1,722,137 research outputs found
Crise, documentário e representação: uma análise do filme “Capitalismo: uma história de amor”, de Michael Moore
Full text linkTCC (Graduação) - Universidade Federal de Santa Catarina. Centro Socioeconômico. Curso de Administração.Crises econômicas não se limitam aos aspectos financeiros, afetam a vida de muitos cidadãos despertando nestes o questionamento acerca do próprio sistema econômico. Neste sentido Michael Moore procura fazer uma análise do sistema capitalista em seu filme: “Capitalismo: Uma História de Amor” (2009), tendo como âncora a crise americana de 2008. Filmes documentários possuem certa intenção de verossimilhança com o real, informando e despertando seus espectadores para a reflexão acerca do tema. Desta forma, constituem-se como uma forma de representação da realidade social do sujeito que o produz. Este trabalho, de caráter descritivo, busca identificar uma “visão de mundo” do diretor Michael Moore a partir de seu filme, fazendo aporte a teoria das representações sociais de Moscovici. Desta forma, foram levantadas 4 categorias de análise, a saber: capitalismo, crise de 2008, comportamento das organizações (casos de fraudes, escândalos) e Wall Street. Ao final, há indícios uma “visão de mundo” de Moore, que seria perpassada por elementos que fogem as categorizações da pesquisa, estando presentes em todas elas. Como sua a ideia de igualdade e justiça; a face inescrupulosa das organizações e de certos conglomerados como Wall Street
Michael Moore Berlinben
No full textA cím félrevezető, betegsége miatt Michael Moore személyesen nem tudott részt venni Berlinben a Mit szálljunk meg legközelebb? című filmje európai premierjén
"‹Kulinarischer Dokumentarfilm› serviert von Michael Moore"
No full textInternational audienceDer Artikel analysiert Michael Moore als mediales Phänomen und untersucht die dokumentarisch-selbstreflexiven Strategien in seinen Filmen
Michael Moore, an American Populist?
Full text linkThis article contextualizes the films of Michael Moore in the tradition of American populism. Extending in particular from historian Thomas Frank’s argument in People without Power that populism can usefully be understood as a particular American tradition of leftism, the article traces how three of Moore’s films—Roger & Me (1989), Sicko (2007), and Capitalism: A Love Story (2009)—articulate political concerns that overlap with the political beliefs of American populism. The article also explores some of the populist elements in Moore’s style and argues that there is good reason to see Michael Moore as a twenty-first-century American populist but that any attempt to do so must remain clear about the definitions of populism used to make this contextualist argument
CHARACTERS AND DRIVES IN WATCHMEN BY MICHAEL MOORE
No full textCHARACTERS AND DRIVES IN WATCHMEN BY MICHAEL MOORE - Psychoanalysis, character, and watchme
Michael Moore backstage at the 2002 (75th) Academy Awards ceremony
No full textMichael Moore, winner, Documentary (Feature) (BOWLING FOR COLUMBINE), holds his Oscar statuette backstage at the 2002 (75th) Academy Awards ceremony. 35mm color negative
Michael Moore, Roger et moi (Roger and me)
No full textMalassinet Alain. Michael Moore, Roger et moi (Roger and me). In: Raison présente, n°95, 3e trimestre 1990. Bouleversements à L'Est. pp. 143-144
Le spectacle du racisme américain montré par Michael Moore
No full textEnfant terrible de la télévision promu pape de l'autocritique US depuis son documentaire à succès Bowling for Columbine, Michael Moore n'en est pas à son premier coup d'épée dans l'hypocrisie des "petits Blancs". Tantôt chauffeur de taxi refusant de les charger, tantôt membre de l'association de défense du port d'arme , il n'a pas encore tiré toutes ses cartouches. Son prochain film, Fahrenheit 11/9, traitera du 11 Septembre. En pleine campagne présidentielle.Abdallah Mogniss H. Le spectacle du racisme américain montré par Michael Moore. In: Hommes et Migrations, n°1246, Novembre-décembre 2003. France-USA : agir contre la discrimination. II – Méthodes et pratiques. pp. 118-122
Activismo antitrumpista: Ken Burns y Michael Moore en la trinchera del documental estadunidense
No full textUnderstanding the documentary as a tool that acquires an active role in the construction of political identities, shaping the history of communities, the goal is to analyze documentaries of two American filmmakers —Michael Moore and Ken Burns— and the relation Donald Trump’s candidacy and presidential management. By means of a qualitative interpretive methodology, it is discovered that the directors and their respective documentaries —Michael Moore in Trumpland (2016), Fahrenheit 11/9 (2018) and The Central Park Five (2012)—, participate in the current national debate. Concurring in a context they find dangerous and urgent, despite their profound differences and stark contrasts. It is concluded that in the United States, for nine decades, the documentary remains a necessary tool for dissent, opening discussions on issues that are considered of national relevance.Al entender al documental como una herramienta que adquiere un papel activo en la construcción de identidades políticas y en la conformación de la historia de las comunidades, el objetivo del texto es analizar los documentales de dos cineastas estadounidenses —Michael Moore y Ken Burns— en relación con la candidatura y gestión presidencial de Donald Trump. A través de una metodología cualitativa de corte interpretativo, se descubre que los directores y sus respectivos documentales —Michael Moore in Trumpland (2016), Fahrenheit 11/9 (2018) y The Central Park Five (2012)— abonan y participan en el debate nacional actual, coincidiendo en un contexto que consideran peligroso y urgente, a pesar de sus profundas diferencias y matices. Se concluye que en Estados Unidos, como desde hace nueve décadas, el documental sigue siendo una herramienta necesaria de la disidencia para abrir discusiones sobre temas que se consideran de relevancia nacional
Le radicalisme de Michael Moore
No full textMichael Moore is famous and popular in many European countries, where he is seen as a critic of American culture. However, his main thesis, which is repeatedly expressed in his films and books, does not primarily criticize American popular culture or political tradition. Rather, this article argues that Moore’s thought may best be analysed through the American tradition of radicalism, whose origin dates back to Thomas Paine. Obviously, Moore is a contemporary radical who uses the modern media to reach as many people as possible. Yet some aspects of his rationale are surprisingly close to 18th century American radicalism
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