a fictional communiqué from Paléologue dated 31 July stating that the Russian order had been issued ‘as a result of the general mobilization of Austria’ and of the ‘measures for mobilization taken secretly, but continuously, by Germany for the past six days . . .’ In reality, the Germans had remained, in military terms, an island of relative calm throughout the crisis.

Young man,” he went on, raising his head again, “in your face I seem to read some trouble of mind. When you came in I read it, and that was why I addressed you at once. For in unfolding to you the story of my life, I do not wish to make myself a laughing-stock before these idle listeners, who indeed know all about it already, but I am looking for a man of feeling and education. Know then that my wife was educated in a high-class school for the daughters of noblemen, and on leaving, she danced the shawl dance before the governor and other personages for which she was presented with a gold medal and a certificate of merit. The medal … well, the medal of course was sold—long ago, hm … but the certificate of merit is in her trunk still and not long ago she showed it to our landlady. And although she is most continually on bad terms with the landlady, yet she wanted to tell some one or other of her past honours and of the happy days that are gone. I don’t condemn her for it. I don’t blame her, for the one thing left her is recollection of the past, and all the rest is dust and ashes. Yes, yes, she is a lady of spirit, proud and determined. She scrubs the floors herself and has nothing but black bread to eat, but won’t allow herself to be treated with disrespect. That’s why she would not overlook Mr. Lebeziatnikov’s rudeness to her, and so when he gave her a beating for it, she took to her bed more from the hurt to her feelings than from the blows. She was a widow when I married her, with three children, one smaller than the other. She married her first husband, an infantry officer, for love, and ran away with him from her father’s house. She was exceedingly fond of her husband; but he gave way to cards, got into trouble and with that he died. He used to beat her at the end: and although she paid him back, of which I have authentic documentary evidence, to this day she speaks of him with tears and she throws him up at me; and I am glad, I am glad that, though only in imagination, she should think of herself as having once been happy.… And she was left at his death with three children in a wild and remote district where I happened to be at the time; and she was left in such hopeless poverty that, although I have seen many ups and downs of all sorts, I don’t feel equal to describing it even. Her relations had all thrown her off. And she was proud, too, excessively proud.… And then, honoured sir, and then, I, being at the time a widower, with a daughter of fourteen left me by my first wife, offered her my hand, for I could not bear the sight of such suffering. You can judge the extremity of her calamities, that she, a woman of education and culture and distinguished family, should have consented to be my wife. But she did! Weeping and sobbing and wringing her hands, she married me! For she had nowhere to turn! Do you understand, sir, do you understand what it means when you have absolutely nowhere to turn? No, that you don’t understand yet…

This is a way of thinking about the past in which space and time echo each other, and it is by no means particular to the Bandanese. Indeed, this form of thought may well have found its fullest elaboration on the other side of the planet, among the Indigenous peoples of North America, whose spiritual lives and understanding of history were always tied to specific landscapes. In the words of the great Native American thinker Vine Deloria Jr., a shared feature of Indigenous North American spiritual traditions is that they all “have a sacred center at a particular place, be it a river, a mountain, a plateau, valley, or other natural feature. . . . Regardless of what subsequently happens to the people, the sacred lands remain as permanent fixtures in their cultural or religious understanding.”12 Developing this argument, Deloria contrasts modes of thought that take their orientation from terrestrial spaces with those that privilege time. For the latter, the crucial question in relation to any event is “when did it happen?” For the former, it is “where did it happen?” The first question shapes the possible answers in a determinate way, locating the event within a particular historical period. The second question shapes the possible answers in a completely different way, because it accords a degree of agency to the landscape itself, and all that lies within it, including the entire range of nonhuman beings. The result, in Deloria’s words, is that “the [Indian] tribes confront and interact with a particular land along with its life forms. The task or role of the tribal religions is to relate the community of people to each and every facet of creation as they have experienced it.” For many Indigenous groups, landscapes remain as vividly alive today as they ever were. “For Indian men and women,” writes the anthropologist Peter Basso, of the Western Apache of Arizona, “the past lies embedded in features of the earth—in canyons and lakes, mountains and arroyos, rocks and vacant fields—which together endow their lands with multiple forms of significance that reach into their lives and shape the ways they think.”13 Stories about the past, built around familiar landmarks, inform every aspect of Apache life. Through these stories features of the landscape speak to people just as loudly as the human voices that historians bring to life from documentary sources.

