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The Price of Knowledge: Hysterical Discourse in Anti-Michael Moore Documentaries

The Price of Knowledge: Hysterical Discourse in Anti-Michael Moore Documentaries Scott Krzych The Price of Knowledge Hysterical Discourse in Anti-Michael Moore Documentaries Hysterical characters can seldom render a full story, they tell an aspect, a part, whatever suits their needs of the moment, engaging in what might be called unintentional lying. Elisabeth Young-Bruehl, The Anatomy of Prejudices This essay examines several documentary films, all of which share the same intertextual goal: to critique and ultimately rebut the progressive political ideas found in films directed by Michael Moore. The complete cycle of politically conservative documentaries include Michael & Me (Elder 2004), FahrenHype 9/11 (Peterson 2004), Celsius 41.11 (Knoblock 2004), Michael Moore Hates America (Wilson 2004), and Manufacturing Dissent (Caine & Melnyk 2007). The films display several common traits: personal attacks against Moore; the calling into question of his ideology, motives, and seriousness as a filmmaker; interviews with predominately Republican government officials and conservative media pundits; and a tendency to use Moore's documentary strategies against him. The anti-Moore films also misconstrue, mischaracterize, and seemingly misunderstand Moore's respective critiques of corporate capitalism (Roger & Me), gun culture (Bowling for Columbine), and the administration of George W. Bush (Fahrenheit 9/11). The failure of the conservative films to address coherently their selected subject http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

The Price of Knowledge: Hysterical Discourse in Anti-Michael Moore Documentaries

Krzych, Scott
The Comparatist , Volume 39 (1) – Nov 20, 2015
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University of North Carolina Press
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Copyright © Southern Comparative Literature Association.
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1559-0887
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Abstract

Scott Krzych The Price of Knowledge Hysterical Discourse in Anti-Michael Moore Documentaries Hysterical characters can seldom render a full story, they tell an aspect, a part, whatever suits their needs of the moment, engaging in what might be called unintentional lying. Elisabeth Young-Bruehl, The Anatomy of Prejudices This essay examines several documentary films, all of which share the same intertextual goal: to critique and ultimately rebut the progressive political ideas found in films directed by Michael Moore. The complete cycle of politically conservative documentaries include Michael & Me (Elder 2004), FahrenHype 9/11 (Peterson 2004), Celsius 41.11 (Knoblock 2004), Michael Moore Hates America (Wilson 2004), and Manufacturing Dissent (Caine & Melnyk 2007). The films display several common traits: personal attacks against Moore; the calling into question of his ideology, motives, and seriousness as a filmmaker; interviews with predominately Republican government officials and conservative media pundits; and a tendency to use Moore's documentary strategies against him. The anti-Moore films also misconstrue, mischaracterize, and seemingly misunderstand Moore's respective critiques of corporate capitalism (Roger & Me), gun culture (Bowling for Columbine), and the administration of George W. Bush (Fahrenheit 9/11). The failure of the conservative films to address coherently their selected subject

Journal

The Comparatist – University of North Carolina Press

Published: Nov 20, 2015

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