Relevant bibliographies by topics / Fahrenheit 9/11

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Academic literature on the topic 'Fahrenheit 9/11'

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Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Fahrenheit 9/11"

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Rasmusson, Sarah L. "Masculinity and Fahrenheit 9/11." International Feminist Journal of Politics 7, no. 1 (March 2005): 137–41. http://dx.doi.org/10.1080/1461674052000342339.

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Lawrence, Regina G. "A Review of “Fahrenheit 9/11”." Political Communication 22, no. 2 (April 2005): 253–55. http://dx.doi.org/10.1080/10584600590933269.

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Secor, Anna J. "Fahrenheit 9/11: War, Fantasy, and Society." Environment and Planning D: Society and Space 22, no. 6 (December 2004): 919–23. http://dx.doi.org/10.1068/d2206e.

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Hissen, Alexandra. "Fahrenheit 9/11: Der Film zum Wahlkampf." Rhetorik 26, no. 1 (December 13, 2007): 84–94. http://dx.doi.org/10.1515/9783484605022.0.84.

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WEBER, CYNTHIA. "Fahrenheit 9/11: The Temperature Where Morality Burns." Journal of American Studies 40, no. 1 (April 2006): 113–31. http://dx.doi.org/10.1017/s0021875806000776.

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Michael Moore's 2004 film Fahrenheit 9/11 is a visual and narrative tour de force that critiques everything from the controversial conditions under which George W. Bush assumed the US presidency to President Bush's handling of his so-called “war on terror.” With its tagline “The temperature where freedom burns,” Moore stresses the dubious ethical nature of the Bush administration's post-9/11 policies, especially as they redefine the US relationship between freedom and censorship. In so doing, he challenges the Bush administration's constructions of US morality as ultimately elitist and self-serving, substituting his own populist, class-based moral America(n) in its place.
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Briley, Ron. "Fahrenheit 9/11: Michael Moore Heats It Up." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 2 (2005): 11–12. http://dx.doi.org/10.1353/flm.2005.0029.

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Nolley, Ken. "Fahrenheit 9/11: Documentary, Truth-telling, and Politics." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 2 (2005): 12–16. http://dx.doi.org/10.1353/flm.2005.0052.

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Vieira, Laís Farago, and Vanessa Matos dos Santos. "Descortinando Fahrenheit 9/11: as estratégias de Michael Moore." DOC online - Revista Digital de Cinema Documentário, no. 23 (March 30, 2018): 196–211. http://dx.doi.org/10.20287/doc.d23.ac02.

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Dear, Michael. "Fahrenheit 9/11: The Temperature at which Regimes Burn?" Environment and Planning D: Society and Space 22, no. 6 (December 2004): 924–26. http://dx.doi.org/10.1068/d2206f.

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Goodnight, G. Thomas. "The Passion of the Christ Meets Fahrenheit 9/11." American Behavioral Scientist 49, no. 3 (November 2005): 410–35. http://dx.doi.org/10.1177/0002764205279417.

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Dissertations / Theses on the topic "Fahrenheit 9/11"

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Häll, Karin. "En retorisk analys av Fahrenheit 9/11 ur ett dokumentärhistoriskt perspektiv." Thesis, Högskolan Dalarna, Medie- och kommunikationsvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2723.

