Word: detailism
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...Cliffs. Junger’s work is purportedly a “resistance story,” recounting the tale of two travelers who encounter, and later flee, a viciously despotic ruler not too different from Hitler himself. In Ryan’s view, however, the gory but gorgeous detail lavished upon the so-called villains of the novel uses the “aestheticization of violence” to glorify barbaric sadism...
...single best work, a painting, hangs at the Samson Projects. Entitled “A Blaze of Glory, Flame Red Double Knit,” it depicts, on a shiny canvas, two women in red, their bodies cropped from mid-thigh to collarbone. The detail is luminous, close to photographic; each wrinkle in the outfits is executed with finesse, while the bodies of the women are mysterious and elegant. It calls into question the status of the faceless females without making the statement on feminine identity and body image too obvious...
...past, he was living under his enemy's nose. The village was nominally under the control of pro-Russian Chechen forces; Tsentoroy, Kadyrov's home base, is only around 20 km away. Maskhadov was planning to move on toward Achkhoy Martan in western Chechnya. When his security detail failed to make contact, the guerrillas started calling down the chain of Maskhadov's liaison agents. Using some of his many nicknames - including one, Big Ears, that he disliked intensely - they asked if anyone had sighted Maskhadov. Nobody had, but this didn't cause major alarm. Rumors had been flying among...
...Saturday, McEwan also befriended a London neurosurgeon, Neil Kitchen, and spent two years following him at the hospital, finally joining him in the operating room. What he learned is set down in long passages that describe in loving (and graphic) detail the procedures of brain surgery. Work itself is a form of heroism in this book. So is love. So is a dry-eyed realism about our fates. McEwan and Perowne are both fond of quoting Charles Darwin: "There is a grandeur in this view of life." There's a grandeur in Saturday...
Downfall is a German film--epic in scale, painstaking in detail, superbly acted--that recounts the last days of Adolf Hitler and his circle of associate monsters in the spring of 1945. The locale is ruined Berlin, encircled by the implacably advancing Russians as its population descends into anarchy. Belowstairs, Hitler (toweringly played by Bruno Ganz) spirals deeper into unreality. Hunched over his maps, he orders imaginary armies to attack, while his toadies, in their spiffy uniforms, look nervously at one another. Who's going to risk his rage by telling him the truth...