Yoel Goldenberg makes exhibitions, photographs, models and media craftsmanship. His works are an examination of ideas, for example, validness and objectivity by utilizing an exhaustive methodology and semi exploratory exactness and by referencing documentaries, 'actuality fiction' and prominent experimental reciprocals. Yoel Goldenberg as of now lives and works in Brooklyn. By challenging the division between the domain of memory and the domain of experience, Goldenberg formalizes the circumstantial and underlines the procedure of synthesis that is behind the apparently arbitrary works. The manners of thinking, which are probably private, profoundly subjective and unfiltered in their references to dream universes, are much of the time uncovered as collections. His practice gives a valuable arrangement of metaphorical instruments for moving with a pseudo-moderate approach in the realm of execution: these fastidiously arranged works reverberate and resound with pictures winnowed from the fantastical domain of creative energy. By trying different things with aleatoric procedures, Yoel Goldenberg makes work in which an interest with the clarity of substance and an uncompromising demeanor towards calculated and insignificant workmanship can be found. The work is detached and deliberate and a cool and unbiased symbolism is utilized. His works are highlighting unplanned, unintentional and sudden associations which make it conceivable to overhaul craftsmanship history and, far and away superior, to supplement it. Consolidating random viewpoints lead to astounding analogies. With a theoretical methodology, he ponders the firmly related subjects of file and memory. This regularly brings about an examination of both the human requirement for "definitive" stories and the inquiry whether tales "fictionalize" history. His gathered, changed and own exhibitions are being faced as stylishly versatile, specifically interrelated material for memory and projection. The conceivable appears to be genuine and reality exists, yet it has numerous countenances, as Hanna Arendt refers to from Franz Kafka. By exploring dialect on a meta-level, he tries to approach a wide size of subjects in a multi-layered route, likes to include the viewer in a way that is here and there physical and has faith in the thought of capacity taking after structure in a work. Goldenberg’s works are straightforwardly a reaction to the encompassing environment and uses regular encounters from the craftsman as a beginning stage. Regularly these are confined occasions that would go unnoticed in their unique connection. By utilizing a regularly developing file of discovered archives to make self-ruling works of art, he retains the convention of recognition workmanship into every day hone. This individual subsequent and recovery of a past custom is vital as a demonstration of reflection. Yoel’s works concentrate on the powerlessness of correspondence which is utilized to picture reality, the endeavor of dialog, the disharmony in the middle of structure and content and the dysfunctions of dialect. To put it plainly, the absence of clear references is key components in the work. With an unobtrusive moderate methodology, he tries to handle dialect. Changed into craftsmanship, dialect turns into an adornment. Right then and there, loads of ambiguities and indistinctnesses, which are intrinsic to the sensation, rise up to the top

To understand the social meaning of the prison today within the context of a developing prison industrial complex means that punishment has to be conceptually severed from its seemingly indissoluble link with crime. How often do we encounter the phrase "crime and punishment"? To what extent has the perpetual repetition of the phrase "crime and punishment" in literature, as titles of television shows, both fictional and documentary, and in everyday conversation made it extremely difficult to think about punishment beyond this connection? How have these portrayals located the prison in a causal relation to crime as a natural, neces-sary, and permanent effect, thus inhibiting serious debates about the viability of the prison today? The notion of a prison industrial complex insists on understandings of the punishment process that take into account economic and political structures and ideologies, rather than focusing myopically on individual criminal conduct and efforts to "curb crime." The fact, for example, that many corporations with global markets now rely on prisons as an important source of profit helps us to understand the rapidity with which prisons began to proliferate precisely at a time when official studies indicated that the crime rate was falling. The notion of a prison industrial complex also insists that the racialization of prison populations--and this is not only true of the United States, but of Europe, South America, and Australia as well--is not an incidental feature. Thus, critiques of the prison industrial complex undertaken by abolitionist activists and scholars are very much linked to critiques of the global persistence of racism. Antiracist and other social justice movements are incomplete with attention to the politics of imprisonment.

Do we need to discuss this on camera?” she demands. Wynn, already hot under the collar for reasons completely related to wearing a motorcycle jacket in the endless heat of the American southwest, sounds uncomfortable. “Maybe?” he offers.

ABOUT THE AUTHOR Charles Ferguson won an Oscar in 2011 for Inside Job, his documentary on the financial crisis, and was an Oscar nominee for his first documentary, No End In Sight, on the war in Iraq. He is a graduate of the University of California at Berkeley, holds a PhD in Political Science from MIT, and has been a technology policy consultant to the White House and the Office of the US Trade Representative, as well as to leading technology companies including Apple, IBM, and Texas Instruments. He was the co-founder of Vermeer Technologies, which invented the web tool Front Page, later sold to Microsoft. A former visiting scholar at MIT and Berkeley, he has also been a senior fellow at the Brookings Institution in Washington, DC. He has written four books, and is a life member of the Council of Foreign Relations and a director of the French-American Foundation.