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The history of rhetorics in documentary film is a long one. The French brothers Louise and Auguste Lumiére were among the first persons who produced a documentary and their work has had a big impression in the history of documentary during the 1900 century. John Grierson has been called “the father” of documentary film. He produced films in the English speaking part of the world and he is the founder of the concept “documentary film”. Propaganda filming has a big part in the history of documentary film. Most frequently it appeard in Germany before and during the secound WW II, but propaganda films has been produced in Great Britain and USA as well as in other parts of the world. Rhetorics are of current interest today. It effects the news, papers, magazines, books and movies. The purpose with this essay is to investigate the rhetorics in Michael Moores controversial documentary of September 11th, Fahrenheit 9/11. The main question is: what rhetorical tools does Michael Moore use in order to communicate his politcal message in Fahrenheit 9/11? The rhetorical analysis includes exordium, narratio, propsitio, argumentatio and conclusio as well as ethos, logos and pathos. In order to conduct the analysis I have used Kurt Johannesson’s book Retorik eller konsten att övertyga, Maria Karlberg and Brigitte Mral’s book Heder och påverkan. Att analysera modern retorik. And at last a chapter by Brigitte Mral named Retorikanalys in the book Metoder i kommunikationeverenskap, by Mats Ekström and Larsåke Larsson. For the background about the history of documentary film I have used Barsam M. Richard, Nonfiction Film A Critical History and Bjørn Sørenssen’s book Å fange virkeligheten –Dokumentarfilmens århundre.The analysis shows that Moore uses different rhetorical tools in order to point out that George W Bush is the wrong man for the role as the president of United States of America. Some of the most effective tools that Moores uses are his own voice, pictures who awakes emotions, recordings and sharp arguments. His way of using ethos, logos and pathos is very clear. The disposal can also be distinct discern, however there are some exceptions towards the classical rhetoric. One example is that Moore doesn´t describe the arrangement of the movie in exordium.
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Hadley, Tiffany S. "Not all reality is created equal a rhetorical hybrid of conspiracy and diatribe in Michael Moore's Fahrenheit 9/11 /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1141244903.

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Thesis (M.A.)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Apr. 11, 2006). Includes abstract. Keywords: Michael Moore, Documentary, Diatribe, Conspiracy, Hybrid, Generic Hybrid, Rhetorical Hybrid, Modes of Representation, Nichols. Includes bibliographical references.
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Lange, Christiane. "Meinungsmacher Michael Moore? der Einfluss des Films Fahrenheit 9/11 auf das Nationenimage Amerikas in Deutschland ; eine empirische Analyse." Hamburg Diplomica-Verl, 2006. http://d-nb.info/987352318/04.

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Hadley, Tiffany Sunshine. "Not All Reality Is Created Equal: A Rhetorical Hybrid Conspiracy and Diatribe in Michael Moore’s Fahrenheit 9/11." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1141244903.

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Mariano, Márcia Corrêa de Oliveira [UNESP]. "Leituras e imagens do 11 de setembro: reavaliações da história em Falling Man (2007), de Don DeLillo e em Fahrenheit 9/11 (2004), de Michael Moore." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/151183.

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Item merged in doublecheck by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-07-26T12:49:03Z Item was identical to item(s): 149682, 98273 at handle(s): http://hdl.handle.net/11449/149233, http://hdl.handle.net/11449/99137
Os atentados de 11 de setembro originaram diversas manifestações artísticas buscando não apenas explicações para a tragédia, mas também tentando repensar os acontecimentos. Neste sentido, esta pesquisa apresenta uma investigação a respeito da maneira como um romance e um documentário se apropriaram desse episódio para reavaliá-lo. Com os ataques, os Estados Unidos experimentaram uma forte sensação de vulnerabilidade, desencadeando reações do governo americano, que formulou com bastante rapidez uma nova doutrina de segurança nacional, baseada no combate ao terrorismo. Esta dissertação analisa as estratégias narrativas utilizadas pelo autor americano Don DeLillo no romance Falling Man (2007), e pelo cineasta Michael Moore, no documentário Fahrenheit 9/11 (2004), e como eles abordam fatores históricos, socioeconômicos e políticos que desencadearam a tragédia, a fim de reexaminá-la. Textos teóricos e críticos sobre a relação entre Literatura e História, ficção Pós-Moderna, aspectos do documentário e questões sobre terrorismo fundamentam as discussões apresentadas no trabalho. Este estudo objetiva ampliar os questionamentos acerca dos fatos que levaram à catástrofe e suas consequências, examinando personagens e grupos ligados ao 11 de setembro, revelando múltiplas verdades, condicionadas social, ideológica e historicamente
September 11 has originated a wide range of artistic manifestations which have not only searched for plausible explanations for the tragedy, but also tried to review the events. In this sense, this thesis aims at showing how a novel and a documentary reevaluate this episode. The attacks made the United States experience a strong sense of vulnerability, triggering reactions from the American government, who quickly established a new national security strategy, associated with the war on terror. This thesis analyzes the narrative strategies employed by the American author Don DeLillo in his novel Falling Man (2007) and by the filmmaker Michael Moore in the documentary Fahrenheit 9/11 (2004), as well as the way they approach socioeconomic and political factors that caused the tragedy in order to reevaluate it. The debate of the topics is based on texts concerning the relationship between literature and history, postmodern fiction, documentary aspects and issues on terrorism. This study contributes to enrich the discussion related to the events that led to the catastrophe and its aftermath, examining characters and groups linked to the September 11 terrorist attacks, revealing multiple truths subjected to social, ideological and historical conditions
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Mariano, Márcia Corrêa de Oliveira. "Leituras e imagens do 11 de setembro : reavaliações da história em Falling Man (2007), de Don DeLillo e em Fahrenheit 9/11 (2004), de Michael Moore /." São José do Rio Preto : [s.n.], 2012. http://hdl.handle.net/11449/151183.

