Bowling for Columbine Michael Moore Documentary
Is it the bowling? It must be the Video games? Michael Moore’s award winning documentary; ‘Bowling for Columbine’ explores the reason for the violence in America and the reason for the Columbine High school mascara. In April 1999 two students Eric Harris and Dylan Klebold went on a shooting rampage killing 12 students and a teacher before committing suicide, Moore looks at the background in which the massacre took place and assumptions about related issues. Moore uses Bill Nichols’ four modes of representation; the interactive, expository, observational and reflexive to convey his viewpoint on gun control in America and the nature of violence in the United States of America.
Interactive mode is when the audience is able to acknowledge the presence of Moore and the crew, it forces on the exchange of information through the use of interviews and discussions (Lacey, N 1998). To demonstrate; the movie follows Moore as he goes in to the bank, makes his deposit, fills out the forms and awaits the result of a background check before walking out of the bank carrying a brand new Weatherby hunting rifle. When the transaction is over and done with Moore says, “Here’s my first question, do you think it’s a little dangerous, handing out guns at a bank?” A series of entertaining interactive events follows after. Moore gets a haircut and some ammunition from the same shop; Moore visits the Michigan Military and talks with two Michigan residents, Brent and DJ. As an audience within minutes of Moore’s interaction with these teens, we learn D.J has in fact made bombs and most recently, a five-gallon drum of napalm. These are some examples of how Moore goes into the field, participates in the lives of others, gains material and then reflects on his experience to the audience (Nichols, 2001).
What we learn through interactive mode will hinge on the nature and quality of the encounter between the filmmaker and the subject (Nichols, 2001). Through the use of interaction Moore
Interactive mode is when the audience is able to acknowledge the presence of Moore and the crew, it forces on the exchange of information through the use of interviews and discussions (Lacey, N 1998). To demonstrate; the movie follows Moore as he goes in to the bank, makes his deposit, fills out the forms and awaits the result of a background check before walking out of the bank carrying a brand new Weatherby hunting rifle. When the transaction is over and done with Moore says, “Here’s my first question, do you think it’s a little dangerous, handing out guns at a bank?” A series of entertaining interactive events follows after. Moore gets a haircut and some ammunition from the same shop; Moore visits the Michigan Military and talks with two Michigan residents, Brent and DJ. As an audience within minutes of Moore’s interaction with these teens, we learn D.J has in fact made bombs and most recently, a five-gallon drum of napalm. These are some examples of how Moore goes into the field, participates in the lives of others, gains material and then reflects on his experience to the audience (Nichols, 2001).
What we learn through interactive mode will hinge on the nature and quality of the encounter between the filmmaker and the subject (Nichols, 2001). Through the use of interaction Moore
Bibliography: Bullert, B.J. (1997) Public Television: Politics and the battle over documentary film. New Jersey Uni Press: New Brunswick. Bernard, S. (2004) Documentary storytelling for video and filmmakers. Focal Press: Burlington. Daphne, K (2000). Interviewing: A practical guide for students and professionals. Sydney Uni: New South Wales.