As I’ve said throughout this book, networked products tend to start from humble beginnings—rather than big splashy launches—and YouTube was no different. Jawed’s first video is a good example. Steve described the earliest days of content and how it grew: In the earliest days, there was very little content to organize. Getting to the first 1,000 videos was the hardest part of YouTube’s life, and we were just focused on that. Organizing the videos was an afterthought—we just had a list of recent videos that had been uploaded, and you could just browse through those. We had the idea that everyone who uploaded a video would share it with, say, 10 people, and then 5 of them would actually view it, and then at least one would upload another video. After we built some key features—video embedding and real-time transcoding—it started to work.75 In other words, the early days was just about solving the Cold Start Problem, not designing the fancy recommendations algorithms that YouTube is now known for. And even once there were more videos, the attempt at discoverability focused on relatively basic curation—just showing popular videos in different categories and countries. Steve described this to me: Once we got a lot more videos, we had to redesign YouTube to make it easier to discover the best videos. At first, we had a page on YouTube to see just the top 100 videos overall, sorted by day, week, or month. Eventually it was broken out by country. The homepage was the only place where YouTube as a company would have control of things, since we would choose the 10 videos. These were often documentaries, or semi-professionally produced content so that people—particularly advertisers—who came to the YouTube front page would think we had great content. Eventually it made sense to create a categorization system for videos, but in the early years everything was grouped in with each other. Even while the numbers of videos was rapidly growing, so too were all the other forms of content on the site. YouTube wasn’t just the videos, it was also the comments left by viewers: Early in we saw that there were 100x more viewers than creators. Every social product at that time had comments, so we added them to YouTube, which was a way for the viewers to participate, too. It seems naive now, but we were just thinking about raw growth at that time—the raw number of videos, the raw number of comments—so we didn’t think much about the quality. We weren’t thinking about fake news or anything like that. The thought was, just get as many comments as possible out there, and the more controversial the better! Keep in mind that the vast majority of videos had zero comments, so getting feedback for our creators usually made the experience better for them. Of course now we know that once you get to a certain level of engagement, you need a different solution over time.

From its earliest days, scanning EM proved to be a source of images that everybody could relate to, regardless of a microscopic or indeed even a scientific background. From early images showing great detail of everyday objects and animals, for example the edge of a scalpel or razor blade or the multiple compound eyes of a spider, the extra information provided by the high magnification was instantly apparent, grasping the attention of the general public in a way that transmission EM images did not (Figure 19). Today, images of bacteria, stem cells, and tumour cells are a regular sight in TV news, documentaries, newspapers, and magazines, usually brightly coloured. False or pseudo-colouring of scanning EM images is useful for highlighting specific features, as well as increasing the overall impact, which can sometimes be a little on the garish side.

understanding of its relation to the occult, there are entire documentaries dedicated to this ‘sacred geometry’ and these ‘magical’ properties.

We are seeing the potentiality when it comes to technological optimism; the internet used in the correct way is an educational fountain of knowledge. Our social networking platforms can be turned into insightful articles about scientific marvels, medical breakthroughs, engineering tutorials, philosophical discussions and debates, nature documentaries, religious questions, news relating to politics or current activism going on around the world… The list goes on and on yet the access (depending on where you live) is unprecedented and vast.

The creation of this digital collection, which brings together the entire body of research materials related to William F Cody's personal and professional life, will enable a variety of audiences to consider the impact of William F. Cody the cultural entrepreneur on American life and provide contextualizing documents from other sources, including audio-visual media that exist for the final years of his life. It will allow more scholars to study the man within his times, will provide new resources to contextualize studies of other regional and national events and persons, and will encourage digital edition visitors to explore and learn more about these vital decades of American expansion and development. The digital edition of the Papers will differ significantly from the print edition by including manuscript materials, photographs, and film and sound recordings, and it will offer navigational and search options not possible in the print edition. As Griffin's volume reveals, it took many people to make Buffalo Bill's Wild West happen. Likewise, there are many people whose combined efforts have made this documentary project a reality. All of the generous donors and talented scholars who have contributed to the success of this effort will be noted in due course. But in this, the first publication, it is appropriate to acknowledge that big ideas are carried to fruition only by sound and steady leadership. The McCracken Research Library was fortunate at the advent of the papers project that in its board chair it had such a leader. Maggie Scarlett was not only an early supporter of this documentary editing project but also its first true champion. It was through her connections (and tenacity) that the initial funds were raised to launch the project. Whether seeking support from private donors, the Wyoming State Legislature, federal granting agencies, or the United States Congress, Maggie led the charge and thereby secured the future of this worthy endeavor. Thus, this reissue of Griffin's account is a legacy not only to William Cody but also to all of those who have made this effort and the larger undertaking possible. In that spirit, though these pages rightfully belong to Charles Eldridge Griffin and to Mr. Dixon, if this volume were mine to dedicate, it would be to Maggie. Kurt Graham

an undisturbed national development.” It is also necessary to point out that the Zionist Commission in Palestine, now termed the Palestine Zionist Executive, has not desired to possess, and does not possess, any share in the general administration of the country. Nor does the special position assigned to the Zionist Organization in Article IV of the Draft Mandate for Palestine imply any such functions. That special position relates to the measures to be taken in Palestine affecting the Jewish population, and contemplates that the Organization may assist in the general development of the country, but does not entitle it to share in any degree in its Government.

He has always been a silent gargoyle sitting at the head of our family table. I've pieced together his story from what little my relatives have shared in hushed disclosures and from reading other soldiers' biographies, visiting museums, and watching the documentary channel. I've adopted historic facts collected by experts and academics as my heritage. I've learned about my grandfather the way many of us (Generation Xers) learn about their elders, whose voices have been muted by dissociation, depression, alcoholism, trauma, and denial.