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Version 2: 11 November 2013Version 2: 11 November 2013

Rick InstrellRick Instrellwww.deep-learning.co.ukinfo@deep-learning.co.uk

Association for Media Education in Scotland

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Seven Key Aspects of Media StudiesSeven Key Aspects of Media Studies

INSTITUTION

• internal context

• external context

AUDIENCE

• target audience

• mode of address

• preferred reading

• differential decoding

TEXT

CATEGORIES

• medium, purpose, form, genre, style, tone, …

LANGUAGE

• technical & cultural codes, anchorage

NARRATIVE

• narrative structure & narrative codes

REPRESENTATION

• selection, portrayal, ideological discourses

LIVED CULTURE

• individual & social lives

encode

decode

select

affect

TECHNOLOGY

• hardware, software, skills

TIME

MEANING

CAPITAL

Note: key aspects in BOLD UPPER CASE

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Or, in wordsOr, in words

Media institutions, within media markets Media institutions, within media markets and systems of regulation, create types of and systems of regulation, create types of text for specific target audiences. These text for specific target audiences. These texts represent the real world through texts represent the real world through narrative and ideological discourses. By narrative and ideological discourses. By close analysis of media texts we can close analysis of media texts we can understand how the text has been encoded, understand how the text has been encoded, the ways in which it is decoded and how the the ways in which it is decoded and how the text has been shaped by its institutional, text has been shaped by its institutional, audience and socio-political and ideological audience and socio-political and ideological contexts.contexts.

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Key Aspect: InstitutionKey Aspect: Institution

internal context & effectsinternal context & effects external context & effectsexternal context & effects

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Institution: Internal ContextInstitution: Internal Context

How does the internal context shape the How does the internal context shape the text?text?

Can conceptualise the internal context of Can conceptualise the internal context of film production as a struggle between the film production as a struggle between the allocative and operational allocative and operational (productive/creative) levels of control(productive/creative) levels of control

In film, this often comes down to who has In film, this often comes down to who has right of final cutright of final cut

In ‘authored’ documentaries, authorial In ‘authored’ documentaries, authorial control and ‘authorial stamp’ must be control and ‘authorial stamp’ must be consideredconsidered

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Michael Moore as ‘Auteur’: 1Michael Moore as ‘Auteur’: 1

Michael Moore (MM) has authorial controlMichael Moore (MM) has authorial control MM is an ensemble of signs connoting MM is an ensemble of signs connoting

‘ordinary guy’‘ordinary guy’ Faux-naFaux-naïïf narcissist and entrepreneurf narcissist and entrepreneur Inserts himself into public debates Inserts himself into public debates Staged encounters with authority (‘big shots’ Staged encounters with authority (‘big shots’

do what they want and don’t care about do what they want and don’t care about ‘ordinary folks’)‘ordinary folks’)

Dog Eat Dog Films Logo

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Michael Moore as ‘Auteur’: 2Michael Moore as ‘Auteur’: 2

‘‘Gonzo’ journalist (in the style of Hunter S Gonzo’ journalist (in the style of Hunter S Thompson: subjective reportage using sarcasm, Thompson: subjective reportage using sarcasm, humour, exaggeration, distortion)humour, exaggeration, distortion)

Speculations give enough information to cause Speculations give enough information to cause suspicion but not enough to make a casesuspicion but not enough to make a case

Distorts facts to make his case Distorts facts to make his case First-person polemic with punchlines First-person polemic with punchlines Excludes articulate opponents of his arguments Excludes articulate opponents of his arguments Mixes comedy and tragedyMixes comedy and tragedy Comic/ironic use of musicComic/ironic use of music Funny, opinionated, sometimes eloquentFunny, opinionated, sometimes eloquent Expert editing and structuring of material with Expert editing and structuring of material with

bravura montages of archive materialbravura montages of archive material

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F9/11F9/11: Institutional Background 1: Institutional Background 1

According to Edward Jay EpsteinAccording to Edward Jay Epstein MM made unsuccessful approach to Mel Gibson’s Ikon MM made unsuccessful approach to Mel Gibson’s Ikon

Productions in April 2003 (Moore claims White House Productions in April 2003 (Moore claims White House pressure)pressure)

MM went to Harvey Weinstein at Miramax and contract MM went to Harvey Weinstein at Miramax and contract signed May 2003; MM given loan of $6m; 60% net profit signed May 2003; MM given loan of $6m; 60% net profit to charityto charity

