Monday, September 19, 2016

3 - Rhetoric in Documentary Films

By Vanessa Ciccotosto, Stéphanie Théberge and Chloe Demers

THE ART OF PERSUASION

In this blog, we will explore how documentary filmmaker, Michael Moore, use rhetoric, the art of convincing people through films and speech, to convey his thoughts about the United States. We will be examining Bowling for Columbine (2002), as viewed in class which informs the viewers about the pros and cons of gun control, and Where to Invade Next (2015) which speaks about ways to improve the United States social problems. By watching these two movies, we will explore how Moore employs logos, pathos and ethos in his films to convey his arguments.


PROS AND CONS OF GUN CONTROL
Bowling for Columbine (2002):  

During the week that we watched Bowling for Columbine, a 119 minute movie released October 11, 2002 in the United States, we compared differences between Canada and the USA concerning gun laws. Canada is a nation of hunters and has tones of guns but somehow, they aren't as violent as the Americans, since the American death toll is at the rise of 11,127 and keeps rising. However, Canada's death toll is only 165, a much lower number compared to the US. Also, after watching the movie, we learned how certain celebrities are being blamed for brainwashing Eric and Dylan, into committing the massacre. Here is a link that compares USA death tolls to other nations:

Like we saw in class, Bowling for Columbine brings up many issues concerning gun control such as the causes of the Columbine High School massacre, on April 20th, 1999. Michael Moore chose this particular title for the movie, because, before the massacre, it was assumed that the only class Eric Harris and Dylan Klebold showed up to was their morning bowling class. Throughout the movie, Michael Moore interviews many people concerning the United States violent crime rate and the Columbine massacre such as Matt Stone, Marilyn Manson, Charlton Heston, etc. There were many issues Moore showcased in the movie such as getting free gun by opening a bank account in Michigan, the weapons of mass destruction that are made at Lockheed Martin in Littleton, the comparison between Canadas and the USA crime rates, the cartoon “A Brief History of the United States of America, the case involving the refund of bullets from Kmart etc. However, the main key issues that were shown in the film were one of the most controversial, when Moore touched base on the social welfare case, when the little boy accidentally brought a hand gun to school to show his friends and by mistake he pulled the trigger and shot his six year old little girl classmate. A lot of people were saying that it is because he is from a lower class that his mom wasn't really home all the time to actually be in his life, it was just a lot of speculation on what really triggered the little boy to kill his classmate. Comparing Canada to the United States; but the main question that Moore as questioned is to why Canada is not a violent country with the amount of guns they actually have, America have a the right to bear arms and certain states have a law that is called the "Open gun law" with enables people to walk around with their guns around in public. 
                                

Another  main key issue is when Moore meets with Charlton Heston former NRA and Moore asks him the same question "why is Canada not as violent as to United states". Mr Heston couldn't really answer his question as to why Canada isn't violent like America, in many cases Moore will ask Mr Heston questions as to why certain things are the way they are, Mr. Heston wouldn't really give any answer to anything; towards the very end. When Moore brought up the death of the little six year old girl, we can see that he was becoming overwhelmed with the questions he was being asked and he just gets up and walks away, later throughout the scene we see Moore placing the picture of the little girl on the wall for Mr Heston to see. We have provided a link that encloses information timeline based on school shootings that happened in the USA and across the globe: 


There are three key concepts that are displayed through this film, Logos, Ethos and Pathos.

Logos: Logos is a term that is defined as for reasoning to construct an argument, by using facts, numbers and figures. Moore has drawn up several key arguments on gun control, by using actual facts that are based on gun violence. throughout the film, Moore has compared several countries to the USA on crime rate as well for history of violence. For example he has compared Germany for their horrible past to the USA, asking why is it that Germany isn't so violent and the USA is very violent.

Ethos: Ethos is term used for believing something because of one's credibility, and Moore uses Ethos in his film where he is seen speaking to people who really seem to know a lot about guns, and to why American homes are armed. Moore has shown footages of people shooting on shooting rages and one scene where he features people on a military camp shooting some rounds. Moore interviews these people (the ones who are shown on ranges and on camp)who support the argument on guns, that the Government needs to do something about the gun control issues before it gets out of hands and gets worse.

