Rhetorical Analysis Of Fahrenheit 9 11 Film Studies Essay

Rhetorical Analysis Of Fahrenheit 9 11 Film Studies Essay Michael Moore, a left-wing political crusader, is an American filmmaker. Known for his thought-provoking and unscripted documentaries, Moore takes risks and asks the questions that everyone wants the answers to. Moore is an amazing political commentator and knows exactly how to use the art of language, film, and facts to persuade his audience and to get them to follow in his lead. Released in 2004, Fahrenheit 9/11 is a documentary directed and produced by Moore. This film is a great example of how Moore uses Aristotles three appeals pathos, logos, and ethos to gather information and supporting details to make his point evident. These appeals come together to amplify Moores arguments and support his beliefs on politics. Moore uses these appeals to convince his audiences to agree with him on the controversies that, in his opinion, led to the terrorist attack on September 11, 2001. In the film, Fahrenheit 9/11, Michael Moore effectively uses pathos, ethos, and logos as tools to persuade his audience to believe that the Bushs Administration was corrupt. To begin, pathos, meaning to persuade by appealing to what the audience feels and their emotions that are in result of; or in other words, appealing to the audiences sympathies, laughs, and anger that is felt by each person. Pathos is influence by the writers use of rhetoric; meaning, the use of language as a tool to help persuade an audience. This appeal not only grabs an audiences attention emotionally, it also allows them to identify what the writer is feeling and what his beliefs are. The viewer, identifying with the writers take or opinions, is able to use his or her imagination to rationalize what is in front of them and feel even more emotional about the matter. Pathos is very important ingredient to an argument. It is a great attention getter and can really make an argument. First, in attempt to persuade viewers, Moore does a great job of bringing about an emotional response. Pathos is presented as soon as the screen becomes pitch black and the only sound is the noise from September 11, the day planes were taken over by terrorist and crashed into the twin towers, located in New York City. You can hear the horror in the peoples voices and the loud bang from the planes hitting the buildings. This scene was very powerful; it grabbed my attention and did not let go. Moore intention for this scene was to really start the film off. He also used this scene to persuade his audience into feeling what he felt and see how horrible this event truly was. Also, an interview with a woman who lost her husband during the attack on September 11 was another way that Moore used pathos in Fahrenheit 9/11 to convince his audiences. There was a reason that this interview was shot close up, Moore wanted the viewers to see the sadness in the womans eyes, to feel the pain that sh e had felt, and to show the emptiness she had. By showing the widowers emotions in this way, Moore opened the door and collected the viewers sympathy. However, he still left every scene open-ended for the viewers to collect their own opinion on the attack that occurred on that horrific day. Another thing to know when presenting ones opinion is that, in order to have a true argument, a person should demonstrate equality; they should be fair to the other objective view point, and show that there is an understanding of both sides of the argument. This is the second appeal, ethos, a form of persuasion used by Moore to show that he is a fair and knowledge man. Ethos is all about being credible; presenting oneself as a trustworthy person to convince an audience and make an argument applicable; or to show that another person is not credible by using manipulation. When using ethos, the speakers character is really revealed and observed by the audience. It is important to have ethos when making a claim or assuring an argument. In the film, Fahrenheit 9/11, Moore made sure to use ethos so thats his audience would be persuaded to believe his theories. Moore wanted his audience to see how credible his information was and to let them know that he was a trustworthy person; in this case, he wanted the audience to believe he was more trustworthy than President George W. Bush and his Administration. To show that Moore was a credible source and to question Bushs character, Moore used real footage of Bush and the events that was touched upon. He showed the footage of the time when Bush was first told about the terrorist attack on September 11, 2001. This footage showed Bushs reaction; really Bush