Eisner vetoed distribution May 2003Eisner vetoed distribution May 2003 Weinstein saw rough cut April 2004 – asked Eisner to Weinstein saw rough cut April 2004 – asked Eisner to

reconsider; MM desperate to get film released; Eisner reconsider; MM desperate to get film released; Eisner concerned at use of Al Jazeera and Al Arabiya footageconcerned at use of Al Jazeera and Al Arabiya footage

May 5 2004 Moore releases story that Disney CEO May 5 2004 Moore releases story that Disney CEO Michael Eisner concerned that film might jeopardise tax Michael Eisner concerned that film might jeopardise tax breaks for theme parks, hotels, etc. in Jeb Bush’s Floridabreaks for theme parks, hotels, etc. in Jeb Bush’s Florida

May 22, 2004: May 22, 2004: F9/11F9/11 wins Palme d’Or at Cannes wins Palme d’Or at Cannes

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F9/11F9/11: Institutional Background 2: Institutional Background 2

Disney allow Harvey and Bob Weinstein to buy film back Disney allow Harvey and Bob Weinstein to buy film back and set up short-lived company to handle distribution and set up short-lived company to handle distribution (Fellowship Adventure Group)(Fellowship Adventure Group)

Theatrical and DVD distribution out-sourced Theatrical and DVD distribution out-sourced Media buzz very strong (MM’s self-publicity; villains: Bush, Media buzz very strong (MM’s self-publicity; villains: Bush,

Eisner; Cannes triumph; MPAA appeal)Eisner; Cannes triumph; MPAA appeal) MM wanted its cinema, DVD release and tv broadcast MM wanted its cinema, DVD release and tv broadcast

before Presidential election of 2 November 2004before Presidential election of 2 November 2004 MM gave permission for it to be downloadable via WWWMM gave permission for it to be downloadable via WWW F9/11F9/11 now event movie - $228m worldwide box office – 3m now event movie - $228m worldwide box office – 3m

DVDsDVDs Net profits: Disney: £46m split between Disney Foundation Net profits: Disney: £46m split between Disney Foundation

and Miramax; $16m to Weinsteins; £21m to MMand Miramax; $16m to Weinsteins; £21m to MM

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Institution: External Context 1Institution: External Context 1

How does external context shape text?How does external context shape text? Documentary features very popular in Documentary features very popular in

cinemas in recent yearscinemas in recent yearsBowling for ColumbineBowling for Columbine (budget $4m, US (budget $4m, US gross $21m)gross $21m)Fahrenheit 9/11Fahrenheit 9/11 ($6m, world gross ($6m, world gross $228m)$228m)

These documentaries often feature These documentaries often feature alternative viewpoints which receive little alternative viewpoints which receive little coverage in mainstream news coverage in mainstream news

Commercial success of Commercial success of BfC BfC meant that meant that F9/11F9/11 found funding found funding

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Institution – External Context 2Institution – External Context 2

US film ratings US film ratings governed by governed by Motion Picture Motion Picture Association of Association of America (MPAA)America (MPAA)

R and NC-17 R and NC-17 ratings may ratings may exclude keenest exclude keenest moviegoersmoviegoers

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F9/11F9/11: Ratings: Ratings

Given an ‘R’ ratingGiven an ‘R’ rating Moore made very public appeal for PG-13 Moore made very public appeal for PG-13

(thus generating more publicity) (thus generating more publicity) But remained ‘R’ for “some violent and But remained ‘R’ for “some violent and

disturbing images, and for language”disturbing images, and for language” Concern for rating may have guided Concern for rating may have guided

choice of clips e.g. ELS of a beheading in choice of clips e.g. ELS of a beheading in Saudi ArabiaSaudi Arabia

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Poster & DVD CoverPoster & DVD Cover

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Key Aspect: TechnologyKey Aspect: Technology

hardwarehardware softwaresoftware technical skillstechnical skills

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Technological ContextTechnological Context

How does technology shape text?How does technology shape text? Light-weight cameras and sound Light-weight cameras and sound

equipment, digital editing have equipment, digital editing have revolutionised documentariesrevolutionised documentaries

Costs reduced because smaller crewsCosts reduced because smaller crews Faster editing lowers costs (Faster editing lowers costs (F9/11F9/11 1000h 1000h

of footageof footage4h 4h 2h, ideal length for 2h, ideal length for movie)movie)

