{"version":"1.0","provider_name":"Arta politica","provider_url":"https:\/\/artapolitica.ro\/gazetapolitica\/en","author_name":"Gazeta de Art\u0103 Politic\u0103","author_url":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/author\/gazeta-de-arta-politica\/","title":"(Stories From) the Films of Those Who Work (Summary) - Arta politica","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"6LsGkdWuYU\"><a href=\"https:\/\/artapolitica.ro\/gazetapolitica\/en\/2013\/05\/29\/povesti-din-filmul-celor-care-muncesc\/\">(Stories From) the Films of Those Who Work (Summary)<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/artapolitica.ro\/gazetapolitica\/en\/2013\/05\/29\/povesti-din-filmul-celor-care-muncesc\/embed\/#?secret=6LsGkdWuYU\" width=\"600\" height=\"338\" title=\"&#8220;(Stories From) the Films of Those Who Work (Summary)&#8221; &#8212; Arta politica\" data-secret=\"6LsGkdWuYU\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/*! This file is auto-generated *\/\n!function(c,d){\"use strict\";var e=!1,o=!1;if(d.querySelector)if(c.addEventListener)e=!0;if(c.wp=c.wp||{},c.wp.receiveEmbedMessage);else if(c.wp.receiveEmbedMessage=function(e){var t=e.data;if(!t);else if(!(t.secret||t.message||t.value));else if(\/[^a-zA-Z0-9]\/.test(t.secret));else{for(var r,s,a,i=d.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),n=d.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),o=new RegExp(\"^https?:$\",\"i\"),l=0;l<n.length;l++)n[l].style.display=\"none\";for(l=0;l<i.length;l++)if(r=i[l],e.source!==r.contentWindow);else{if(r.removeAttribute(\"style\"),\"height\"===t.message){if(1e3<(s=parseInt(t.value,10)))s=1e3;else if(~~s<200)s=200;r.height=s}if(\"link\"===t.message)if(s=d.createElement(\"a\"),a=d.createElement(\"a\"),s.href=r.getAttribute(\"src\"),a.href=t.value,!o.test(a.protocol));else if(a.host===s.host)if(d.activeElement===r)c.top.location.href=t.value}}},e)c.addEventListener(\"message\",c.wp.receiveEmbedMessage,!1),d.addEventListener(\"DOMContentLoaded\",t,!1),c.addEventListener(\"load\",t,!1);function t(){if(o);else{o=!0;for(var e,t,r,s=-1!==navigator.appVersion.indexOf(\"MSIE 10\"),a=!!navigator.userAgent.match(\/Trident.*rv:11\\.\/),i=d.querySelectorAll(\"iframe.wp-embedded-content\"),n=0;n<i.length;n++){if(!(r=(t=i[n]).getAttribute(\"data-secret\")))r=Math.random().toString(36).substr(2,10),t.src+=\"#?secret=\"+r,t.setAttribute(\"data-secret\",r);if(s||a)(e=t.cloneNode(!0)).removeAttribute(\"security\"),t.parentNode.replaceChild(e,t);t.contentWindow.postMessage({message:\"ready\",secret:r},\"*\")}}}}(window,document);\n<\/script>\n","description":"by Nicolae Mandea The films which Nicolae Mandea analyzes in his essay \u2013 R\u0103sun\u0103 valea (The Valley Is Bustling \u2013 1950, director Paul C\u0103linescu), Puterea \u015fi adev\u0103rul (Power and Truth \u2013 1972, Manole Marcus) and 8 Martie (March 8 \u2013 2012, Alexandru Belc) \u2013 focus on representations of the social repertoire of labor, emphasizing the accuracy of the details. The painting-like representations of the scenes of labor are usually rich in information about the characters, the spacial context, the world of objects and the typical attire. At the same time, the physical activities leave an indelible mark on the human&hellip;","thumbnail_url":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-content\/uploads\/2013\/05\/8-martie-551113l-209x300.jpg"}