did not react and instead continued to read to a class that he was visiting that day. This helped manipulate the audience to believe that Bush was not a fit president and had no idea what to do in this situation. Other video that was shown was of Bush in meetings with members of the Bin Laden family. This footage made it ap parent that Bush was fraternizing with the so called, enemy the ones who were believed to be behind the attack. This makes the audience look at Bush in a very poor light and was a tool used to persuade the audience to judge Bushs character based on this fact solely. Moore also used this appeal again when he presented facts about President Bushs National Guard records. Moore showed that Bushs records were tampered with in the beginning to hide a certain name, James R. Bath, a Texas money manager for the Bin Laden family. Bath was just another involvement that connected Bush to the instances with the Bin Ladens. Moore showed what the original and uncensored records looked like before they had been edited. This showed that Moore was fair, but he was also very trustworthy with the information that he was presenting, unlike Bush who did not present accurate records. In the final appeal, reasoning is used to persuade an audience; when a person gives a certain level of value to an argument. Facts and statistics help to gather and conclude the reasoning to support the main idea of an argument. Logos is used when explaining a resulting conclusion of a position, view, or argument; it is used to establish the reasoning and good logic that supports the final conclusion. Finally, in Moores attempt to manipulate and persuade his audiences, Moore uses the appeal logos to show his reasoning and how he has come to think negatively about Bushs Administration and the event of the terrorist attack on September 11, 2001. Moores first valid point made was about the controversy surrounding Bushs election, and his win over his opponent, Al Gore. Moore believes that the sole reason for Bushs win was due to his help from his political allies along with the help from his friends and family. Moore first presents that Al Gore was initially said to have been the winner over Florida, but then Fox News reporter, John Ellis, Bushs first cousin and the main in charge of the decision desk that night, called the election in favor of Bush. Moore then discusses the other reason for why Bush won the election. Moores reasons were that Bushs brother was the former Governor of Florida, the state in questions and the place that the election controversy was at its most heightened. Also, Bushs chairman of his campaign tabulated the votes and it is a fact that her state hired a company that knocked the votes of African Americans off the record. Moore then touches on the details about the numerous independent investigations that were held and revealed that Gore was the true winner of this election. Stated in the film, Fahrenheit 9/11, Even if numerous investigations prove that Gore got the most votes, it wont matter, just as long as all your daddys friends on the Supreme Court vote the right way. It was evident that the Supreme Court, which consisted of friends of Bushs father, was the true deciders of the winner of this election. One last reason for why Bush became President of Elect was also influenced by the missing senate on the day that the joint session was to verify the election results. Plenty of African Americans attempted to appeal the election results due to overwhelming evidence of misconduct, but no senator was located to sign the objection and com e to the aid of the African Americans. To conclude, Moores film, Fahrenheit 9/11, was a thought-provoking documentary that presented an effective argument that was supported by Aristotles three appeals pathos, logos, and ethos. Pathos was a very effective tool that Moore used multiple times to really sway his audiences in an attempt to get people to really pay attention to what he was saying. For instance, the emotional response that was drawn from the audience was brought about from the scene of the attack on September 11, 2001 was extremely influential on the audience. Continuing, Moores credibility shown through documents and certain facts, along with his laughable manner and tactics used to question Bushs character, was just another form of appeal that Moore used to support his argument. Also, logical reasoning supported Moores point and really helped to move the viewers to make their opinions concerning these political issues. These appeals helped to enhance Moores main view point and helped to convince his audiences that Bushs administration was corrupt.

