Re: [OT] Fahrenheit 9-11 was Re: Mazes and Monsters

No 33 Secretary <terry.notaniceperson@[EMAIL PROTECTED]
> wrote in 
news:Xns983BA126F7F9taustingmail@[EMAIL PROTECTED]
> "Malachias Invictus" <capt_malachias@[EMAIL PROTECTED]
> wrote in 
> news:Kq2dnYV0Ha1de5jYnZ2dnUVZ_tidnZ2d@[EMAIL PROTECTED]
> 
>> 
>> "No 33 Secretary" <terry.notaniceperson@[EMAIL PROTECTED]
> wrote in message 
>> news:Xns983B9ED7554B6taustingmail@[EMAIL PROTECTED]
>> 
>>> Main Entry: 1doc·u·men·ta·ry
>> 
>> Selective argument-by-dictionary is pathetic even for you, Terry.
> 
> If you claim it's a do***entary, then "do***entary" must have *some* 
> meaning. Right? You do understand that, don't you? Or do you?
>> 
>>> Even by your own analysis, and admission that Moore was not even 
> trying
>>> to be objective,
>> 
>> Being objective is not a requirement for a do***entary film, moron.
> 
> According to the common usage, yes, actually, it does.

do***entary film

Motion picture that shapes and interprets factual material for purposes 
of education or entertainment. Do***entaries have been made in one form 
or another in nearly every country and have contributed significantly to 
the development of realism in films. John Grierson, a Scottish educator 
who had studied mass communication in the United States, adapted the 
term in the mid-1920s from the French word do***entaire. The 
do***entary-style film, though, had been popular from the earliest days 
of filmmaking. In Russia, events of the Bolshevik ascent to power in 
1917–18 were filmed, and the pictures were used as propaganda. In 1922 
the American director Robert Flaherty presented Nanook of the North, a 
record of Eskimo life based on personal observation, which was the 
prototype of many do***entary films. At about the same time, the British 
director H. Bruce Woolfe reconstructed battles of World War I in a 
series of compilation films, a type of do***entary that bases an 
interpretation of history on factual news material. The German 
Kulturfilme, such as the feature-length film Wege zu Kraft und Schönheit 
(1925; Ways to Health and Beauty), were in international demand.

The British do***entary film movement, led by Grierson, influenced world 
film production in the 1930s by such films as Grierson's Drifters 
(1929), a description of the British herring fleet, and Night Mail 
(1936), about the nightly mail train from London to Glasgow. The United 
States, too, made significant contributions to the genre. Early examples 
include two films directed by Pare Lorentz: The Plow That Broke the 
Plains (1936), set in America's dust bowl, and The River (1937), a 
discussion of flood control.

The production of do***entaries was stimulated by World War II. The Nazi 
government of wartime Germany used the nationalized film industry to 
produce propaganda do***entaries. The American director Frank Capra 
presented the Why We Fight (1942–45) series for the U.S. Army Signal 
Corps; Great Britain released London Can Take It (1940), Target for 
Tonight (1941), and Desert Victory (1943); and the National Film Board 
of Canada turned out educational films in the national interest.


"do***entary film." Encyclopædia Britannica. 2006. Encyclopædia 
Britannica Premium Service. 11 Sept. 2006  
<http://www.britannica.com/eb/article-9030760>.



Your common usage argument is silly, Terry. Do***entary films are 
factual, yes, but facts can be presented with a personalized biased 
slant by the film's creators.