                                  


Pathos: Pathos is generally used for appealing to emotions that alter the viewers judgment. Moore tends to play with the viewers emotion throughout the film, Moore knows how to play with emotions very well. By viewing funny scenes and showing factual stuff to make the viewers smile for a little bit, then he shifts mood and shows something very emotional like viewing actual security camera footage of the Columbine shooting. Also by viewing interviews by victims of the massacre, the one teacher that witnessed a little boy who shot and killed a six year old girl in class, and by showing recordings of dispatching calls to police on the day of the shooting at Columbine. That tends to play with the viewers judgment on certain situation in the film.    


LET THE INVASION BEGIN!
Where to Invade Next (2015):

On December 23rd, 2015, director Michael Moore released his documentary film titled Where to Invade Next. The film spans 2 hours and follows Moore as he travels through various countries, in order to determine how the United States can improve their country based on the living habits of other nations.

Throughout the movie, Moore “invades” these countries by “stealing” some of their ideas regarding social issues, so that he can bring them back to the US and fix their problems. When he finds that one of these ideas is worth “stealing”, he plants an American flag, claiming that he’s bringing this idea back to the United States.

The “invasion” begins in Italy, when Michael Moore decides to interview a young couple and learns that unlike Americans, Italians have 8 weeks of paid vacation each year and 5 months of paid maternity leave, whereas the US has none. To support this information, he interviews Claudio Dominicali, the CEO of Ducati, the motorcycle company, and learns that his workers need this time off to let out some stress, so that when they get back to work, they are relaxed and productive. After Italy, Moore visits a small village in Normandy, France and compares their cafeteria school lunches versus the American school lunches. There he learns that even schools in the poorest districts of France have a balanced meal composed of 4 courses, unlike cafeteria food in the United States that don’t always use the healthiest and freshest foods to feed their students.

The next stop is Finland, where Moore interviews the Finnish Minister of Education, Krista Kiuru to find out their secret to why they have the smartest students in the world.  Unlike schools in the United States, Finland offers almost no homework to their student and there are no standardized tests, because they want their students to have time to be a kid and socialize and play with their friends and family. All schools in the country offer the same education so there is no need for elite private schools or standardized tests.



Moore goes on to invade, Slovenia, one of the countries who offers free tuition, Germany, a country where workers have labor rights and work life balance, and finally Portugal, where there is no death penalty and drugs are legal until he finally arrives in Norway. In Norway, he learns that their prisons are treated more humanely compared to those in the US, because inmates are offered their own room, their own bathroom, materials provided for hobbies and books. The guards have no guns, because the inmates respect them enough that they don’t need them. By interviewing the warden, Tom Eberhardt, at the Bastoy Prison, he learns that Norwegian prisons are only meant to take away their prisoners freedom and help them get back to society as a changed person.

Moore makes two more stops in Tunisia and Iceland, before ending his journey at the Berlin wall with his old friend, Rod. He goes over the things he’s learned throughout his journey and realises that most of the ideas he “stole” from the countries he visited were in fact American ideas, like the idea of no cruel or unusual punishment, the idea to eliminate death penalty and even the idea of no homework.

Just like in Bowling for Columbine, Michael Moore uses the same rhetoric concepts in Where to Invade Next to convince the audience into believing his views presented in the documentary.  He even uses the three form of rhetoric address such as logos, ethos and pathos to persuade his audience.  For logos, he provides statistics and facts about the countries he visits. For example, schools in Finland are ranked highest on the Global Education Rank at #1, unlike the US that is ranked 29th. Also, American prisons treat their inmates in such an inhumane way that nearly 80% of prisoners are rearrested within 5 years whereas only 20% of prisoners are rearrested in Norway. For ethos, he interviews many credible people, because of their high social position. In fact, Moore interviews the CEO of Ducati to learn why he offers 8 weeks paid vacation and paid maternity leave, as well as interviewing the warden of the Bastoy prison in Norway,Tom Eberhardt, to ask him how he treats his inmates and why he does it in such a humane way compared to the US. As for pathos, he plays with the audience's emotions to make us laugh of feel sad during some scenes of the documentary. For example, he would play comedic music during striking videos of American inmates being abused by their guards in order for them to cooperate. Also, he shows us images of American cafeteria meals compared to French cafeteria to see how unappetizing the American food look next to the French food. Using these three forms of address allows him to persuade his viewers into believing his point of view mentioned throughout the documentary, which is, making the US better by “stealing” some ideas from various countries.
In the link below, you will find additional information on the movie Where to Invade Next and learn about the “Hammer and Chisel Award”, which essentially is an award given to individuals that have made America a better place.


