documentary film chpt. 1-7

sabrina bevi
Flashcards by sabrina bevi, updated more than 1 year ago
sabrina bevi
Created by sabrina bevi over 6 years ago
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Flashcards on documentary film chpt. 1-7, created by sabrina bevi on 10/14/2014.

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Subject and Ideologies Subjects: what they are about concerned with public matters Fiction films are more on human emotions
Purposes, viewpoints or approaches what they are trying to say wit their films record social, cultural, personal, natural, institutional increase our understanding persuade us to take action
forms evolve from formative process limited to actuality based in reality don't create anything out of imagination mainly determined by subject functional, varied, looser more location shots
production way images are shot, recorded shoot on location lighting available on set no technological effects
audience response actions resulting from film aesthetic experience of some sort, effect on attitudes more functional, sparse, austere professional skill communication audience respond to subject matter
documentary mode one of the 3 basic modes in film photograph natural life, juxtaposition the detail
documentary - defined John Grierson- DOCUMENTARY was introduced as an adjective documentary is a kind of argument which makes a claim to factuality POV
THE LUMIERE BROTHERS 1st documentary: Arrival of a Train (1859) first time big screen picture
DOCUMENTARIES TODAY mainstream mode in which we discuss argue for an negotiate our collective social being
INTELLECTUAL CONTEXT doc. mode invented to meet new artistic and communication needs during 20th century doc. is purposive, intended to achieve soomething
NATURALIST (ROMANTIC) paralleled development of anthropology as a social science
NEWSREEL expansion of journalism in early 20th century extension of motion picture as rotogravure weekly theatre shows
PROPAGANDIST russian revolution first karl marx intellectual disciplines negative connotation with word
REALIST European avant-garde 1920's find artistic meaning interrelatedness of time and space understanding the unconscious mind
WORLD WAR 1 made film critical Battle of Somme - most important war doc funded and endorsed by British Military filmmaking became exclusive to rich white males auidence remained the working class
1. NARRATIVE FICTION STAR WARS HAVE CHARACTERS TRYING TO TELL A PLOT
2. AVANT-GARDE EXPERIMENTAL FILM NO STORY OR PLOT INNER EXPERIENCE EXPRESSED THROUGH ABSTRACT ART FILM
3. DOCUMENTARY LUMIERE BROTHERS MOST SUCCESSFUL
DOCUMENTARIES TOWARDS A DEFINITION J.G: THE CREATIVE TREATMENT OF ACTUALITY ROOT: DOCUMENT = LATIN FOR DOCERE = TO TEACH
