1. Deviance is relative, and refers to behavioral deviation from established social norms within a specific community (Schaefer, 2016). Therefore, what is deviant in one period of time will become normative in another and vice-versa. Likewise, what is deviant in one culture may not be considered deviant in another. Although deviance is typically framed as maladaptive behavior that either leads to or is categorized as criminal, deviance can also be constructive, productive, and “positive,” (Hughes & Coakley, 1991, p. 307). In fact, athletes engage in what is known as “positive deviance,” in that their behaviors constitute a cohesive “sport ethic” that includes taking risks, pushing past personal limits, and making sacrifices for the greater good of the game (Hughes & Coakley, 1991, p. 307). The 2010 documentary I Am Alive is about the Uruguayan rugby team’s remarkable survival in the Andes, and is a perfect example of positive deviance in action. They take innumerable risks that entail pushing past their physical and mental limits, most notably the decision by Nando and Roberto to trek through the mountains against all odds of survival. They also do so for the good of the team rather than just...
Although a few small cultures have practiced ritual cannibalism in some form, eating the flesh of human beings is considered deviant in almost all contexts (Osborne, 2010). The survivors use a variety of methods to justify their deviant behavior including using the Eucharist as an analogy and most importantly, convincing themselves that anthropophagy is critical to their own survival. Although anthropophagy is deviant, it is just as deviant to give up on life, or to turn down the opportunity to survive when there is a clear and rational solution to the problem of starvation.
Photographers: Exploring the World Through Their Lenses Documentary Photography: a depiction of the real world by a photographer whose intent is to communicate something of importance -- to make a comment -- that will be understood by the viewer. (Documentary Photography 12) When the camera was invented, photographers learned that they no longer needed oil paint and brushes to capture a scene or a person. On film, they could now record the
From this came our insistence on the drama of the doorstep" (cited by Hardy 14-15). Grierson also notes that the early documentary filmmakers were concerned about the way the world was going and wanted to use all the tools at hand to push the public towards greater civic participation. With the success of Drifters, Grierson was able to further his ideas, but rather than directing other films, he devoted his time
(Berardinelli) Overall, the movies received lots of appreciation and did great business on the box office. Film was also shown in Iran where American films are not supposed to be shown. Film also received positive response by the critics. Most of them also felt that the movie depicted one side of point-of-view but in spite of that, it was worth watching. Fahrenheit 9/11 became the highest grossing documentary of all
" Ebert (July 22, 2005) writes in his review of "Murderball" that Zupan's answer is "...hard to believe, but from him, I believe it." The team Zupan plays for us Team USA; the biggest rival for Team USA is Team Canada. And this rivalry becomes a central theme in the film. These players on the two teams definitely don't like each other at all. And Joe Soares, who was a great
Dorothy Lange and Documentary Photography Life is documented daily, whether in newspaper photographs of world events, in feature magazines of faraway places and in photo albums of family snapshots. Essentially, all photography is a documentary of whatever is being photographed for whatever reason. However, traditionally, the mention of documentary photography brings up familiar images from a few twentieth century photographers, such as Ansel Adams, Walker Evans, Roy Stryker, Arthur Rothstein and
The poor quality of 1960s home video and the amateurish jerkiness of the Zapruder film add to the humbleness of the work and the humbling nature of death, but "Report" consciously makes the appearance of the film grainy and flickering to elicit an emotional response in the viewer. The viewer feels off-balanced, destabilized, by both the techniques and the events. Connor's highly crafted use of amateurish, grainy appearances of shots,
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