CAN FEAR SAVE SOCIETY?

Both of the Michael Moore documentaries presented teach the audience about our modern day fears. The news and media illustrate our faults but does not provide ways to improve or change in a positive way. This instills fear in citizens which only leads to more violence and distrust between each other. These documentaries display our faults and how other countries and nations have fixed them. For instance, Bowling for Columbine perfectly depicts gun violence in America and how easy it is to buy, trade and own guns and ammunition there. Due to this access to firearms, nearly the entire American population owns guns in fear that they are not properly equipped to defend themselves, despite there not being any alarming threats. In Where to Invade Next, Moore exhibits how different countries have solved most of America’s social problems. This is shown through free education in Slovenia, legalization of drugs to stop crime in Portugal and the success of the women’s rights movement in Iceland. In both documentaries real life problems, gun violence and social issues, are presented and offered solutions. This allows the audience to reflect on how simple life and society could be if we work for basic rights and freedoms. In the link below, the Elephant Journal has eloquently illustrated 25 acts that can make our world a better and more positive place.

As citizens of the world, we have the desire to improve our ways of living by promoting peace, freedom and human rights. While watching these documentaries we see both the evil, scared side of society which lives in fear and negativity, and we see the happy, contemporary side of society which lives in relative peace and comfort. Seeing these two sides juxtaposing one another, challenges our way of perceiving the world around us. Many people do not realize that they live in a scared society; this makes it difficult to witness other countries’ achievements and trends. However, some people do see that change has to be made to better ourselves, our community, our society and our world. When those people, those who want change, watch these films, particularly Where to Invade Next, they see the great achievements of these countries that knew change had to be done and followed through with their plan to improve.

The world needs to improve, that is blatantly obvious. Problems such as world hunger, war, injustice against minorities, sexism, racism, climate change and rape culture are just a few issues with our world. I am angered to see the disrespect we show not only the planet on which we live but the people we live among. Our society has set up unrealistic standards for its citizens. Women must be thin, dress well, present themselves in a non threatening way and pretend to be happy while torturing themselves. Meanwhile men must act macho, preferably tall, muscular and should not respect women or fellow men. Not only is this destructive to the people currently living in this world but also to our future generations. How will they feel when they cannot match up to the impossible standards made decades ago? We need to change by fighting these injustices that we face everyday. Recycle, inspire, protest and stand up for a better world so the next generations do not have to suffer the way we have. From the economy to GMOs and climate change, Sarah Collins, of the Huffington Post, writes about these worldly concerns in the link below.

                                  



Michael Moore has a particular way of making his films. His documentaries have both, very stimulating rhetoric that allows the audience to be convinced of what he says, as well as humour. He explores the realms of rhetoric and plays with logos, ethos and pathos to full enthrall his audience. Without using reasoning, credibly and emotion, his audience would not likely listen to his points and what he wants the world to learn. He also uses his quick wit to attract the audience’s attention even further. The viewers want to see how Moore can make fools out of the people he interviews. His sarcastic tone and quirky remarks grasp the spectators attention so that he can lay down facts and important information that needs to be heard and understood so that change can come to the world.


PERSUADED AND INSPIRED


Michael Moores use of rhetoric managed to successfully convince his audience that change needs to be made in the United States if they want to live in a peaceful, happy world. Through both, Bowling for Columbine and Where to Invade Next, Moore was able to present his arguments in a way that allowed us to see that that these problems don’t exist in other countries, because they have found simple solutions to them.  All in all, Moores documentaries manages to persuade his viewers into believing that things need to be changed for the better concerning gun control and social problems in the US.

