Abstract This paper explains that Henri Cartier-Bresson and Man Ray made fundamentally different but important contributions to surrealist art. The author points out that Cartier-Bresson's work captured the surreal in the everyday; Man Ray, instead, created the surreal out of the ordinary. The paper relates that Cartier-Bresson captured the minutia in reality and converted them into surrealism, while Man Ray manipulated reality through techniques like solarization to distort reality into surrealism.
Table of Contents
Introduction
Henri Cartier-Bresson
Man Ray
Conclusion
From the Paper "Unlike Man Ray, Cartier-Bresson relied little upon the processes of development in his art. Instead, he remained true to his small 35-mm camera, which he regarded as unobtrusive, and quickly became "an extension of (his) eye". Further, Cartier-Bresson believed that to be effective, photography should be as instantaneous and natural as possible. As a result, Cartier-Bresson worked almost exclusively with natural light in order to capture the essence of his subject."
Abstract The paper relates that Man Ray's contributions to photography centered on his innovative photographic techniques and his imaginative manipulation to create a surrealistic effect. The author points out that Cartier-Bresson is renowned for his seminal contribution to the "decisive moment" and his evocative and uncomplicated style. The paper concludes that, while Man Ray clearly saw himself as a surrealist, Cartier-Bresson rejected that title. Ultimately, however, Cartier-Bresson's approach to the "decisive moment" overshadows Man Ray's substantial contributions.
From the Paper "Cartier-Bresson had a strong respect for the demands of photojournalism and spent a great deal of his life working as a de-facto photojournalist. Among other important events, he photographed a dying Gandhi, and the 1938 Coronation of King George VI in London. Most of his photographs were taken with his simple and unobtrusive 35 mm camera and with only a 50 mm lens. Cartier-Bresson famously forbade printers from cropping his photographs."
This paper analyzes Henri Cartier-Bresson's photo, "Barrio Chino, Barcelona, Spain, 1933" in its socio-historical context, revealing how the imagery of the photo relates to its context of Depression-era Spain.
Abstract This paper explains that, after returning from Africa in the early Thirties, Cartier-Bresson was influenced by the vivacity of primitivism and tried to find its counterpart in some of the poor neighborhoods of Europe. The author points out that the artist's choice of camera, the small-format Leica, allowed Cartier-Bresson the freedom to shoot quickly and with minimal camera resetting time (i.e. advancing film, changing film). The paper relates that the rising presence of magazines and photojournalism in the 1930s generously supported Cartier-Bresson financially and allowed him the economic freedom required for him to travel the world taking pictures.
From the Paper "The tired, desperate look on the man's face coupled with the look of shock on the face of the drawing, paint a profound picture of desperation. What seems like merely a "snapshot" photograph can be deeply analyzed to reveal an insightful comment on the poverty and hopelessness so prevalent during the depression. In an era when most cameras were large, and bulky, it doesn?t seem possible for a photo such as this one to be taken off the cuff and un-posed. But the fact is that Cartier-Bresson's photos were not posed and the next paragraph will discuss how new camera technology allowed him the freedom to take pictures like this one taken in Spain in 1933."
A review of three articles: Ramsay Cook's, "1942 and All That: Making a Garden out of Wilderness"; Alan Gordon's "Heroes, History, and Two Nationalisms: Jacques Cartier" and Ken Coates and William Morrison's, "Winter and the Shaping of Northern History: R
Abstract In this article review, the author demonstrates through the use of three articles how the presentation of history may be slanted. The articles include Ramsay Cook's , "1942 and All That: Making a Garden out of Wilderness ", Alan Gordon's "Heroes, History, and Two Nationalisms: Jacques Cartier" and Ken Coates and William Morrison's, "Winter and the Shaping of Northern History: Reflections from the Canadian North". The review further describes how and why an author may slant history. The paper then evaluates each article independently. The paper concludes by explaining that these writings are particularly important, because they criticize the history we have always taken for granted as a truthful depiction of what really happened, and point out the obvious flaws.
From the Paper "What all these writings share is the idea that history is written by people, and is never totally objective or valid. When we read (or write) historical documents, we need to look Also at the surrounding culture, the background of the writer and the social structures and politics of the time. It is true that history of wars is written by the winners, so the losers always become the evil aggressors and the winners the champions of the people."
Abstract This paper examines how the organization of the Liberal Party could be considered central to the Canadian political spectrum, with an amalgamation of liberal social policy and corresponding modern economic policies. It examines how, back in the formative years of the liberal party of Canada, the political parties during those times were largely scattered and unstable, as compared to the modern political parties of today's times, and coalesced into a cohesive organization only as late as the 1880s. The paper also looks at how the governing coalition of liberal - conservatives under the leadership of Sir John A. McDonald in Canada West and his French - Canadian counterpart, George - Etienne Cartier in Canada East, encompassed a number of distinct groups, many of which had potentially conflicting interests - Catholic and Protestants, English and French, urban and rural. The paper concludes with a look at the reasons for the success of this party.
Outline:
Organization
Base of Support
Political Ideology
Changes in the Party's Political Ideology Over a Period of Time - History
Reasons for its Success in the Federal Elections
From the Paper "Right and left are shorthand labels for conflicting belief systems. These beliefs include basic notions about how society, the economy, and politics operate, as well as ideas about how these matters should be arranged. Generally speaking to be on the right in Anglo - American societies mean that one subscribes to an individualistic belief system. Such a person is likely to believe that what one achieves in life is due principally to his or her own efforts - that the welfare of the society is best promoted by allowing individuals to pursue their own interests and that modern government is too expensive and too intrusive. To be on the left, however, is to prefer a set of beliefs that may be described as collectivist. A leftist is likely to attribute greater weight to social and economic circumstances as determinants of ones opportunities and achievements than does someone on the right. "
A look at the ad from the October, 1990 issue of "Vanity Fair" including an analysis of visualization, layout, copy style, product, target market and effectiveness.
1,125 words (approx. 4.5 pages), 1 source, 1991, $ 39.95
From the Paper "This research addresses an advertisement for Cartier cigarettes which ran in the October 1990 issue of Vanity Fair magazine, between pages 178 and 180. Included in this paper is a description of the ad itself, including visualization, layout, balance and copy style, an analysis of the product itself, an examination of the target market for this product, and a determination of whether the ad is successful.
The advertisement is a full-page full-color ad with no bleed. Most of the ad is white space. The headline is centered and run in two lines of gold script: "The touch/is pure Cartier." There is one rule above and one below this headline, both of which extend to the end of the bottom (longer) line of copy. This copy is run in approximately 48 point type.
Beneath the headline is a photograph of the product, Cartier..."
