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MA - 17 reference results
cinéma vérité, a style of filmmaking that attempts to convey candid realism. Often employing lightweight, hand-held cameras and sound equipment, it shows people in everyday situations and uses authentic dialogue, naturalness of action, and a minimum of rearrangement for the camera. The style was pioneered in the late 1950s and early 60s by such French documentary filmmakers as Jean Rouch and Chris Marker and has been influential in the work of a number of directors, most notably Jean-Luc Godard. American filmmakers, who sometimes called the style "direct cinema," were quick to adopt the technique. Included among them are Richard Leacock, D. A. Pennebaker, Albert and David Maysles, Frederick Wiseman, and Robert Drew. More recently, such documentary makers as Ken (and Ric) Burns and Barbara Kopple have made cinéma vérité techniques central to their films.

See studies by M. A. Issari (1971 and 1979) and S. Mamber (1974); Cinéma Vérité: Defining the Moment (film, 1999).

Ssu-ma Kuang, 1018-86, Chinese statesman and historian of the Northern Sung dynasty. He edited the monumental Tzu-chih t'ung-chien [the comprehensive mirror for aid in government], a chronicle of Chinese history from 403 B.C. to A.D. 959. The title indicates the belief that history can serve the present as a mirror of the past so that rulers can avoid the same mistakes. The 12th cent. philosopher Chu Hsi abridged and reworked the materials. Ssu-ma Kuang was a member (with Ou-yang Hsiu and Su Tung-p'o) of the conservative bureaucratic party that successfully opposed the reforms of Wang An-shih.
Ssu-ma Ch'ien, 145?-90? B.C., Chinese historian; sometimes called the Father of Chinese History. He succeeded his father, Ssu-ma T'an, as grand historian (an office then dealing with astronomy and the calendar) at the court of the Early Han emperor Wu. There he took up a project on history planned by his father and extended it into a history of China and of all regions and peoples known at that time. Incurring the emperor's displeasure, he suffered the punishment of castration. Rejecting the alternative of suicide, he chose to complete this work, the Shih chi [records of the historian]. In 130 chapters, including basic annals of dynasties or rulers, chronological tables, treatises, hereditary houses, and accounts of famous men and foreign lands and peoples, it has served as a model for subsequent Chinese dynastic histories. Its wide range, many-faceted characterizations, and vivid dialogue have won it the admiration of Asian readers for over 2,000 years.

See Records of the Grand Historian of China, tr. by B. Watson (2 vol., 1961, repr. 1969); study by B. Watson (1958).

Ma-na-ssu: see Manas, China.
Ma, Yo-Yo, 1955-, American cellist, b. Paris. The son of musicologist Hiao-Tsun Ma, who left China in the 1930s, he was a musical prodigy, giving a public recital in Paris at the age of six. In 1963 he and his family settled in New York City, where he began attending the Julliard School of Music at the age of nine. He later studied at Harvard. Ma appeared at Carnegie Hall in 1964 and won the prestigious Avery Fisher Prize in 1978. One of the era's premier string players, he continues to appear as a soloist with many of the world's best orchestras and is a superlative chamber player and frequent recital performer. Ma is acclaimed for his extraordinarily broad repertoire, ravishing tone, superb musicianship, and dazzling technique, and is noted for his seeming state of passionate transport while performing. In 1998 Ma founded the Silk Road Project, a cross-cultural musical enterprise that includes concerts, festivals, recordings, publications, and the commissioning of new works.
Ma Yüan, fl. c.1190-1225, Chinese painter of the Sung dynasty and foremost of the Ma family of painters. He became one of the most important landscape painters of the 12th and 13th cent., the other being Hsia Kuei. He was known for his "one-cornered" compositions, in which dramatic effect was achieved by crisp, forceful brushstrokes, asymmetrical arrangement of elements, and drastic elimination of all but essentials. Attribution of his works is difficult because many later painters followed his style and because toward the end of his life he collaborated with his son Ma Lin, often signing his own name to his son's works. Landscape with Willows (Mus. of Fine Arts, Boston) is generally attributed to Ma Yüan, as are album leaves in the Cleveland Museum of Art and at the Metropolitan Museum in New York.
Glåma or Glomma, longest river of Norway, c.365 mi (590 km) long, rising in the highlands of Sør-Trøndelag co., SE Norway. It flows generally S past Sarpsborg (the head of navigation), into the Skagerrak at Fredrikstad. The Vorma River, which drains Mjøsa Lake, is its chief tributary. The Glåma's numerous waterfalls are the sites of hydroelectric stations; the lower river furnishes power to the urban industrial complex between Sarpsborg and Fredrikstad. The Glåma, passing through a heavily forested region, is Norway's chief timber-floating river.
Eyadèma, Gnassingbé, 1937-2005, president of Togo (1967-2005). His original given name was Étienne, which he africanized in 1974. He served in the French army (1953-61) before entering the armed forces of Togo, where he became (1965) chief of the general staff. He seized power in 1967 and assumed the offices of president and minister of national defense. He was returned to office in 1972, 1979. and 1986. A national conference in 1991 attempted to force him from power, but army violence forced Eyadèma's restoration (1992). He was reelected in 1993 and 1998 in contests boycotted by the opposition and in 2003 amid allegations of fraud. He died in office two years later.
Dráma, city (1991 pop. 38,546), capital of Dráma prefecture, NE Greece, in Macedonia. It is the trade center for a tobacco-producing region.