Saturday, September 10, 2016

2 - Realistic Documentary Films

By Jeremy Pauze, Soumaya Obey, Reem Zantout


Personal Stories into Films

    In the present blog, two similar documentary films will be presented. They are both animated movies based on personal experience treating similar topics but in different ways. Indeed, Waltz with Bashir and Persepolis both treat the theme of war and its reality through their memories.



The Warped Memories of War Documented in Waltz with Bashir

        Waltz with Bashir (Ari Folman, 2008, Israel, 90 min.) is an animated documentary film; a work of art and of the dreams, memories and interpretations of a soldier who experienced a real war.

    During the height of the Lebanese Civil War in 1982, Israeli Forces (the IDF) were advancing on West Beirut, as part of a larger invasion of Lebanon. The IDF
were asked to help by the Phalangists, an allied group of mostly Christian Lebanese militia, to clear the Sabra and Shatila refugee camp of Palestinian fighters. Instead of moving the civilians out of the camp, the Phalangists slaughtered them; several thousand Palestinians were killed. The Israeli forces were fully aware of the massacre that was taking place but did nothing to stop it. Although they didn’t participate in the killings they helped the Phalangists indirectly. 


  The movie is an autobiography on Ari Folman’s memories and experiences as a soldier during the war. A lot of his memories have become repressed, and what little remained have melded with other people’s memories so animation seemed like the best way to present it. Since a lot of the imagery in the film is a representation of his memories and of the other soldiers, much of it is not based on reality. Memories can give a false representation of past events and can change over time. Waltz with Bashir explores whether these memories remain a part of us or develop into a “life” of their own. Folman visits a psychologist who explains that some memories, when suppressed by fear or hatred, can be changed to more positive false memories as a way for our minds to cope. This makes the imagery all the more important to scrutinize, enable to find what is real and not. In many instances it’s not so obvious.


    One image in the film that is particularly intriguing is the scene showing posters of Bashir plastered all over the streets of Beirut. One critic explained that despite the high attention of detail Folman had to depict 1982 Beirut one mistake he supposedly made was to show posters of the president everywhere. Folman probably already knew this and put them there on purpose. Since the film is mostly a retelling of his memories and most of those memories were warped forgotten, this image shows what Folman may have remembered as opposed to what was there in reality.


   Since Waltz with Bashir is done mostly with animation, it evokes a feeling of fantasy. The general view of a documentary film is one that contains real footage to document its story, but using animation can be just as effective. The true story that the film presents remains intact, it’s just the way it’s presented that’s not real. By using animation, Folman took his true story and enriched its narrative with images of spectacle. Folman tried to strike a balance for his audience between an experience of scopophilia, visual pleasure through its animation, and an experience of epistephilia, the satisfaction of learning about real-life events in the war.

    Folman also demonstrates in Waltz with Bashir what is true for all documentary films: although they may seem to capture reality the filmmaker ultimately has control over its direction, and they’re presented with his or her point of view. In Waltz with Bashir,the massacre is told through Folman’s point of view. If the story had followed the memories of a Palestinian who was in the camps and survived the killings it would be a vastly different take and interpretation of the events. The Phalangists and the Israeli forces, which Folman was served in, would have been depicted differently.

     Folman not only exposes his story and the events of the war but he also conducts interviews with fellow soldiers. The film takes an interactive approach on the massacre, helping to alleviate some of the bias that Folman may have had in the retelling of his memories.

    Despite all of its dream-like imagery, the film’s ending shows some real-life footage of the aftermath of the massacre. Folman does this to remind the viewer that although a lot of imaginary imagery is shown the overall story is real; thousands of innocent people were really slaughtered. http://www.aljazeera.com/indepth/features/2012/09/2012915163152213255.html 

The people who survived, especially those who didn’t have their memories repressed like Folman had, will live with the horror for the rest of their lives. 
                 
Realism through Persepolis


    Persepolis is an animated film which was released for the first time in May 2007. It is based on Marjane Satrapi's life under the Iranian Revolution in 1978. It was directed by Marjane Satrapi herself and by Vincent Paronnaud. The film is one hour and thirty-five minutes long.



