000			03559cam a2200397Ii 4500
001			ocn911665844
003			OCoLC
005			20240726105000.0
008			140916s2015 ilua ob 001 0 eng d
040			_aP@U _beng _erda _epn _cP@U _dOCLCO _dEBLCP _dYDXCP _dOCLCF _dNT _dNHM _dOCLCQ _dCOH
020			_a9780809334087 _q((electronic)l(electronic)ctronic)
043			_an-us---
050	0	4	_aPN1998 _b.M534 2015
049			_aMAIN
245	1	0	_aMichael Moore and the rhetoric of documentary /edited by Thomas W. Benson and Brian J. Snee.
260			_aCarbondale : _bSouthern Illinois University Press, _c(c)2015.
300			_a1 online resource (vi, 232 pages) : _billustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
520	0		_a"Not afraid to tackle provocative topics in American culture, from gun violence and labor policies to terrorism and health care, Michael Moore has earned both applause and invective in his career as a documentarian. In such polarizing films as Bowling for Columbine, Fahrenheit 9/11, and Sicko, Moore has established a unique voice of radical nostalgia for progressivism, and in doing so has become one of the most recognized documentary filmmakers of all time. In the first in-depth study of Moore's feature-length documentary films, editors Thomas W. Benson and Brian J. Snee have gathered leading rhetoric scholars to examine the production, rhetorical appeals, and audience reception of these films. Contributors critique the films primarily as modes of public argument and political art. Each essay is devoted to one of Moore's films and traces in detail how each film invites specific audience responses. Michael Moore and the Rhetoric of Documentary reveals not only the art, the argument, and the emotional appeals of Moore's documentaries but also how these films have revolutionized the genre of documentary filmmaking."--Provided by publisher.
505	0	0	_aMichael Moore and the rhetoric of documentary: art, argument, affect 1 / _rThomas W. Benson and Brian J. Snee -- _tLaughing through our tears: rhetorical tensions in Roger and me / _rJennifer L. Borda -- _tThe big one that got away / _rChristine Harold -- _tThe many moods of Michael Moore: aesthetics and affect in Bowling for Columbine / _rBrian L. Ott and Susan A. Sci -- _tThe conversion of Lila Lipscomb in Fahrenheit 9/11 / _rThomas Rosteck and Thomas S. Frentz -- _tThe phenomenal text of Michael Moore's Sicko / _rEdward Schiappa, Daniel Ladislau Horvath, and Peter B. Gregg -- _tThe ghosts of Michael Moore's future-Past: or, the many failures of Slacker uprising / _rDavis W. Houck and Joseph Delbert Davenport -- _t"I'm sorry to see it go": nostalgic rhetoric in Michael Moore's Capitalism: a love story / _rKendall R. Phillips.
530			_a2 _ub
600	1	0	_aMoore, Michael, _d1954 April 23- _xCriticism and interpretation.
650		0	_aMotion pictures _xPolitical aspects _zUnited States.
650		0	_aDocumentary films _xPolitical aspects _xHistory and criticism.
655		1	_aElectronic Books.
700	1		_aSnee, Brian J., _e5
700	1		_aBenson, Thomas W., _e5
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1031290&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN.. _m2015 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c84946 _d84946
902			_a1 _bCynthia Snell _c1 _dCynthia Snell