THE FLAHERTY WAY USE OF FILM MEDIUM IS SIGNIFICANT USED FILM TO SHOW HIS ADMIRATION OF THE REST OF THE WORLD PRESENTED PEOPLE AT THEIR FINEST HOW OTHER CULTURES ARE LIKE OUR OWN
THE FLAHERTY LEGACY REFUSAL TO PASS JUDGEMENT ON SUBJECTS UNIQUE POETIC WAY DOWNFALL: NO SOCIAL COMMENT SOCIAL ECONOMIC AND POLITICAL INTEREST
CATEGORIES OF DOC & FILM 1. POETIC JORIS IVANES; RAIN
CATEGORIES OF DOC & FILM 2. EXPOSITORY CNN BIOGRAPHY EXPERT TELLING YOU ABOUT THE SUBJECT INTERVIEWS
CATEGORIES OF DOC & FILM 3. OBSERVATIONAL DONT LOOK BACK CAMERA TRYING TO HIDE SEE THE WORLD UNFOLD BEFORE IT SLICE OF REALITY SHOWN TO THE CAMERA
CATEGORIES OF DOC & FILM 4. Participatory nick broomfield busting into peoples homes, spontaneously asked them things
CATEGORIES OF DOC & FILM 5. REFLEXIVE DAVID HOLTZMAN'S DIARY FAKE DOCUMENTARY, STAGED AND SET UP PERSONAL DIARY
CATEGORIES OF DOC & FILM 6. PERFORMATIVE FOG OF WAR UP CLOSE AND PERSONAL
NANOOK OF THE NORTH "PRIMITIVE PEOPLE" ROBERT FLAHERTY BECAME GENRE IN 1920-30
3 TYPES OF SOVIET NONFICTION FILMS 1. REPORTAGE/NEWSREEL-INDOCTRINATIONAL SERIES VERTOV SAW CLOSE RELATIONSHIP BETWEEN FILMING PROCESS AND HUMAN THOUGHT HUMAN PERCEPTION HAS LIMITATIONS MACHINE EYE IS PERFECTIBLE PROPAGANDA WEEKLY FILMS GIVING THE NEWS
DZIGA VERTOV DINNIS KAUFMAN MAN WITH A MOVIE CAMERA
AGITKA AGITATION FILMS ALSO CALLED AGITPROP LITTLE POLITICAL PROPAGANDA PIECES AGITATED IN FORMS AS WELL AS IN THEIR GOAL OF AGITATING THE POPULATION
KINO PRAVDA FILM TRUTH PRAVDA BAME OF SOVIET DAILY NEWSPAPER NEW KIND OF SCREEN JOURNALISM COMBINED AGITKA/AGITPROP AND NEWSREEL TRADITIONS NECESSITY FOR THE VALUES AND PROGRESS OF THE REVOLUTION MANIPULATED FILMS IN POST PRODUCTION
AGOT TRAINS FILM CREW ON A TRAIN ACTORS ON BOARD, PRINTING PRESS PUT ON PERFORMANCES, ON BATTLE FRONTS PROMOTING REVOLUTIONARY SEAL
3 TYPES OF SOVIET NONFICTION FILMS 2. COMPILATIONS OF HISTORICAL ARCHIVAL FOOTAGE (COMPILATION) ESTHER SHUB INNOVATION OF TAKING ARCHIVAL FOOTAGE LIFE OF ZARS FAMILY HISTORICAL DOCUMENTATION, PUTTING IT TOGETHER TO TELL A STORY PARTICULAR SEQUENCE SHAPE A STORY
ESFIR (ESTHER) SHUB THE FALL OF THE ROMANOC DYNASTY FILM IS PIECED TOGETHER WITH NARRATION TO HELP BUILD A STORY ARCHIVAL FOOTAGE
3 TYPES OF SOVIET NONFICTION FILMS 3. EPIC CELEBRATIONS OF SOVIET ACHIEVEMENTS (EPIC) VICTOR TURIN TURKSIB 1929 PULL YOUR HEART STRINGS PROPAGANDA LIKE TECHNOLOGY WAS AN EXTENSION OF HUMAN POWER
FICTION SOVIET CINEMA TOTALLY SUPPORTED BY THE STATE SUCCESS OF SOVIET FILMS MEASURED IN TERMS OF HOW WELL THEY CONVEYED MESSAGES
SERGEI EISENSTIEN FILM AS THE MEDIUM IN WHICH ART COULD BE MADE OUT OF MATERIALS MUCH CLOSER TO LIFE SUBJECTS ARE ALL RELATED TO ACTUAL LIFE LIVED OR PRESENTLY BEING LIVED LARGE ECONOMIC AND POLITICAL
SERGIE ESIENSTIEN INFORM EMOTIONALLY SOVIET PUBLIC: 1. CONDITIONS AND EVENS LEADING/JUSTIFYING THE REVOLUTION 2. HEROIC STRUGGLE OF REVOLUTIONARY FORCES DURING IT 3. POSITIVE AND CONSTRUCTIVE EFFORTS OF THE NEW STATE FOLLOWING IT
