Michael Moores "Bowling for Columbine" is a declaration film and satire at the same time: promising infotainment
Bowling for Columbine is on it and turning a huge success. In view of the imminent Iraq war and the increasingly American mood, the film is safe to the movie. And although the non-expression topic is, Michael Moore repeatedly represents the relation to US politics (One Moore Stupid Man).
Michael Moore with work remuffing
The starting point is the massacre of Littleton / Colorado, where in 1999 at Columbine High School two Schuler a few co-schoolers and teachers and finally totled themselves (media and violence of schoolers). That the two were on the bowling train on the behaved tomorrow (you could prove bowling as sports lessons!), Bring Moore to ask if bowling may have been the reason for the violence. Of course, he does not mean that seriously and thus only points to the laughing of the one-dimensional explanatory attempts of conservative politicians and media, which quickly focused on violence videos / games or rock music (is Doom blame at the school mass barrier in Littleton?To). And on the amazing blindness in these tries to look at the obvious: that it could have something to do with the Army Culture of America.
The protagonists of this cult has interviewed Moore for his film: Schuler of the Columbine High School, Rustmanager and other weapons of patriots. One often wonders how Michael Moore has managed to move these people to so merciless openness about their relationship to weapons, but apparently they do not give them discomfort. The discomfort arises in the face of these perverted normal elite rather when watching.
But not the weapons themselves are the problem, Moore finds out during the movie. Carrying are doing people.
"I’d like to Say Guns Do not Kill People, Americans Kill People. BECAUSE I Think That’s What’s Really at the Core of this."
Quite fast, Moore comes to the real problem, which is behind the slope of the Americans to the intentional troubleshooting through weapons: anxiety, whether there is a foreign or ultimately in front of himself, is the deeper reason that makes Moore in American culture. In the quick-run, South Park style (South Park co-author Matt Stone comes from the area of Littleton and is interviewed in the film) by American history, which is in Moores’s point of view above all a story of fear, with violence be countered. People in America have lost the relation to their fellow human beings and compensate for this loss through violent vacuum. This is reflected again for Moore in the social system or in the US Aufspolitik.
Michael Moore buys ammunition in a whale Mart
The anchoring of violence and stereotypes of fear is still steeped by the media. In the extremely successful reality TV program Cops (predominantly black) criminals are hunted in front of the camera and finished. In the relation to the actual quota to violent crime, these are clearly surprised on television. This is not only applicable to this fragmental area of entertainment, but also to all information broadcasts and the news itself.
The focusing of the media on the violent individual event distorts the perception of most Americans accordingly and leads to an atmosphere of fear, so Moore. In two places in the film, a connection between this fear and the economy is produced. Thus, on the one hand, it is allegedly economical consignment, which make TV producers to submit to the compulsion to the violence – because violence means action, and only that is so stable that she brings viewers. On the other hand, one of Michael Moore asked the continuous durs of anxiety as a prerequisite for creating new market.
But this idea will be in "Bowling for Columbine" not persecuted, because Michael Moores explanation model remains schematic. The film is not only a documentation, but also a satire, actually a strange mixture of clearing film and satire. So it is pretty funny if the patched weapon arses report freely from the liver, a control of the delivery of nuclear weapons can probably already be meaningful, because there is a few spinners. In the style, most weapons commutations are talking, and the movie cut does his overnight.
It is easy to imagine that this represents only a little representative selection, but this claim does not cause Moore. He wants to talk about it and get his message. Both have succeeded by him. If a laugh sometimes passes, Michael Moores humor usually drives the situation so on the top that it gets something liberating. So, when he says goodbye to a (Canadian) weapon owner, in whose unattempted house he has penetrated, says: "Thanks for Not Shooting Me. "