Michael Moore

 

 

Probably the most known director in a rather common - tough not very honourable - use of the film- essay. Moore’s films, despite being highly subjective - maybe even paranoiacs, in the sense of Dalí’s method - always claim to present a kind of documentary truth (one that even tough partial, is at least concerned in presenting a kind of multiple perspective). This approach to the has become ubiquitous in the context of mass media, generally referring to conspiracy theories and the exploration of misery in general. Widely disregarding the idea of a self-critic, characteristic in the work of Keiller or Marker, his movies are made to appear like the unveiling of an impartial history. Making use of a voice-over which dialogues with sentences from real speeches - many times taken out of their original context, Moore represents the dangers which concern the use of cinematic subjectiveness.