TYPAGE SELECT A PERSON TO PLAY A PRIEST.. ETC.. APPEARANCE SUGGEST MOST STRONGLY PRESENT ON ASPECT OF A CHARACTER
CHARACTERISTIC OF SOVIET FICTION FILMS STATE SUPPORTED OVERTLY PROPAGANDISTIC COMMUNIST FILMED REAL LIFE MONTAGE TECHNIQUE TO INTERPRET REALITY FROM A MARXISTS-COMMUNIST IDEOLOGICAL PERSPECTIVE
AESTHETIC PREDISPOSITION CREATE FILMS DIFFERENT FROM LITERACY STORIES BELIEVED FICTION FILMS WERE TELLING LIES ABOUT LIFE DOC. AND AVANT-GARDIST SHARED DESIRE TO EXPLORE MORE FULLY THE CAPACITIES OF FILM AS A MEDIUM
DOCUMENTARIANS BELIEVED FITION FILMS WERE NOT REALISTIC ENOUGH PHYSICAL LIFE COULD BE CAPTURED AS IT WAS BEING LIVED
AVANT-GARDISTS FICTION FILMS WERE TOO REALISTIC VISUAL IMAGERY MORE COMPLEX AND CONSISTENT PRESENT ABSTRACT PATTERNS IN MOTION REPRESENT DREAM LIKE PERCEPTIONS
COMMONATLITIES BETWEEN DOC. AND AVANT-GARDIST REBELLION AGAINST LIMITATIONS OF FICTION FILMS DESIRE TO EXPLORE CAPACITIES OF FILM MEDIUM SENSE THAT FICTION FILMS TELL LIES
THREE DISTINCTIVE AVANT-GARDE TECHNIQUES: 1. ABSTRACTION NON OBJECTIVITY RICHETERS; RHYTHMUS 21 (1921) EGGELING'S; DIAGONAL SYMPHONY (1925) 0 SPACE TIMELINE ABSTRACT IMAGES, PAINTINGS BEGINNING OF CITY SYMPHONY
THREE DISTINCTIVE AVANT-GARDE TECHNIQUES: 2. SURREALISM PSYCHOANALYSIS AND SURREALISM DREAM AND UNCONSCIOUS INTENSE IRRATIONAL REALITY OF A DREAM VOYAGE TO THE MOON MIXTURE OF REAL AND SURREAL IMAGES REFLEXIVE DOCUMENTARY
THREE DISTINCTIVE AVANT-GARDE TECHNIQUES: 3. IMPRESSIONISM FRENCH IMPRESSIONISM EMPHASIS ON SPACE/TIME RELATION IMPRESSIONIST PAINTING LOOKS AT LIFE FROM A FAST-MOVING TRAIN ABSTRACTION FOLLOWS A PARTICULAR PATTERN DISTANCE BECOMES REALISTIC SURFACES AND LIFE
CITY SYMPHONIES FEATURE PEOPLE AS PRODUCTS OF THEIR ENVIRONMENTS LEAN TOWARD AVANT-GARDE
WALTHER RUTTMAN'S BERLIN: SYMPHONY OF A GREAT CITY design, way things are shaped, movement TROPICAL GROUPING OF PEOPLE PEOPLE TREATED LIKE SUBJECTS, VISUAL EXAMINATION OF THEM FOLLOW REALITY, NOT ARCHIVAL SOME ACTION IS STAGED VISUAL DESCRIPTION OF LIFE IN BERLIN 1927
ALBERTO CAVALCANTI RIEN QUE LES HEURES MIXTURE OF AESTHETIC AND SOCIAL ARTISTIC EXPERIMENTATION SOCIAL POV SPECIAL EFFECTS USED
JORIS IVEN RAIN 1929 ABOUT AMSTERDAM IMPRESSIONIST, LYRICAL SHAPES, TEXTURES ROUND AND SOFT VERY TACTICAL FILM IMAGINE IMAGES IN EVERYDAY LIFE
CHANGES IN AVANT-GARDE 1ST WAVE DIMINISHED BECAUSE IT WAS EXPENSIVE, COMPLEX BIG STUDIOS DOMINATED CHANGING INTELLECTUAL AND ARTISTIC INTERESTS AND ATTITUDES DEPRESSION AND RISE OF FACISM WW2
JOHN GRIERSONS INFLUENCE COINED THE TERM DOCUMENTARY CUT RIGHT TO THE CHASE, SHOW SOCIAL ISSUE NO PROBLEM WITH PROPAGANDIST DOC NEED TO SERVE HIGHER CIVIC GOAL CREATED EMPIRE MARKETING BOARD
