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Bowling For Columbine And Koyaanisqatsi

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The purpose of Bowling for Columbine and Koyaanisqatsi is not radically different, both directors are attempting to make an argument. In Bowling for columbine, Michael Moore is constructing an argument about the culture in some regions of the United States that are vulnerable to gun violence. To accomplish this he weaves together first person accounts from people responding to his questions on the issue and presents images that he wants the audience to connect with what they are seeing to create a definitive narrative perspective. In Koyaanisqatsi the director is arguing that the current modes of existence are inherently destructive for both nature and ourselves. The composition of the film is unique in that there is no spoken word and instead the director uses composition, speed, editing and music to create a musical symphony to make his point.

Michael Moore’s documentary has a very clear point to make. Moore will persist in asking until he gets the answer he must sense is waiting for him. For example, when he is talking to a friend of the columbine shooter, he continues asking him about why the school would have thought that he would have been likely to create violence. He asks 3 or four times to make sure that he gets the answer he is looking for. Michael Moore allows his subjects to speak, but he is the one forming the questions. Similarly, he chooses what will be shown and in what order so as to create associations and meaning from the raw images as

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