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Orientador: Giséle Manganelli Fernandes
Banca: Manuel Fernando Medina
Banca: Norma Wimmer
Resumo: Os atentados de 11 de setembro originaram diversas manifestações artísticas buscando não apenas explicações para a tragédia, mas também tentando repensar os acontecimentos. Neste sentido, esta pesquisa apresenta uma investigação a respeito da maneira como um romance e um documentário se apropriaram desse episódio para reavaliá-lo. Com os ataques, os Estados Unidos experimentaram uma forte sensação de vulnerabilidade, desencadeando reações do governo americano, que formulou com bastante rapidez uma nova doutrina de segurança nacional, baseada no combate ao terrorismo. Esta dissertação analisa as estratégias narrativas utilizadas pelo autor americano Don DeLillo no romance Falling Man (2007), e pelo cineasta Michael Moore, no documentário Fahrenheit 9/11 (2004), e como eles abordam fatores históricos, socioeconômicos e políticos que desencadearam a tragédia, a fim de reexaminá-la. Textos teóricos e críticos sobre a relação entre Literatura e História, ficção Pós-Moderna, aspectos do documentário e questões sobre terrorismo fundamentam as discussões apresentadas no trabalho. Este estudo objetiva ampliar os questionamentos acerca dos fatos que levaram à catástrofe e suas consequências, examinando personagens e grupos ligados ao 11 de setembro, revelando múltiplas verdades, condicionadas social, ideológica e historicamente
Abstract: September 11 has originated a wide range of artistic manifestations which have not only searched for plausible explanations for the tragedy, but also tried to review the events. In this sense, this thesis aims at showing how a novel and a documentary reevaluate this episode. The attacks made the United States experience a strong sense of vulnerability, triggering reactions from the American government, who quickly established a new national security strategy, associated with the war on terror. This thesis analyzes the narrative strategies employed by the American author Don DeLillo in his novel Falling Man (2007) and by the filmmaker Michael Moore in the documentary Fahrenheit 9/11 (2004), as well as the way they approach socioeconomic and political factors that caused the tragedy in order to reevaluate it. The debate of the topics is based on texts concerning the relationship between literature and history, postmodern fiction, documentary aspects and issues on terrorism. This study contributes to enrich the discussion related to the events that led to the catastrophe and its aftermath, examining characters and groups linked to the September 11 terrorist attacks, revealing multiple truths subjected to social, ideological and historical conditions
Mestre
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Le, Grange Marcell. "Die toepassing van Field se drietoneelstruktuur op drie dokumentêre rolprente van Michael Moore / Marcell le Grange." Thesis, 2014. http://hdl.handle.net/10394/11740.