Filmmakers spend more time making films Filmmakers spend more time making films rather than finding co-production moniesrather than finding co-production monies

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Technology: Images in Technology: Images in F9/11F9/11

Challenge of eye-matching source materials Challenge of eye-matching source materials that include Internet video (320x240 at 12 that include Internet video (320x240 at 12 fps), VHS, TiVo, HDTV into 24fps HD formatfps), VHS, TiVo, HDTV into 24fps HD format

Editors wanted viewer to focus on film not Editors wanted viewer to focus on film not technical deficienciestechnical deficiencies

Used Teranex Standards Converter and Used Teranex Standards Converter and Snell & Wilcox Alchemist boxes to remove Snell & Wilcox Alchemist boxes to remove problems like judder, blurring, smearing, problems like judder, blurring, smearing, break upbreak up

Used Avid Unity LANshare to store 1000h of Used Avid Unity LANshare to store 1000h of filesfiles

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Technology: Sound in Technology: Sound in F9/11F9/11

Problems: tight deadlines, multiple audio Problems: tight deadlines, multiple audio formats of varying quality, last minute formats of varying quality, last minute changeschanges

Sound treated in three phases: reduce Sound treated in three phases: reduce noise, sync to picture, mix to balance noise, sync to picture, mix to balance sound with otherssound with others

Used Digidesign Pro Tools 5.1 software for Used Digidesign Pro Tools 5.1 software for sound mixingsound mixing

Used EdiTrace software that creates a Used EdiTrace software that creates a sound edit decision listsound edit decision list

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Key Aspect: CategoriesKey Aspect: Categories mediummedium purposepurpose formform genregenre stylestyle tonetone

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Categories: MediumCategories: Medium

Role of media convergence (digital Role of media convergence (digital convergence as well as convergence as well as conglomeration)conglomeration)

FilmFilm Television Television Internet videoInternet video Multimarketing (DVD with extras, Multimarketing (DVD with extras,

books, audio books, website)books, audio books, website)

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Categories: FormCategories: Form

Fiction: narrative genre defined by Fiction: narrative genre defined by syntax (plots, conflicts) and syntax (plots, conflicts) and semantics (stock characters, setting, semantics (stock characters, setting, props).props).

Non-fiction: needs to be defined by Non-fiction: needs to be defined by different criteria e.g. purpose, different criteria e.g. purpose, subject, style, …subject, style, …

Hybrids: mixing conventions of bothHybrids: mixing conventions of both

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Genre: Documentary DefinitionsGenre: Documentary Definitions

‘‘The creative treatment of actuality’ The creative treatment of actuality’ (John Grierson)(John Grierson)

‘‘The art of record’ (John Corner)The art of record’ (John Corner) ‘‘Factual genres’Factual genres’ Definitions have a tension between Definitions have a tension between

realism and representation realism and representation (construction of reality)(construction of reality)

So could categorise documentaries So could categorise documentaries on their level or type of ‘treatment’on their level or type of ‘treatment’

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Genre: Documentary ConventionsGenre: Documentary Conventions

Documentary uses a set of conventions Documentary uses a set of conventions which signifywhich signify

‘‘realism’ (the documentary ‘look’):realism’ (the documentary ‘look’): Archive footage and photographsArchive footage and photographs ‘‘Talking heads’Talking heads’ Jiggly cameraJiggly camera Location shooting and soundLocation shooting and sound Voiceover narration (‘voice-of-God’)Voiceover narration (‘voice-of-God’) Real people (may use actors in re-enactments)Real people (may use actors in re-enactments) Documentary editing which makes an argument Documentary editing which makes an argument

(cf. continuity editing of fiction) …(cf. continuity editing of fiction) …

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Genre: Documentary TaxonomyGenre: Documentary Taxonomy RealistRealist subgenres (minimal ‘treatment’) subgenres (minimal ‘treatment’)

e.g. ethnographic, cinema verite.g. ethnographic, cinema veritéé (direct (direct cinema) cinema)

FormalistFormalist subgenres (formal structure subgenres (formal structure imposed on material) e.g. tv news, current imposed on material) e.g. tv news, current affairs, tv documentariesaffairs, tv documentaries

SubjectiveSubjective subgenres (individual subgenres (individual structure imposed on material) e.g. poetic, structure imposed on material) e.g. poetic, personal, polemical, reflexivepersonal, polemical, reflexive