EMPIRE MARKETING BOARD 1930 4 YEARS = HUNDREDS OF FILMS USED YOUNGER, MIDDLE CLASS PEOPLE AIMS: HELP CITIZENS OF EMPIRE, MORE FULLY APPRECIATE ONE ANOTHER VALUE INTERDEPENDENCIES MORE COHERENT CIVI WHOLE, BETTER NATIONALISTIC SPIRIT FOCUS: PRODUCE GOVERNMENT FUNDED DOC., PROMOTE EDUCATE THE PUBLIC ON BRITISH EMPIRE
GENERAL POST OFFICE 1933 - FILM UNIT MOVES TO GPO NEW SOURCE OF FUNDING EFFECTS FILMS, STRESS ON POST OFFICE PROVIDING MODERN COMMUNICATION GREIRSON LOOKS FOR PRIVATE INDUSTRY TO SPONSOR PRIVATE FUNDING FROM OIL INDUSTRY
BRITISH DOCUMENTARY: 1. POETIC AND EXPERIMENTAL 1930 INDUSTRIAL BRITAIN (1933) GRANTON TRAWLER (1934) DRAWING DIRECTLY ON AVANT-GARDE, CITY SYMPHONIES
BRITISH DOCUMENTARY: 2. MID 1930'S JOURNALISTIC REPORTAGE INTERVIEW MATERIAL STOCK SHORT, NEWSREEL FOOTAGE VOICE OVER COMMENTARY IDENTIFY A PROBLEM, ENCOURAGE US TO LEARN AND DO SOMETHING ABOUT IT INCORPORATE FORMAL AND TECHNICAL EXPERIMENTS SPOKEN WORDS USED FOR ANALYSIS HOUSING PROBLEMS (1935)
BRITISH DOCUMENTARY: 3. DOCUMENTARIES STRUCTURED AS NARRATIVES - PROPAGANDA MODEL NARRATING CHARACTERS JOURNEY POPULAR, KEEP AUDIENCE ENGAGED BLEND OF SOCIAL AND FORMAL DRAMA ON DOOR STEP NIGHT MAIL (1936)
GRIERSON NEW MEANINGS, EXCITEMENTS IN THE FAMILIAR THROUGH APPLYING THE CREATIVE TREATMENT OF ACTUALITY CINEMA THE PULPIT, USE IT AS PROPAGANDIST SOCIAL ENGINEERING GOAL; SOCIAL, ECONOMIC, POLITICAL EDUCATIONAL SOCIAL PURPOSES ENLIGHTEN SHAPE THE MODERN INDUSTRIALIZED SOCIETY ONLY DIRECTED ONE FILM
FLAHERTY UNFAMILIAR FAMILIAR DISCOVER AND REVEAL PERSUASIVE SHOWED WORLD AS HE SAW IT MAY LEAD TO SOCIAL CHANGE HIGHLY PERSONAL FILMMAKER USE FILM TO REVEAL LITTLE KNOWN PEOPLE AND PLACES
GRIERSON BRITISH DOC. CONTRIBUTIONS CREATED/ADMIN BRITISH DOC TRADITIONS INNOVATED PRIVATE/PUBLIC SPONSOR NONTHEATRICAL DISTRIBUTION; WENT OUTSIDE MOVIE THEATRES MOTIVATION- PUBLIC SERVICE POSITIVE MESSAGE
FILMS ON THE LEFT WORKER FILMS AND PHOTO LEAGUE 1930 PRESENT TRUE PICTURE OF USA MARXIST POV NO GOV. SPONSORSHIP NOT WELL PRODUCED TIES TO THE USSR
MARCH OF TIME FUNDED BY TIME MAGAZINE MONTHY FILM SERIES NEWSREEL + DOC SEEN BY 20 MILLION AMERICANS LIBERAL STANCE 4 PARTS GOD LIKE NARRATOR, COMMANDING PERSUASIVE VOICE EDITING WAS KEY SPRING US TO DO ACTION MOST CONTROVERSIAL
NON-GOVERNMENT DOCUMENTARIES PRIVATE/COMMERCIAL SPONSORSHIP LEFT BIAS MOST SIGNIFICANT ISSUES OF TIME BOLD POSITION ON SOCIAL ISSUES ARTISTICALLY LESS SUCCESSFUL NO REINFORCEMENT OF IDEAS PRESENTED UNCERTAINTY OF SPONSORSHIP
GOVERNMENT DOCUMENTARIES PARE LORENTZ PLOW NO DISTRIBUTION OF THE FILM, FAILED NEW YORK LIBERAL VS. WEST VIRG. POPULIST THE RIVER (1937), IMPORTANT SOCIAL ISSUES FILMS OF MERIT
LORENTZ'S CONTRIBUTION ESTABLISHED US GOV. DOC FILMMAKING NATIONAL STLYE, EPIC POEMS 2 MASTERPIECES PROBLEM: ALL WORK TIED TO ROOSEVELT NEW DEAL GOV.