cinéma vérité(French; : “truth cinema”)

French film movement of the 1960s that strove for candid realism by showing people in everyday situations with authentic dialogue. Influenced by documentary filmmaking and Italian Neorealism, the method produced such outstanding examples as Jean Rouch's Chronicle of a Summer (1961) and Chris Marker's Joli Mai (1962). A similar movement in the U.S., where it was called “direct cinema,” captured the reality of a person or an event by using a handheld camera to record action without narration, as in Frederick Wiseman's Titicut Follies (1967) and the Maysles brothers' Salesman (1969).

Learn more about cinéma vérité with a free trial on Britannica.com.

In Tibetan Buddhism, a spiritual leader. Some lamas are considered to be reincarnations of their predecessors; others have won respect for their high level of spiritual development. The most honored of the reincarnate lamas is the Dalai Lama; second in spiritual authority is the Panchen Lama. The process of discovering the new incarnation of a lama, especially the Dalai Lama, is elaborate and exacting. Oracular messages, unusual signs during the lama's death or during a birth thereafter, and examinations of candidates identify a successor. The child thus identified as the lama's incarnation is given extensive monastic training from an early age.

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Any of the line of reincarnated lamas who head the Tashilhunpo Monastery in Tibet, traditionally second only to the Dalai Lama in spiritual authority in the dominant sect of Tibetan Buddhism. A Panchen Lama installed by the Chinese Nationalist government in 1949 later became an official under the Chinese communists. He remained in Tibet after the 14th Dalai Lama fled into exile in 1959 but was imprisoned in 1964 after criticizing the government. He was released in the late 1970s and died in 1989. The Dalai Lama and government subsequently chose different successors.

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Head of the dominant Dge-lugs-pa order of Tibetan Buddhism. The first of the line was Dge-'dun-grub-pa (1391–1475), founder of a monastery in central Tibet. His successors were regarded as his reincarnations and, like himself, manifestations of the bodhisattva Avalokitesvara. The second head of the order established the 'Brasspungs monastery near Lhasa as its base, and the third received the h1 Dalai (“Ocean”) from Altan Khan. The fifth, Ngag-dbang-rgya-mtsho (1617–82), established the supremacy of the Dge-lugs-pa over other orders. The 13th Dalai Lama, Thub-bstan-rgya-mtsho (1875–1933), held temporal and spiritual power after the Chinese were expelled in 1912. The 14th and current Dalai Lama, Bstan-'dzin-rgya-mtsho (b. 1935), was enthroned in 1940 but fled to India in 1959 with a large contingent of followers after a failed revolt against the central government, which had gained control of Tibet in 1950–51. He now lives in exile in Dharmsala, India. He was awarded the 1989 Nobel Peace Prize in recognition of his proposals for solving world problems.

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(born Oct. 7, 1955, Paris, France) French-born U.S. cellist. Born to Chinese parents in France, he made his cello debut at age five. He attended the Juilliard School and then Harvard University. Praised for his extraordinary technique and rich tone, Ma performed and recorded the standard cello repertoire and received a large number of commissions from contemporary composers. He is known for his many recordings with the pianist Emanuel Ax (b. 1949), for his collaborations with an unusual range of other musicians and artists, and for his energetic work on behalf of music programs for young people and a variety of international causes. In 1998 he founded the Silk Road Project, an arts organization that explores the historical and current exchange of ideas between Asian and Western cultures.

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(born 971—died April 30?, 1030, Ghazna, Ghaznavid empire) Son of the founder of the Ghaznavid dynasty, Sebüktigin. After ascending the throne in 998, he gave nominal allegiance to the caliph of the aynAbbāsid dynasty and in return was granted autonomy. He expanded his kingdom through some 17 invasions of the Punjab and northeastern India, carrying with him the banner of Islam. With the treasures he amassed, he transformed the city of Ghazna into a brilliant cultural centre. At his court were the scholar al-Bīrūnī and the poet Ferdowsī.

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Ancient city ruins, north-central Yemen. The ancient fortified city of Mahamzahrib was the centre of the pre-Islamic state of Sabahamzah (950–115 BC). It was located on one of the caravan routes between the Mediterranean Sea and the Arabian Peninsula, and it prospered through its trading monopoly on frankincense and myrrh. The ancient Mahamzahrib Dam was built circa 7th century BC to regulate the waters of the Wadi Sadd; some 1,800 ft (550 m) long, it irrigated more than 4,000 acres (1,600 hectares) and supported a densely settled agricultural region. The dam was destroyed by the 7th century AD and possibly earlier.

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