HybridsHybrids e.g. dramadoc, docudrama, e.g. dramadoc, docudrama, reality tv formats, mockumentariesreality tv formats, mockumentaries

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Genre: Alternative TaxonomiesGenre: Alternative Taxonomies

Can also categorise in terms of:Can also categorise in terms of: PurposePurpose: propaganda, social activism, : propaganda, social activism,

education, observation, analysis, insight, education, observation, analysis, insight, aesthetics, drama, reflexivity, aesthetics, drama, reflexivity, entertainment, profit, …entertainment, profit, …

SubjectSubject: war, concert, nature, …: war, concert, nature, … StyleStyle: compilation, observational, : compilation, observational,

interactive …interactive … AuthoredAuthored: e.g. Nick Broomfield, Michael : e.g. Nick Broomfield, Michael

MooreMoore

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F9/11F9/11: Purpose - Propaganda: Purpose - Propaganda

MM: “The ending of this move takes MM: “The ending of this move takes place on November 2, 2004” (date of place on November 2, 2004” (date of US presidential election)US presidential election)

Film, its marketing and distribution Film, its marketing and distribution (see later) designed to persuade (see later) designed to persuade Americans to vote and to vote Bush Americans to vote and to vote Bush outout

How does propaganda work?How does propaganda work?

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Propaganda Tactics in Propaganda Tactics in F9/11F9/11: 1: 1

Kelton Rhoads identifies these tactics:Kelton Rhoads identifies these tactics: OmissionOmission: omit true or relevant information e.g. : omit true or relevant information e.g.

Saudis were interviewed prior to leavingSaudis were interviewed prior to leaving AssociationAssociation: juxtapose scenes so that we make : juxtapose scenes so that we make

a connection; works well if that is what the a connection; works well if that is what the audience audience wantswants to see e.g. shot of Bush in 9/11 to see e.g. shot of Bush in 9/11 sequencesequence

Defining of In and Out GroupsDefining of In and Out Groups: Saudis are an : Saudis are an out group and Bush fraternises with them (‘us’ v. out group and Bush fraternises with them (‘us’ v. ‘them’)‘them’)

CynicismCynicism: all politicians have selfish motivations : all politicians have selfish motivations e.g. Bush more interested in playing golf and e.g. Bush more interested in playing golf and making money than defeating terrorismmaking money than defeating terrorism

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Propaganda Tactics in Propaganda Tactics in F9/11F9/11: 2: 2 TrapsTraps (either way you’re screwed): e.g. Bush (either way you’re screwed): e.g. Bush

ignore warnings about terror but he is issuing too ignore warnings about terror but he is issuing too many about terror that have not materialisedmany about terror that have not materialised

Misuse of Cause and EffectMisuse of Cause and Effect: correlation does : correlation does not mean causation; most events are multicausal. not mean causation; most events are multicausal. Propaganda ignores these facts e.g. IF Bush in Propaganda ignores these facts e.g. IF Bush in White House AND USA attacked by terrorists White House AND USA attacked by terrorists THEN Bush caused 9/11THEN Bush caused 9/11

Emotional Identification with ConvertsEmotional Identification with Converts: : Audience identifies with a character who Audience identifies with a character who undergoes a U-turn. Makes movie undergoes a U-turn. Makes movie feelfeel true and true and emotion overrules reason e.g. Lila Lipscombemotion overrules reason e.g. Lila Lipscomb

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Propaganda Tactics in Propaganda Tactics in F9/11F9/11: 3: 3 DistractionDistraction: keeps audience from thinking : keeps audience from thinking

rationally. IF there are many arguments THEN the rationally. IF there are many arguments THEN the film must be right e.g. overwhelm audience with film must be right e.g. overwhelm audience with statistics, documentsstatistics, documents

PacingPacing: distraction through fast cutting of archive : distraction through fast cutting of archive footage, film/tv clips, animation, graphics with footage, film/tv clips, animation, graphics with humour and music e.g. music cueing us how we humour and music e.g. music cueing us how we should feel about Bush, should feel about Bush, BonanzaBonanza scene, flashing scene, flashing documents on screen that whose validity cannot be documents on screen that whose validity cannot be assessedassessed