AMERICAN DOC QUITE ROMANTICIZED, MORE LYICAL OR POETIC FORM NO SUPPORT FROM PRIVATE OOR OUTSIDE SOURCES, HIGHLY POLITICIZED POPULIST, LARGE SCALE, HYPERBOLIC HISTORICAL BASED, BEFORE AND AFTER ARGUEMENTS
AMERICAN DOCUMENTARIES ROOTED IN POPULISM POPULIST BEGAN PEOPLES PARTY GOV CONTROLLED TENDENCIES TOWARDS MONOPOLY STARTED WITH AMERICAN FARMERS IMPORTANCE OF PEOPLE AND INDIV. MORE AESTHETICKY
BRITISH DOCUMENTARIES ROOTED IN SOCIALISM FACTORY WORKERS URBAN/INDUSTRIAL SUBJECTS COLLECTIVE EFFORT THROUGH GOV. GOV LEADERSHIP STRESSED
LINEI REIFENSTAHL'S TRIUMPH OF THE WILL COMMEMORATES THE 6TH NAZI RALLY IN NUREM-BERG IN 1934 SPONSORED BY GOV TO RALLY SUPPORT BIG CREW, UNLIMITED FUNDS LOSING SELF IN THE MASSES IMPRESSIONISTIC, AVANT-GARDE, NEWSREEL, PROPAGANDA
DOCUMENTARIES AND WAR WWII DOC SA A WEAPON OF SYMBOLIC VIOLENCE RENEWED PUPOSE SOURCE OF FUNDING
BEGINNING OF THE WAR NEWSREELS RECORD OF EVENTS OF THE WAR 1939 -BRIT EST. PROPAGANDA FILM FICTION FILMMAKERS HIRED LEFTWARD AIMS: SPIRITUAL ARMING OF PEOPLE, RAISING MORAL, BETTER WORLD AFTERWARD
WWII ERA DOC. IN ALL COUNTRIES: 1. UTILITARIAN INSTRUCTIONAL VIDEOS TRAINING, ORIENTATION, SCIENTIFIC AND MEDICAL FILMS FOR MILITARY AND CIVILIAN USE
WWII ERA DOC. IN ALL COUNTRIES: 2. SEMI DOCUMENTARY INDOCTRINATIONAL FILMS SEMI: NARRATIVE STYLE LIKE NIGHT MAIL BLEND FICTION AND REAL EVENTS MINISTRY OF INFORMATION PARALLELED BY COMMERCIAL STUDIOS AIMS: BRINGS EVERYONE TOGETHER, WORKING TOGETHER LACK OF VIOLENCE, HATRED
WWII ERA DOC. IN ALL COUNTRIES: 3. SOCIAL DOCUMENTARIES COMMON GOAL FOR WINNING THE WAR AND THAT LIFE WILL BE BETTER AFTER POST WAR OPPORTUNITY THEME ROTHA; CLARITY TO COMPLEX BORING SUBJECTS DIAGRAMS, INTERVIEWS, TRICK OPTICAL EFFECTS
WWII ERA DOC. IN ALL COUNTRIES: 4. RECORDS OF BATTLE DANGEROUS WORK HAD TO WORK WITH LOTS OF FOOTAGE HAD TO CLARIFY CONFUSING PARTS, USED ANIMATED MAPS, ESTABLISH PATTERNS, PLANNED NARRATION GIVE BATTLE SEQUENCES DRAMATIC FORM STORY TOLD CHRONOLOGICALLY SPONSOR REQUIREMENTS WERE FIT IN EMOTIONAL INVOLVEMENT SHOWED DISTRUST/DISLIKE OF GERMANS
CANADA BEGINNING OF WWII END OF 1930S, WAR DOC ENTER CANADA NO SENSE OF NATIONAL IDENTITY THROUGH CANADIAN FILMS
NATIONAL FILM BOARD 1939, GRIERSON DESIGNED TO COPY/IMPROVE BRITISH MODEL MAKE FILMS THAT WOULD HELP BUILD RELATIONSHIPS WITH CANADIAN PEOPLE AND WORLD DISTRIBUTE FILMS WORLDWIDE EXTENT OF CANADAS WAR EFFORT FULL SUPPORT FROM P.M. 4 1/2 FILMS PER WEEK WANTED DIRTY, ROUGH, FILMS
