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

Joseph <nonexistent@[EMAIL PROTECTED]
> wrote in 
news:Xns983BD00B8C76F619void@[EMAIL PROTECTED]
> 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.
> 
Ssssh. I'm playing with the 'tard. You'll confuse him.

-- 
"So there is no third law of Terrydynamics."
              -- William Hyde
Terry Austin