Who Shot the Media? -Analysis of Michael Moore`s Bowling for Columbine
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Michael Moore provides us an interesting reminder of the original definition of documentary film proposed in the 1930s as production that would move audiences to social or political action. The film also raises the old debate about how appropriate it may be for filmmakers to use the tools of their perspective to manipulate documentary or manipulate their audiences. In bowling for Columbine (2002), delivered by Cinema verite style of interview, Moore has a conversation with a man, James Nichols whom the filmmaker suspects of fostering violence. His aim in talking to Nichols is to expose how an apparently normal person is a highly dangerous, unstable man who nevertheless has ready access to powerful firearms. Michael Moore`s self-appearance serves a strong advantage in his polemic with main stream media. The information media are impersonal and pretend to be objective. Moore`s documentaries surpass them in terms not only of content but also of form. The director-as- participant plays extraordinarily well, particularly when he points out the drawbacks of mainstream media. Michael Moore has been the central figure in the rise of documentary. He created a persona- satirical, opinionated and his sophomoric sensibility-which audiences have found highly entertaining. The controversial documentaries by Michael Moore have provoked public debate on social and political matters since the end of the 1980s. His thought portrayed the society where we belong. He assumes the role of a provocateur who raises the consciousness of his audiences and offers a polemical voice to the power elite.
Abstract
Michael Moore provides us an interesting reminder of the original definition of documentary film proposed in the 1930s as production that would move audiences to social or political action. The film also raises the old debate about how appropriate it may be for filmmakers to use the tools of their perspective to manipulate documentary or manipulate their audiences. In bowling for Columbine (2002), delivered by Cinema verite style of interview, Moore has a conversation with a man, James Nichols whom the filmmaker suspects of fostering violence. His aim in talking to Nichols is to expose how an apparently normal person is a highly dangerous, unstable man who nevertheless has ready access to powerful firearms. Michael Moore`s self-appearance serves a strong advantage in his polemic with main stream media. The information media are impersonal and pretend to be objective. Moore`s documentaries surpass them in terms not only of content but also of form. The director-as- participant plays extraordinarily well, particularly when he points out the drawbacks of mainstream media. Michael Moore has been the central figure in the rise of documentary. He created a persona- satirical, opinionated and his sophomoric sensibility-which audiences have found highly entertaining. The controversial documentaries by Michael Moore have provoked public debate on social and political matters since the end of the 1980s. His thought portrayed the society where we belong. He assumes the role of a provocateur who raises the consciousness of his audiences and offers a polemical voice to the power elite.
참고문헌 (21)
- Nichols, Bill, "Introduction to Documentary" (2001), Indiana UP
- Nichols, Bill, "Movies and Methods" (1985), Berkeley U of California P
- Plantinga, Carl, "Rhetoric and Represnetation in Nonfiction Film" (1997), Cambridge UP
- Saunders, Dave, "Direct Cinema: Observational Documentary and the Politics of the Sixties" (2007), Wallflower Press
- Zheutlin, Barbara, "The Politics of Documentary: A Symposium" (2005), Manchester UP
- Asman, D., "Michael Moore’s Sicko attempt at heart surgery", ~ (2007)
- Beordwell, David, "Historical Poetics of the Cinema", The Cinematic Test, ~ (1989)
- Bozell, Brent, "The Michael Moore Test" (2004), The media Research center
- Breznican, Anthony, "Moore Releases Fahrenheit 9", 11 Trailer, 2004
- Georgakas, Dan, "Michael and Us: An Interview with Michael Moore", Cineaste, ~ (1998)
- Koch, Ed, "Koch: Moore’s Propaganda Film Cheapens Debate, Polarizes Nation", World Tribune, ~ (2004)
- Thompson, Stephen, "Moore Hits the Mark", The progressive, ~ (2004)
- Albert and David Maysles, "Salesman", ~ (1968)
- D.A. Pennebaker, "Don’t Look Back", ~ (1967)
- Michael Moore, "Roger and Me", ~ (1989)
- Michael Moore, "Bowling for Columbine", ~ (2002)
- Michael Moore, "Fahrenheit 9", 11, 2004
- Michael Moore, "Sicko", ~ (2007)
- Michael Moore, "Capitalism", ~ (2009)