THEATRICALLY RELEASED CANADA CARRIES ON LITTLE HATRED, VIOLENCE WAR EFFORT CONCENTRATED THE WORLD IN ACTION
NON THEATRICAL FILMS LESS LIKELY WAR RELATED REGIONAL OR CULTURAL STUDY 16MM NONTHEATRICAL DISTRIBUTION, WORLD TV UNIT SHOWN IN CLUBS, LIBRARY, SCHOOL FILM COUNCILS FORMED, DECENTRALIZED LEADERSHIP, FEEDBACK NOT ARTISTICALLY GREAT SKILLFULLY MADE, QUICKLY PRODUCED
AMERICA 1942-45 ENTRY TO WAR ENGLISH DOC. COME TOGETHER BRIT. CAN. USA SHARED FILM STOCK ORIENT TROOPS AND CITIZENS ON COMMON WAYS, SURVIVAL OVERCOMING ISOLATION
AMERICAN DOCUMENTARY CATEGORIES: 1. UTILITARIAN/INSTRUCTIONAL SHORT FACTUAL FILMS MORE IMAGERY LOVELY SHOTS
AMERICAN DOCUMENTARY CATEGORIES: 2. SEMI DOCUMENTARY/ INDOCTRINATION FILMS ORIENTATION FILMS, USA ARMY HAD TO WATCH BEFORE GOING INTO WAR WHY WE FIGHT UNSTRUCTURED HISTORY, ACTION, CLIMAX, DENOUEMENT VISUAL AND AUDIO RESOURCES
AMERICAN DOCUMENTARY CATEGORIES: 3. RECORD OF BATTLE MADE BY HOLLYWOOD FICTION MOVIE MAKERS USE OF COLOUR THE FIGHTING LADY
AMERICAN DOCUMENTARY CATEGORIES: 4. SOCIAL DOCUMENTARIES OFFICE OF WAR COORDINATE GOV. INFO RELEASED TO PUBLIC/MEDIA ENSURE FILMS DIDN'T CONTAIN HARMFUL INFO 2 TYPES: 1. WAR PROPAGANDA AT SOCIO-CULTURAL VALUES 2. SOCIO POLITICAL DOCS MADE FOR AMERICAN CIVILIAN
KEY ASPECTS OF WAR DOCUMENTARIES GOV SPONSORSHIP PRIVATE SPONSORSHIP NONFICTION FILMS CEASE DURING WAR INNOVATIONS DUE TO INFLUX OF FICTION FILM CAPRA MORE MONEY BEING INVESTED
BRITAIN INDOCTRINATION FILMS POETIC EXPERIMENTAL SHORTS SEMI DOCS LACK OF VIOLENCE, LESS HATRED BRITAIN WILL SURVIVE CLASS DIVISION IN ENG.
BRITISH RECORDS OF BATTLE DOCS VICTORY SERIES SUCCESSFUL CAMPAIGNS LARGE SCALE FEATURE LENGTH
BRITAIN SOCIAL DOCUMENTARY SOCIALIST POV WHAT IS NEEDED FOR PEACE
CANADA INDOCTRINATION FILMS MARCH OF TIME MEANING FOR CANADIANS, RELATIONSHIP TO THEM CANADA DOING THEIR PART CANADA IMPORTANT IN WORLD
CANADA RECORDS OF BATTLE SHOT SHELL FILMS STRATEGY PRINCIPLE CONCERN WARFARE INFORMATIONAL AND ANALYTICAL LITTLE BATTLE SHOWN
CANADA SOCIAL DOCUMENTARY EXCEPTIONAL IN SELECTION OF SUBJECTS
USA INDOCTRINATION FILMS HISTORICAL COMPILATIONS ENEMIES ARE UNETHICAL, INHUMAN ALLIES TO HELP DESTROY ENEMIES FEAR OF INVASION
USA RECORDS OF BATTLE BATTLE FILMS FULL OF VIOLENCE RACISM
SOCIAL DOCUMENTARY PEACETIME THEME FOR SPECIAL REASON IMPROVING USA RELATION COUNTERACT ENEMY PROPAGANDA OVERBLOWN PICTURES OF AMERICAN LIFE BY HOLLYWOOD
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