Misuse of NumbersMisuse of Numbers: IF numbers are quoted THEN it : IF numbers are quoted THEN it must be true e.g. Bush on vacation 42% of the time must be true e.g. Bush on vacation 42% of the time in first 229 daysin first 229 days

Shutting Down OppositionShutting Down Opposition: threatening : threatening defamation suits; refusing to allow his own tv defamation suits; refusing to allow his own tv interviews to be editedinterviews to be edited

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Categories: Tone in Categories: Tone in F9/11F9/11

Serious (Bill Nichols: ‘discourse of Serious (Bill Nichols: ‘discourse of sobriety’)sobriety’)

PolemicalPolemical Comic Comic SatiricalSatirical First-person colloquial narration in First-person colloquial narration in

laid-back voice – although a barrage laid-back voice – although a barrage of sound/image may assail us, MM of sound/image may assail us, MM the narrator doesn’tthe narrator doesn’t

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Key Aspect: AudienceKey Aspect: Audience target audiencetarget audience mode of addressmode of address preferred readingpreferred reading differential decodingdifferential decoding

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Audience: Target Audience 1Audience: Target Audience 1

MM says MM says F9/11F9/11 primarily aimed at 50% of US primarily aimed at 50% of US people who don’t vote: poor, working class, people who don’t vote: poor, working class, single moms, young, African Americanssingle moms, young, African Americans

This means that the film treats the story This means that the film treats the story within the familiar framework of the within the familiar framework of the private private domaindomain i.e. within a personal individual i.e. within a personal individual framework (cf. mass market tabloid press)framework (cf. mass market tabloid press)

As with tabloids, there is extensive use of As with tabloids, there is extensive use of humour and popular culture references humour and popular culture references

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Audience: Target Audience 2Audience: Target Audience 2

But film obviously also aimed at leftists/ But film obviously also aimed at leftists/ libertarianslibertarians

Film also frames its story in terms of the Film also frames its story in terms of the public domainpublic domain i.e. concerning institutions i.e. concerning institutions and institutional responsibilities (cf. and institutional responsibilities (cf. upmarket ‘quality’ press)upmarket ‘quality’ press)

So gives statistics, deals with the political So gives statistics, deals with the political and economic back storyand economic back story

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Audience: Mode of AddressAudience: Mode of Address

Establishes relationship with audience by: Establishes relationship with audience by: Addressing ‘structure of feeling’ of audience Addressing ‘structure of feeling’ of audience

of audience by its subject matter (concerns of audience by its subject matter (concerns of Americans such as Bush’s election win, of Americans such as Bush’s election win, 9/11, political and corporate corruption, 9/11, political and corporate corruption, wars)wars)

Uses direct mode of address (through MM’s Uses direct mode of address (through MM’s narration)narration)

Uses indirect mode of address (e.g. through Uses indirect mode of address (e.g. through personal testimony of interviewees)personal testimony of interviewees)

Uses a general mode of address to appeal Uses a general mode of address to appeal to mass audienceto mass audience

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Audience: Preferred ReadingAudience: Preferred Reading

Intentional meaning of the film:Intentional meaning of the film: Bush is an idiotBush is an idiot Bush’s business dealings affected US Bush’s business dealings affected US

foreign policyforeign policy ““The war is waged by the ruling class The war is waged by the ruling class

against its own subjects … to keep the against its own subjects … to keep the very structure of society intact.”very structure of society intact.”

We must vote Bush out (the DO We must vote Bush out (the DO SOMETHING invocation in the end titles)SOMETHING invocation in the end titles)

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Audience: Differential DecodingAudience: Differential Decoding

How do different audiences interpret the text?How do different audiences interpret the text? Many left-leaning viewers emotionally Many left-leaning viewers emotionally

affected by the film and found it affected by the film and found it conformed their suspicionsconformed their suspicions

Right sees Right sees F9/11F9/11 as left-wing propaganda as left-wing propaganda full of falsehoods and deception full of falsehoods and deception (e.g. www.bowlingfortruth.com, David (e.g. www.bowlingfortruth.com, David Kopel, Christopher Hitchens)Kopel, Christopher Hitchens)

Marxist academics troubled by MM’s self-Marxist academics troubled by MM’s self-promoting narcissism and inadequate promoting narcissism and inadequate analysis of US foreign policy which is analysis of US foreign policy which is partial, individualist, dehistoricisedpartial, individualist, dehistoricised

