Who is Michael Moore?

People generally venture of propaganda as the mass-media manipulation of beautys' emotions and prejudices combined with a willingness to deceive in order to gain power (Rhoads, 1). What is confusing, however, is that people often tinct to things they disagree with as propaganda, and things they agree with as informative or educative. And in fact, propaganda is similar in some ways to education, in that both attempt to change what a person believes to be true. However, the difference lies in the types of proficiencys employmentd to generate this change. Propaganda systematically uses baffle techniques to manipulate the emotions of its knockouts and thereby accomplish a manifestly intellectual change in the way a sure subject is perceived. In Fahrenheit(postnominal) 9/11, Michael Moore makes extensive use of cuts, false contextualization, and cynicism to manipulate the viewer's impressions (Rhoads, 2-25). We will now turn our attendance to the movie itself and demonstrate how Moore uses all of these techniques to push his viewers to the conclusions he would like them to draw.

Perhaps the most unremarkably utilized propaganda technique involves the omission of information that would work against the larger theme of the work's thesis. default can be used to intentionally give the viewer the wrong impression about a subject in question. This allows, or in fact prods, the viewer to jump to accredited conclusions about a subject without havin

Range, Peter Ross; "Michael Moore's Truth Problem," New Democrats Online, March 23, 2004, Available at [www.ndol.org/ndol_ci.cfm?cp=1&kaid=127&subid=177&contented=252483]

Moore also uses contextualization to ridicule the current fight in Iraq. Moore shows a magazine of Defense Secretary Donald Rumsfeld appraise the painstaking care that the U.S. Air Force takes when it targets its bombardment runs to check into that the targets are military and not civilian. Moore immediately cuts to a clip of a young Iraqi girl, crying distraught as she is attended to in a hospital. As we empathize with the nodding child, Moore cuts back to Rumsfeld as he continues to propound the efficacy of our bombing campaigns in Iraq.

Moore contextualizes Rumsfeld in the agony that civilians in Iraq are experiencing, undercutting his remarks and generating an passing negative image in the mind of the viewer.

Another commonly used propaganda technique is contextualization, or the setting of an aroused modelling for the viewer. Contextualization is especially effective when used in conjunction with omission?where omission removes intellectual information from the viewer's experience, contextualization can add emotional information in its stead. More uses contextualization brilliantly in the Fahrenheit 9/11. Moore's handling of the day of 9/11 is an showcase of this. He begins by leaving the screen black as the sounds of the terrorist attacks echo through the movie theater. Then he moves on to show the grief and terror of the witnesses to the attacks, tears streaming chain reactor their faces as they attempt to handle the emotional and physical render of what they have experienced. This provokes a powerful, emotional reaction in the viewer as they share in this crushing sorrow and listen back to their own reactions on that terrible day. Moore immediately cuts from this panorama to a clip of President Bush smirking apparently gayly on that very same day. This creates a sense of corrupt in the
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