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Internationally, there is concern among judges and organisers of documentary film festivals pertaining to the lack of a proper storyline in documentary films. According to certain documentary film producers and theoreticians, however, there is a solution. They are of the opinion that the three-act structure that was originally applicable to fiction films can also be applied to documentary films. The three-act paradigm serves as a guideline for the writing of successful fiction film screenplays. Should the three-act structure be applied to documentary films, the three-act paradigm could possibly achieve the same measure of success. Therefore, the research questions are, firstly: What are the basic elements of successful screenplay writer, Syd Field’s three-act structure? Secondly, to what extent do the three selected films by Michael Moore namely Bowling for Columbine (2003), Sicko (2007) and Fahrenheit 9/11 (2004) adhere to the requirements of Syd Field’s three-act structure? The research for this study was performed by means of a literature overview of Field’s three-act structure; secondly, by means of semi-structured interviews with four South African documentary film producers; and thirdly, a qualitative content analysis of three of Michael Moore’s films. The interviews consisted of semi-structured questions about the problem pertaining to story structure in documentary films, and how Syd Field’s three-act structure can make a contribution to the success of the documentary film. The study entails a qualitative content analysis of three selected documentary films by Michael Moore. The three-act structure of Syd Field was analysed by means of a literature study and seven main elements were identified as the important elements for a three-act structure. The three films by Michael Moore were analysed by means of a qualitative content analysis based on the seven elements to determine whether the three films adhere to the three-act structure elements. The findings of the study are as follows: The three documentary films by Michael Moore, namely Bowling for Columbine, Sicko and Fahrenheit 9/11, possess all seven elements of the analysis framework that was composed according to Syd Field’s three-act structure. The conclusion can therefore be drawn that a large part of the success of the three selected films by Moore is based on the three-act structure elements that can be found in all three films.
MA (Communication Studies), North-West University, Potchefstroom Campus, 2014
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Books on the topic "Fahrenheit 9/11"

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The official Fahrenheit 9/11 reader. New York: Simon & Schuster Paperbacks, 2004.

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Moore, Michael (director). The official Fahrenheit 9/11 reader. New York: Simon & Schuster Paperbacks, 2004.

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Moore, Michael. The official Fahrenheit 9/11: Reader. New York: Simon & Schuster, 2004.

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1954-, Moore Michael, ed. Fahrenheit 9/11: Das Buch ; alle Fakten, alle Beweise, alle Szenen. München: Piper, 2004.

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Bradbury, Ray. Fahrenheit 451. London, England: Voyager, 2001.

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Bradbury, Ray. Fahrenheit 451. Miami, FL: Debolsillo, 2019.

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Bradbury, Ray. Fahrenheit 451. Zurich, Switzerland: Diogenes, 1996.

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Bradbury, Ray. Fahrenheit 451. New York, USA: Simon & Schuster Paperbacks, 2013.

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Bradbury, Ray. Fahrenheit 451. London, England: Grafton Books, 1986.

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Bradbury, Ray. Fahrenheit 451. Bath: Chivers, 1988.

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Book chapters on the topic "Fahrenheit 9/11"

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Iglesias, Eulàlia. "Positioning Documentaries at the Cannes International Film Festival: Fahrenheit 9/11 and Beyond." In Documentary Film Festivals Vol. 2, 113–30. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1_7.

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"Fahrenheit 9/11 (Michael Moore, 2004)." In Watching Human Rights, 200. Routledge, 2015. http://dx.doi.org/10.4324/9781315631219-102.

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Bodnar, John. "Camera Angles." In Divided by Terror, 181–214. University of North Carolina Press, 2021. http://dx.doi.org/10.5149/northcarolina/9781469662619.003.0007.

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American filmmakers, both producers of feature films and documentaries, entered the cultural debate over the War on Terror with their creations. Adherents to a war-based sense of loyalty tended to highlight the heroic actions of American fighters like Navy SEALS and not question the basic need for the war itself. American valor is evident in movies like United 93 and Zero Dark Thirty. A more critical perspective was evident in most movies, however, and in documentaries. In these cinematic presentations there was a willingness to register the trauma of warfare and an insistence that the pain and suffering military violence brought to warriors and families should not be masked in any way. This was clear in productions such as In the Valley of Elah and Fahrenheit 9/11.
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Banerjee, Mita. "Black Lives Matter in Flint, Michigan: Narrative Medicine and Ecocriticism in Goliath and Michael Moore’s Fahrenheit 11/9." In The Bloomsbury Handbook to the Medical-Environmental Humanities. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350197336.ch-003.

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"“what is there really in the world?” forms of theory, evidence and truth in fahrenheit 9/11: a philosophical and intuitionist realist approach ian aitken." In Film Theory and Contemporary Hollywood Movies, 320–40. Routledge, 2009. http://dx.doi.org/10.4324/9780203030769-23.

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