    Persepolis begins in an airport where Marjane Satrapi tries to get on a plane to Iran and remembers her childhood when she was 9 and still living with her parents in Iran. Indeed, the story is based on Marjane’s memories of what she lived.

    Marji was a young girl living in Tehran, the capital of Iran, with the dream of becoming the next prophet of Islam. But her ambitions got affected as the political situation in Iran got worse. Indeed demonstrations against the Shah, the former monarch of Iran, started and a civil resistance was formed. When the Shah left Iran for exile in 1978, elections were made and were won by the Islamic Fundamentalists regime. Strict social and political rules were being imposed on Iran’s population such as forcing women to wear the hijab and killing people when they had different political beliefs. In fact, Marji’s uncle, Anoush, who had taught her a lot about the world, was killed because of his Communists ideologies. Marjane’s family started to participate in protests with the hopes of a better society. 

    Marji, as a little girl, was very implicated in the political aspects of her country and was also influenced by the Western culture. Indeed, she would go through a lot of trouble trying to buy Western music and Western clothing as denim jacket on the black market. This is when Marji’s parents decided to send her to a school in Vienna, Austria, for her safety. She was placed in a Christian school where she soon faced discrimination from the nuns. Even though she had some friends, Marji couldn't overcome the feeling of isolation and loneliness and the fact of being an Iranian. Furthermore, she compared how people in Vienna had freedom and took it for granted to how people in Iran fought to only have a sensation of freedom.


    Eventually, Marji is brought back to Iran and after a period of depression, she attends university and meets new friends. She falls in love with a boy to which she will eventually get married. But Marjane still has this rebellious attitude towards the rules and still fights for gender equality. Later on, she gets divorced and sees a friend of hers get killed trying to escape the police. This is when Marjane’s parents decide to permanently send her abroad. Her grandmother dies and we are brought back to the present where Marji is still unable to board the plane to Iran.

    The issues presented in Persepolis are mainly gender inequalities, religion, freedom and political instability. Those issues can directly be observed and understood by the simple fact of Marjane leaving Iran twice for safety reasons. Indeed, demonstrations did not stop during the whole movie and women were always underestimated and treated differently. Iran’s population was not allowed to drink alcohol and the police was always supervising everything.

   The weekly topic, which is realism, is directly applied and found in Persepolis. Indeed, realism incorporates different realities based on many distinct and separate points of view of the ones who were witnesses of a particular event. In other words, depending on one’s perspective, many facets of reality exist; there is not only one truth.

  Persepolis makes us perceive the reality of the Iranian war in a different way as we normally see it in our daily lives because it presents a different point of view, the one of an Iranian young girl which is actually very rare and unique. This produces a distortion of our perspective on the presented issues. Moreover, the presence of reality gives to its viewers the knowledge about what it was to live this kind of war.

   In Persepolis, the realism is presented through Marjane’s memories which are based on real events. However, not everything presented in the film should be viewed as real events. Indeed, there are some fictive elements like Marji’s conversations with god. Those illusions give a sense of naturalism.

   Like Waltz with BashirPersepolis is a movie presented through the illusion of animation. It was done this way to soften the reality and to present the issues without disturbing the viewer's appreciation on what is happening. If it wasn’t an animated documentary, striking images would have been shown. It is easier to incorporate fictif elements in animated films when Marjane was talking to God for example.  
    
  Persepolis is a poetic and expository documentary film as it exposes the Iranian Revolution and presents sounds and images that appeal to the viewer’s emotions.

   The movie Persepolis was based on the book version of Persepolis. Both the book and the movie had a big success presenting something very unusual. Marjane Satrapi also has a website where trailers, interviews, reviews and many other informations concerning Persepolis can be found.