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Key Aspect: NarrativeKey Aspect: Narrative

narrative structurenarrative structure narrative codesnarrative codes

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How theHow the Narrative was Narrative was Constructed: 1Constructed: 1

F9/11F9/11 constructed from “conceptual segments”: constructed from “conceptual segments”:1.1. GWB before 9/11GWB before 9/112.2. GWB after 9/11GWB after 9/113.3. Afghan and Iraq warsAfghan and Iraq wars

These were divided into sub-segments (see These were divided into sub-segments (see synopsis for a possible segmentation)synopsis for a possible segmentation)

Segments put on large note cards to guide the Segments put on large note cards to guide the editorseditors

Most segments are a montage of Most segments are a montage of images/sounds that contain a proposition images/sounds that contain a proposition designed to affect the audiencedesigned to affect the audience

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How theHow the Narrative was Narrative was Constructed: 2Constructed: 2

MM wanted to have a “narrative arc” MM wanted to have a “narrative arc” placed over material.placed over material.

Considered using generic narratives (e.g. Considered using generic narratives (e.g. horror, SF)horror, SF)

Residue of this is the individualist Residue of this is the individualist narrative frame (character as causal narrative frame (character as causal agent) with the hero (MM) chasing agent) with the hero (MM) chasing villains (GWB, Saudis)villains (GWB, Saudis)

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How theHow the Narrative was Narrative was Constructed: 3Constructed: 3

Evident in the narrative conflicts (symbolic Evident in the narrative conflicts (symbolic code):code):

UsUs (good)(good) v. v. Them (bad)Them (bad)

MMMM v. v. GWBGWB

Real peopleReal people v. v. ActorsActors

Poor/powerlessPoor/powerless v.v. Rich/powerfulRich/powerful

Real peopleReal people v. v. ActorsActors

Ordinary AmericansOrdinary Americansv. v. GWB, Corporations, GWB, Corporations,

Military, Saudi ruling Military, Saudi ruling

familiesfamilies

MM’s narrative resolution was meant to take MM’s narrative resolution was meant to take place in the real world with Bush being defeated place in the real world with Bush being defeated on November 2, 2004on November 2, 2004

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Formal Narrative Structures in Formal Narrative Structures in DocumentaryDocumentary

Formal structures for documentaries:Formal structures for documentaries:1.1. Narrative formNarrative form: cause-effect event chain: cause-effect event chain

e.g.e.g. Touching the Void Touching the Void2.2. Categorical formCategorical form: sorts its referent into sub-/super- : sorts its referent into sub-/super-

categories (cumulative/ contrastive/ developmental) e.g.categories (cumulative/ contrastive/ developmental) e.g. Life Life of Birdsof Birds

3.3. Rhetorical formRhetorical form: presents argument – look for repetition of : presents argument – look for repetition of organisational refrain (e.g. ‘why did this happen?’) e.g. organisational refrain (e.g. ‘why did this happen?’) e.g. PanoramaPanorama

4.4. Associative formAssociative form: juxtapose sound & image so that : juxtapose sound & image so that audience makes connections e.g. audience makes connections e.g. Koyaanisqatsi Koyaanisqatsi

(Bordwell & Thompson (2004) (Bordwell & Thompson (2004)

F9/11 F9/11 contains elements of all of these formal structures but contains elements of all of these formal structures but as a propaganda piece is best analysed as an example of as a propaganda piece is best analysed as an example of rhetorical formrhetorical form..

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Features of Rhetorical Form: 1Features of Rhetorical Form: 1

Propaganda films are likely to be Propaganda films are likely to be rhetorical rhetorical

and present their argument by:and present their argument by: Using direct addressUsing direct address Expressing opinions rather than factsExpressing opinions rather than facts Suppressing other opinionsSuppressing other opinions Appealing to audience’s emotionsAppealing to audience’s emotions Trying to make the audience Trying to make the audience actact

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Features of Rhetorical Form: 2Features of Rhetorical Form: 2

The types of arguments used are:The types of arguments used are: Source-centredSource-centred: presenting the film : presenting the film

as a reliable source of information e.g. as a reliable source of information e.g. reliable narrator, authoritative sourcesreliable narrator, authoritative sources

Subject-centredSubject-centred: appeals to shared : appeals to shared beliefs about subject matter; uses beliefs about subject matter; uses examples; uses rhetorical devicesexamples; uses rhetorical devices

