Watching Michael Moore in action—passing off manipulating facts in Bowling for Columbine, spinning statistics in Stupid White Men and Dude, Where's My Country?, shamelessly grandstanding at the Academy Awards, and epitomizing the hypocrisy he's made a king's fortune railing against—has spurred authors David T. Hardy and Jason Clarke to take action into their own hands. In Michael Moore Is a Big Fat Stupid White Man, Hardy and Clarke dish it back hard to the fervent prophet of the far left, turning a careful eye on Moore's use of camera tricks and publicity ploys to present his own version of the truth. Postwar documentarians gave us the documentary, Rob Reiner gave us the mockumentary, and Moore initiated a third genre, the crockumentary. How, they ask, does Moore pull off a proletarian, "man-of-the-people" image so at odds with his lifestyle as a fabulously wealthy Manhattanite? And how large of an impact do his incendiary, ill-founded polemics have on the growing community that follows him with near-religious devotion? Loaded with well-researched, solidly reasoned arguments, and laced with irreverent wit, Michael Moore Is a Big Fat Stupid White Man fires back at one of the left's biggest targets—politically and literally.
Watching Michael Moore in action -- passing off manipulating facts in Bowling for Columbine, spinning statistics in Stupid White Men and Dude, Where's My Country?, shamelessly grandstanding at the Academy Awards, and epitomizing the hypocrisy he's made a king's fortune railing against -- has spurred authors David T. Hardy and Jason Clarke to take action into their own hands. In Michael Moore Is a Big Fat Stupid White Man, Hardy and Clarke dish it back hard to the fervent prophet of the far left, turning a careful eye on Moore's use of camera tricks and publicity ploys to present his own version of the truth. Postwar documentarians gave us the documentary, Rob Reiner gave us the mockumentary, and Moore initiated a third genre, the crockumentary. How, they ask, does Moore pull off a proletarian, "man-of-the-people" image so at odds with his lifestyle as a fabulously wealthy Manhattanite? And how large of an impact do his incendiary, ill-founded polemics have on the growing community that follows him with near-religious devotion? Loaded with well-researched, solidly reasoned arguments, and laced with irreverent wit, Michael Moore Is a Big Fat Stupid White Man fires back at one of the left's biggest targets -- politically and literally.
Life is good for thick-boned Keisha Jackson. With a good education, well-paying job, and supportive parents, she has everything a young woman could ask for, except maybe a healthy dose of self-esteem. But after a chance meeting with Rico, the neighborhood “bad boy,” her fairy tale life is quickly dismantled. Blinded by emotion, she gives in to all his cruel intentions. Under the false claim of love, Rico vindictively tears down all that good-girl Keisha has built. His sole purpose seems to be to make her miserable. Rico has no limits on the grief he causes and the disrespect he shows. Having endured physical, mental, and sexual abuse, Keisha finally sees the light, and she’s not having it anymore. The tables are turned, and Rico feels her well-deserved wrath. It ain’t no fun when the rabbit got the gun, and Rico will soon find out what A Big Girl’s Revenge truly feels like.
Gallup recently found that 49 percent of Americans believe that the government poses “an immediate threat to the rights and freedoms of ordinary citizens.” I’m from the Government and I’m Here to Kill You, written by a former federal attorney, shows that even the 49 percent have no idea how bad things really are. Rights and freedoms are not the only things at stake; all too often government imperils the very lives of those it supposedly serves. Federal employees have, with legal impunity, blown up a town and killed six hundred people, released staggering amounts of radioactive contamination and lied about the resulting cancer, allowed people to die of an easily treated disease in order to study their deaths, and run guns to Mexican drug cartels in hopes of expanding agency powers. Law enforcement leaders have ordered their subordinates to commit murder. Medical administrators have “cooked the books” and allowed patients to die, while raking in plump bonuses. Federal prosecutors have sent Americans to prison while concealing evidence that proved their innocence. I’m from the Government documents how we came to this pass: American courts misconstrued and expanded the old legal concept of sovereign immunity, “the king can do no wrong.” When Congress attempted to allow suits against the government, the legislators used vague language that the courts construed to block most lawsuits. The result is a legal system that allows official negligence to escape legal consequences and paradoxically punishes an agency if it tries to secure public safety. I’m from the Government ends with proposals for legal reforms that will hold the government and its servants accountable when they inflict harm on Americans.
Move over P.J. O'Rourke! From Al Franken, America's premier liberal satirist, comes a hilarious homage to the wonderful, awful, and always absurd American political process that skewers a whole new crop of presidential hopefuls--just in time for the 1996 presidential election. "(Franken is) responsible in part for some of the most brilliant political satire of our time".--John Podhoretz, New York Post.