On Arabian Culture Essay

The literature on social diversity and cleavages in Arab society and the Middle East as a whole suffers from several fallacies, two of which are most pertinent here. One is the tendency, particularly among Orientalists, to speak both of the mosaic nature of Arab society and of the existence of a unified mentality, or one Arab mind, without any awareness of the contradiction between these two abstractions. The other is the emphasis either on communal cleavages or on class conflicts, with the result that one becomes explanatory while the other is ignored. The interplay and coincidence of these two cleavages are rarely examined in their historical and social contexts. How can an individual define the diversity of Arab society? The diversity that characterizes Arab society needs to be analyzed within a three-dimensional framework: (a) a homogeneity-heterogeneity continuum; (b) the processes of conflict-accommodation-assimilation; and (c) social class cleavages. The continuum that covers the range from a completely homogeneous society to one of great heterogeneity encompasses a complex system of vertical loyalties and communal differentiations (ethnic, linguistic, sectarian, tribal, local, regional, and the like) that coincides as well as conflicts with social class cleavages. Arab society has historically been highly heterogeneous. Certainly, one may argue that there has recently been a resurgence of communal loyalties and mobilization, confirming the mosaic and segmentary structures of society. What cannot be granted is the static conception of these loyalties and cleavage as permanent, unchanging forms of differentiation. What is Arab society in general? The characterization of Arab society as heterogeneous, however, needs to be accompanied by an explicit clarification that not all Arab countries are similar in this respect. In fact, they differ widely in regard to their positions on the homogeneity-heterogeneity continuum. Compared to other Arab countries, Egypt and Tunisia, for instance, may be described as rather homogeneous as far as communal cleavages are concerned. These two countries tend to have fewer ethnic, religious, and tribal differences (and, hence, conflicts) than other Arab societies, and are characterized more by social complexity and social class cleavages. A second group of Arab countries, such as Lebanon and Sudan, occupy a position close to the opposite end of the continuum, each being more of a mosaic in structure and social composition. A third set, such as Syria, Algeria, Arabia, and Morocco, tend to occupy positions more in the middle of the continuum. Conventional Western literature on Arab and other Middle Eastern societies has persistently avoided any serious discussion of social class structure. Instead, it has conceived of Arab societies simply as a mosaic. At the margin of this mainstream discourse, however, there has been some occasional speculation on problems of social stratification. Whenever a discussion of this nature has taken place, it has evolved into a heated exchange. One point of view reaffirms the conclusions of the mosaic model and questions the relevance of class analysis. For instance, C. A. O. van Niewenhuijze and James Bill, in separate works, dismiss class analysis in economic terms and instead use Weberian concepts of status and power. Similarly, Iliya Harik has more recently dismissed the thesis put forward by some writers that the Lebanese civil war is actually a class struggle and expressed his â€Å"belief that class distinctions in Lebanon are too obscure to sustain the class struggle argument†. Bryan S. Turner, by contrast, has pointed out that anyone â€Å"who wants to develop a Marxist analysis of North Africa and the Middle East must start with a critique of the mosaic theory and all its related assumptions†. Such a critique, he explains, is required because mosaic analysts believe â€Å"that traditional Middle Eastern societies were not class dominated and that in the modern Middle East social class is only in the process of emerging alongside other forms of social stratification†. Nicholas S. Hopkins has applied ideas of class derived from the Marxist tradition to changes in the social structure of an agricultural town in Tunisia, concluding that essential changes in the mechanization of agriculture and in the improvement of communications â€Å"led to a shift in the organization of work away from a pattern based on mobilization of labor within the household or the extended kindred . . . and toward a pattern of labor determined by wage labor†. Consequently, this Tunisian agricultural town has shifted from a society in which rank was based â€Å"on vertical rather than on horizontal links† to one â€Å"based on class†. Hopkins argues further that not only is there class in the objective sense, â€Å"there is also class consciousness, at least in embryonic, symbolic form†. My own view is that the persistence of communal cleavages complicates rather than nullifies social class consciousness and struggle. This persistence of communal cleavages and vertical loyalties in some Arab countries is owing to the perpetuation of traditional systems in which communities are linked to their local za’ims (traditional leaders) through patron-client relationships. To the extent that constructive change can be introduced in these areas, such traditional systems will give way, increasingly, to other social and class relationships. Reference: Gutas, D. (1998). Greek Thought, Arab Culture : The Graeco-Arabic Translation Movement in Baghdad and Early Abbasid Society (2nd-4th & 8th-10th C. ): Routledge. Rejwan, N. (1998). Arabs Face the Modern World: Religious, Cultural, and Political Responses to the West: Gainesville University Press of Florida. Szarmach, P. E. (1979). Aspects of Jewish Culture in the Middle Ages: Albany State University of New York Press

The Self Image Of Young Adults - 1396 Words

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My Comprehensive Collaboration Project Involved A School...

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