Viewer-centredViewer-centred: appeal to emotions, : appeal to emotions, logiclogic

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Features of Rhetorical Form: 3Features of Rhetorical Form: 3

The typical structure of a text with rhetorical The typical structure of a text with rhetorical form is:form is:

1.1. Introduction to situationIntroduction to situation ( (F9/11F9/11: fraudulent : fraudulent election, 9/11)election, 9/11)

2.2. Discussion of factsDiscussion of facts (Bush, Saudis, wars) (Bush, Saudis, wars)3.3. SolutionsSolutions (U-turns by Marine Corporal and Lila (U-turns by Marine Corporal and Lila

Lipscomb – implication vote Democrat)Lipscomb – implication vote Democrat)4.4. Summary epilogueSummary epilogue (“The war is waged by the (“The war is waged by the

ruling class against its own subjects … to keep ruling class against its own subjects … to keep the very structure of society intact.”)the very structure of society intact.”)

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Narrative CodesNarrative Codes

Enigmatic code: MM as narrator Enigmatic code: MM as narrator several times asks a rhetorical several times asks a rhetorical question which the audience answers question which the audience answers e.g. MM (over shot of GWB sitting in e.g. MM (over shot of GWB sitting in classroom): “Was he thinking, I’ve classroom): “Was he thinking, I’ve been hanging out with the wrong been hanging out with the wrong crowd? Which one of them screwed crowd? Which one of them screwed me?”me?”

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Key Aspect: Key Aspect: RepresentationRepresentation

selectionselection portrayalportrayal ideological discoursesideological discourses

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Representation: SelectionRepresentation: Selection

Who and what is/is not selected?Who and what is/is not selected? Curious omissions: UN, Curious omissions: UN,

neoconservative ideology, Al Qaeda, neoconservative ideology, Al Qaeda, Islamic fundamentalism, Islamic fundamentalism, Guantanamo Bay, support from Blair, Guantanamo Bay, support from Blair, ……

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Representation: PortrayalRepresentation: Portrayal

How are people, places, events portrayed?How are people, places, events portrayed? Tends to lampoon rather than indictTends to lampoon rather than indict MM’s determination to make us laugh MM’s determination to make us laugh

leads to a propensity for stereotypes e.g. leads to a propensity for stereotypes e.g. Bush as country bumpkin, foreign peoples Bush as country bumpkin, foreign peoples (e.g. Arab rulers, various countries in the (e.g. Arab rulers, various countries in the Coalition of the Willing sequence)Coalition of the Willing sequence)

MM has a history of deception (in MM has a history of deception (in Roger Roger and Meand Me, , BfCBfC and and F9/11F9/11) –see Bordwell & ) –see Bordwell & Thompson, Kopel, HitchensThompson, Kopel, Hitchens

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Representation: Ideological Representation: Ideological DiscoursesDiscourses

Individualist ideology of Individualist ideology of F9/11F9/11 overdetermined overdetermined

by:by: MM’s individualist demagogueryMM’s individualist demagoguery MM’s propaganda techniques MM’s propaganda techniques ‘‘Tabloid’ approach aimed at prime audience Tabloid’ approach aimed at prime audience

of the poorof the poor Narrative which casts Bush as villain and Narrative which casts Bush as villain and

foolfool

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Key Aspect: LanguageKey Aspect: Language

technical codestechnical codes cultural codescultural codes anchorageanchorage

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Language: Technical & Cultural Language: Technical & Cultural CodesCodes

What are the principal elements of What are the principal elements of documentary documentary

discourse? (Corner, 1996)discourse? (Corner, 1996) Image modesImage modes: observation (minimal intervention : observation (minimal intervention

with profilmic event); interaction (coding through with profilmic event); interaction (coding through mise-en-scmise-en-scèène, composition, shot type, framing, ne, composition, shot type, framing, editing …); illustration (supporting verbal editing …); illustration (supporting verbal discourse); association (juxtaposition of images) discourse); association (juxtaposition of images)

Speech modesSpeech modes: overheard exchange; testimony; : overheard exchange; testimony; voiceover; to-camera address.voiceover; to-camera address.plusplus

Sound modesSound modes: : expressive/commentative/illustrative use of expressive/commentative/illustrative use of sound/musicsound/music

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Language: Anchorage 1Language: Anchorage 1