“I don’t own a single share of stock.” —Michael Moore Members of the liberal left exude an air of moral certitude. They pride themselves on being selflessly committed to the highest ideals and seem particularly confident of the purity of their motives and the evil nature of their opponents. To correct economic and social injustice, liberals support a whole litany of policies and principles: progressive taxes, affirmative action, greater regulation of corporations, raising the inheritance tax, strict environmental regulations, children’s rights, consumer rights, and much, much more. But do they actually live by these beliefs? Peter Schweizer decided to investigate in depth the private lives of some prominent liberals: politicians like the Clintons, Nancy Pelosi, the Kennedys, and Ralph Nader; commentators like Michael Moore, Al Franken, Noam Chomsky, and Cornel West; entertainers and philanthropists like Barbra Streisand and George Soros. Using everything from real estate transactions, IRS records, court depositions, and their own public statements, he sought to examine whether they really live by the principles they so confidently advocate. What he found was a long list of glaring contradictions. Michael Moore denounces oil and defense contractors as war profiteers. He also claims to have no stock portfolio, yet he owns shares in Halliburton, Boeing, and Honeywell and does his postproduction film work in Canada to avoid paying union wages in the United States. Noam Chomsky opposes the very concept of private property and calls the Pentagon “the worst institution in human history,” yet he and his wife have made millions of dollars in contract work for the Department of Defense and own two luxurious homes. Barbra Streisand prides herself as an environmental activist, yet she owns shares in a notorious strip-mining company. Hillary Clinton supports the right of thirteen-year-old girls to have abortions without parental consent, yet she forbade thirteen-year-old Chelsea to pierce her ears and enrolled her in a school that would not distribute condoms to minors. Nancy Pelosi received the 2002 Cesar Chavez Award from the United Farm Workers, yet she and her husband own a Napa Valley vineyard that uses nonunion labor. Schweizer’s conclusion is simple: liberalism in the end forces its adherents to become hypocrites. They adopt one pose in public, but when it comes to what matters most in their own lives—their property, their privacy, and their children—they jettison their liberal principles and embrace conservative ones. Schweizer thus exposes the contradiction at the core of liberalism: if these ideas don’t work for the very individuals who promote them, how can they work for the rest of us?
O'Rourke casts his ever-shrewd and mordant eye on America's latest adventures in warfare. He is both incisive reporter and absurdist, relevant and irreverent, with a clear eye for everyone's confusion, including his own. O'Rourke understands that peace is sometimes one of the most troubling aspects of war.
The Rhetoric of the New Political Documentary explores the most visible and volatile element in the 2004 presidential campaign—the partisan documentary film. This collection of original critical essays by leading scholars and critics—including Shawn J. and Trevor Parry-Giles, Jennifer L. Borda, and Martin J. Medhurst—analyzes a selection of political documentaries that appeared during the 2004 election season. The editors examine the new political documentary with the tools of rhetorical criticism, combining close textual analysis with a consideration of the historical context and the production and reception of the films. The essays address the distinctive rhetoric of the new political documentary, with the films typically having been shot with relatively low budgets, in video, and using interviews and stock footage rather than observation of uncontrolled behavior. The quality was often good enough and interest was sufficiently intense that the films were shown in theaters and on television, which provided legitimacy and visibility before they were released soon afterwards on DVD and VHS and marketed on the Internet. The volume reviews such films as Michael Moore’s Fahrenheit 9/11; two refutations of Moore’s film, Fahrenhype 9/11 and Celsius 41.11;Unprecedented: The 2000 Presidential Election; and George W. Bush: Faith in the White House—films that experimented with a variety of angles and rhetorics, from a mix of comic disparagement and earnest confrontation to various emulations of traditional news and documentary voices. The Rhetoric of the New Political Documentary represents the continued transformation of American political discourse in a partisan and contentious time and showcases the independent voices and the political power brokers that struggled to find new ways to debate the status quo and employ surrogate “independents” to create a counterrhetoric.
Michael Moore has established himself as someone who just won't shut up, go away, or otherwise do what political and corporate fat cats would like him to do. He lifts the veil on the people who set themselves up as role models and exposes their vulnerable underbellies.
TV says it. Magazines say it. American society commands it. You must be thin. You must be young. Fad diets. Fat-purging pills. Fitness clubs. Liposuction. Breast implants. Steroids. In the tomorrow of Thinner Than Thou, the cult of the body has become the one true religion. The Dedicated Sisters are a religious order sworn to help anorexic, bulimic, and morbidly obese youth. Throughout the land, houses of worship have been replaced by the health clubs of the Crossed Triceps. And through hypnotically powerful evangelical infomercials, the Reverend Earl preaches the heaven of the Afterfat, where you will look like a Greek god and eat anything you want. Just sign over your life savings and come to Sylphania, the most luxurious weight-loss spa in the world, where the Reverend himself will personally supervise your attainment of physical perfection. But the glory of youth and thinness that America worships conceals a hidden world where teens train for the competitive eating circuit, where fat porn and obese strippers feed people's dark desires, and where an underground railroad of rebellious religions remember when people worshipped God instead of the Afterfat. As Annie, an anorexic, and her friend Kelly, who is so massive she can barely walk, find out, the tender promises of the Dedicated Sisters are fulfilled by forced feedings and enforced starvation in hidden prisons. As middle-aged Jeremy discovers, Sylphania is a concentration camp where failure to lose weight and tone up leads to brutal punishment. The Rev. Earl's public sympathy for the overweight conceals a private contempt . . . and, beneath that, a terrible longing known only to a select few. The inevitable decay of old age is the only thing keeping mankind from reaching perfection. Luckily, Reverend Earl has a plan that will take care of that . . . . At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