    The movie Persepolis was based on the book version of Persepolis. Both the book and the movie, had a big success presenting something very unusual. Marjane Satrapi also has a website where trailers, interviews, reviews and many other information concerning Persepoliscan be found:



Power of Imagery


     As discussed in class, animated documentary films have not only the power to convey a story using imagery, but they can also incorporate and project a great amount of emotions, dreams, and personal thoughts. In these personal stories, the viewer learns to open his mind while visualizing, and also learns to control his thoughts and emotions historical facts that may challenge his beliefs, perceptions and opinions by viewing another facet of what happened in, for instance, the massacre of Sabra and Shatila in Waltz with Bashir or any other historical documented event. Ari Folman, in his animated documentary film, proves us that there are many facets to a story. Indeed, one is often led to think there are only two sides to the Lebanese/Palestinian-Israeli conflict. In most cases, the films that document this conflict are either taken from a pro-Palestinian point of view, on a pro-Israeli one, omitting the fact that this conflict is much more complicated than that and that it can be documented from multitude angles and ways.

    As a matter of fact, in both Waltz with Bashir and Persepolis, the historical events are presented in an unusual way : the Lebanese war including Sabra and Shatila massacre through Folman’s, and ex-soldier suffering from PTSD, twisted memories, and the uprising against the Shah of Iran through a little girl’s monologue in Persepolis. While Folman explores his fabricated and un-fabricated memories, he proves to the viewer how one’s memory is fluid and manipulative enough to play and trick on oneself, thus showing us how memory alone can create more than one version of the truth. However, the Israeli does not deny the massacre that occurred in the refugee camp. In fact, his personal story is not biased for he does try to be open about other people’s memories in order to gather facts about the massacre. Also, not only does Folman presents his personal story through his film, but he is also giving the viewer a story of denying others their dignity and humanity, therefore creating a cycle of hate, war and violence. On the other hand, Marjane Satrapi makes use of animation in order to talk about gender inequalities, among other things, and the injustices she suffered not only in Iran during the Islamic Revolution, but also her struggle to fit in when living in Europe; another form of social injustice.

    It is also important to note the use of imagery in both films, In Waltz with Bashir, Folman uses animation in order to combine the abstract with the real imagery by playing with the real world and the dream world in order to make  the viewer doubt as to which “world” he is watching. Animation was also used to soften the reality of the ravages of war. However, Folman switches us back to a real 3-dimensional viewing to snap us back to reality when showing the scenes of the refugee camp massacre to remind us that the Sabra and Shatila tragedy has indeed occurred. On the other hand, film animation in Persepolis was more used to show Marja’s dreams involving God and Karl Marx for instance, and also to invite everyone to watch the animated film, be it a full-grown adult, or a little child. In both documentaries presented, film animation was used in order to, not only soften the reality, but was also used as a medium of freedom of expression.

                     Islamic Revolution in Iran                       Massacre of Sabra and Shatila

    Also, one cannot be unaffected after watching these documentaries. Indeed, the Middle East is still nowadays in a perpetual state of crisis with the Syrian Civil war where thousands of civilians, be it men, women, children, and old persons died either on the Syrian soil, or while trying to flee the war as refugees. Waltz with Bashir makes one remember what is happening in that part of the world even in 2016, while Marji’s Persepolis makes us remember the famous Arab Spring that started in 2011 in Tunisia, followed by Egypt, Libya, Yemen, and Syria. For the Syrian civil war started because of the revolutions that started in these countries. However, no one expected it to be such a long, violent and bloody war that makes one shed tears every time the news are on.


Uprising scenes in (from left to right) Egypt, Libya, Syria, and Tunisia

          Here is an interesting link to a document posted by Al Jazeera, an Arabic media, about the Arab Spring : http://arabpress.typepad.com/files/al-jazeera-daryanavard.pdf .

The Conditioning of War Through Animation



In conclusion, Waltz with Bashir is an Israeli animated documentary film that talks about memory, crimes of war, and also the massacre of Sabra and Shatila. The filmmaker, Ari Folman, makes use of imagery for the most part of the film to soften the gruesome scenes , but snaps us back to reality by showing us real 3-dimensional scenes of the refugee camp massacre. Marjane Satrapi’s Persepolis is also an animated documented film that gives a personal point of view of a little girl on the Iranian Islamic Revolution. Both films are good examples to show how documented events can be animated and how there is no unique truth; many versions of one same event exist .