Bull’s eye schema (Bordwell, 1989): can be used to Bull’s eye schema (Bordwell, 1989): can be used to

conceptualise diegetic/non-diegetic interactions:conceptualise diegetic/non-diegetic interactions:

Characters/people

diegetic world

non-diegetic representation

expressivist

commentative

5252

Language: Anchorage 2Language: Anchorage 2

How do images and sound interact?How do images and sound interact?1.1. Expressive: is the sound and/or mise-en-Expressive: is the sound and/or mise-en-

scscèène expressive of the action? e.g. ne expressive of the action? e.g. reflecting the inner states of the reflecting the inner states of the characterscharacters

2.2. Commentative: does the sound and/or Commentative: does the sound and/or mise-en-scmise-en-scèène comment on the action? ne comment on the action? e.g. ironic comments/music, distanciatione.g. ironic comments/music, distanciation

3.3. Illustrative: images may be used to Illustrative: images may be used to illustrate the argument in the voiceoverillustrate the argument in the voiceover

5353

F9/11F9/11 Sequence Sequence Uses Arvo PUses Arvo Pärt’s ärt’s Cantus in Memory of Cantus in Memory of

Benjamin BrittenBenjamin Britten Perfect complement to images Perfect complement to images

(expressivist)(expressivist) ““an elegy of great beauty and feeling. It an elegy of great beauty and feeling. It

opens with the tolling of a distant bell, opens with the tolling of a distant bell, which is gradually enveloped in a threnody which is gradually enveloped in a threnody of cascading A minor string scales. of cascading A minor string scales. Individual instrumental strands entwine Individual instrumental strands entwine around each other and seem to enfold the around each other and seem to enfold the listener in a tonal shroud.”listener in a tonal shroud.”

Robert LaytonRobert Layton

5454

F9/11F9/11 Segment Analysis Segment Analysis

Analyse a ‘conceptual segment’ in terms Analyse a ‘conceptual segment’ in terms of technical/cultural codes and anchorageof technical/cultural codes and anchorage

What is the proposition/effect in that What is the proposition/effect in that segment?segment?

What propaganda tactics has it used?What propaganda tactics has it used? How does that segment relate to others in How does that segment relate to others in

the overall argument?the overall argument? Relate the segment to intertextual, Relate the segment to intertextual,

institutional, audience and/or social institutional, audience and/or social contextscontexts

5555

ReferencesReferences

Bordwell, David and Thompson, Kristin (2004) Bordwell, David and Thompson, Kristin (2004) Film Art: an Film Art: an Introduction (7th edition).Introduction (7th edition). New York: McGraw-Hill. New York: McGraw-Hill.

Cousins, Mark (2004) Cousins, Mark (2004) Fahrenheit 9/11Fahrenheit 9/11: : Sight and SoundSight and Sound Review. Review. www.bfi.org.uk/sightandsound/2004_09/fahrenheit.phpwww.bfi.org.uk/sightandsound/2004_09/fahrenheit.php

Epstein, Edward Jay (2005) Epstein, Edward Jay (2005) Paranoia for Fun and Profit: How Paranoia for Fun and Profit: How Disney and Michael Moore cleaned up on ‘Fahrenheit 9/11’. Disney and Michael Moore cleaned up on ‘Fahrenheit 9/11’. www.slate.com.www.slate.com.

Hitchens, Christopher (2004) Hitchens, Christopher (2004) Unfairenheit 9/11Unfairenheit 9/11.www.slate.com..www.slate.com. Kopel, David (2004) Kopel, David (2004) Fifty-nine Deceits inFifty-nine Deceits in ‘ ‘Fahrenheit 9/11’Fahrenheit 9/11’. .

www.IndependenceInstitute.org.www.IndependenceInstitute.org. Laskowski, Nicole (2004) Laskowski, Nicole (2004) Michael Moore andMichael Moore and ‘ ‘Fahrenheit 9/11’Fahrenheit 9/11’. .

www.ejumpcut.orgwww.ejumpcut.org Moore, Michael (2004) Moore, Michael (2004) The Official ‘Fahrenheit 9/11’ ReaderThe Official ‘Fahrenheit 9/11’ Reader. .

London: Penguin. London: Penguin. Rhoads, Kelton (2004) Rhoads, Kelton (2004) Propaganda Tactics andPropaganda Tactics and ‘ ‘Fahrenheit 9/11’Fahrenheit 9/11’. .

www.workingpsychology.comwww.workingpsychology.com