{"id":744,"date":"2004-07-07T11:16:20","date_gmt":"2004-07-07T18:16:20","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/07\/did_moore_make_a_stupid_white\/"},"modified":"2004-07-07T11:16:20","modified_gmt":"2004-07-07T18:16:20","slug":"did_moore_make_a_stupid_white","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/07\/did_moore_make_a_stupid_white.html","title":{"rendered":"DID MOORE MAKE A &#8216;STUPID WHITE MOVIE&#8217;?"},"content":{"rendered":"<p><P>Attacks on <A class=inline href=\"http:\/\/www.fahrenheit911.com\/\"\ntarget='new\"'><B><EM><FONT color=#003399>&#8220;Farenheit 9\/11&#8221;<\/FONT><\/EM><\/B><\/A><br \/>\nfrom the usual suspects on the right are not surprising. But when it comes from the left it&#8217;s<br \/>\na&nbsp;story of &#8220;man bites dog.&#8221; <\/P><br \/>\n<P><A class=inline href=\"http:\/\/www.citylights.com\/pub\/itin.jensen.html\"\ntarget='new\"'><B><EM><FONT color=#003399>Robert Jensen<\/FONT><\/EM><\/B><\/A>, a<br \/>\njournalism professor at the University of Texas at Austin and the author of <A class=inline\nhref=\"http:\/\/www.citylights.com\/CLpubRE.html#citizens\" target='new\"'><B><EM><FONT\ncolor=#003399>&#8220;Citizens of the Empire: The Struggle to Claim Our<br \/>\nHumanity&#8221;<\/FONT><\/EM><\/B><\/A> from <A class=inline href=\"http:\/\/www.citylights.com\/\"\ntarget='new\"'><B><EM><FONT color=#003399>City Lights Books<\/FONT><\/EM><\/B><\/A>,<br \/>\nmakes the case that Michael Moore&#8217;s flick is a <A class=inline\nhref=\"http:\/\/www.counterpunch.org\/jensen07052004.html\" target='new\"'><B><EM><FONT\ncolor=#003399>&#8220;Stupid White Movie.&#8221;<\/FONT><\/EM><\/B><\/A> Jensen writes: <\/P><br \/>\n<BLOCKQUOTE>The sad truth is that &#8220;Fahrenheit 9\/11&#8243; is a bad movie, but not for the reasons<br \/>\nit is being attacked in the dominant culture. It&#8217;s at times a racist movie. And the analysis that<br \/>\nunderlies the film&#8217;s main political points is either dangerously incomplete or virtually<br \/>\nincoherent.&#8221;<\/BLOCKQUOTE><br \/>\n<P>Jensen martials a detailed argument supporting his contention. He concedes that &#8220;it may strike<br \/>\nsome as ludicrous&#8221; to assert, as he does, that &#8220;Farenheit 911&#8221; is also fundamentally &#8220;a<br \/>\nconservative movie.&#8221; But he points out, accurately, that it buys into a false mythology:<\/P><br \/>\n<P><br \/>\n<BLOCKQUOTE>[T]he film endorses one of the central lies that Americans tell themselves, that<br \/>\nthe U.S. military fights for our freedom. This construction of the military as a defensive force<br \/>\nobscures the harsh reality that the military is used to project U.S. power around the world to<br \/>\nensure dominance, not to defend anyone&#8217;s freedom, at home or abroad.<\/BLOCKQUOTE><br \/>\n<P><\/P><br \/>\n<P>Even so,&nbsp;anyone who expects a profound, thorough analysis of what&#8217;s wrong with U.S.<br \/>\npolicies from a Michael Moore flick is kidding himself. The trouble is, Jensen approaches<br \/>\n&#8220;Farenheit 9\/11&#8221; as if it were an academic paper published in <A class=inline\nhref=\"http:\/\/www.foreignaffairs.org\/\" target='new\"'><B><EM><FONT color=#003399>Foreign<br \/>\nAffairs<\/FONT><\/EM><\/B><\/A>. This is not to excuse Moore&#8217;s insulting stereotypes,<br \/>\nwrongheaded generalizations, implicit racism and other egregious mistakes &#8212; all charges that<br \/>\nJensen levels against it. At the same time, however, the critique illustrates something delusional in<br \/>\nJensen&#8217;s expectations.<\/P><br \/>\n<P>My own reaction to the flick was favorable. I knew most of the movie&#8217;s theme and variations<br \/>\nbeforehand, as anybody would who follows the news. So very little of the information was<br \/>\nrevelatory. But I wasn&#8217;t bored, largely because I found the movie funny. <\/P><br \/>\n<P>The moment I liked best &#8212; it made me laugh out loud &#8212; is a whacky one that some critics<br \/>\nhave singled out as juvenile: Moore commandeers an ice cream truck, sort of a Mr. Softee truck,<br \/>\nand circles the street near the Capitol while reading portions of the Patriot Act over a<br \/>\nloudspeaker. Along with the words, you hear the innocuous music of&nbsp;the truck&#8217;s&nbsp;ice<br \/>\ncream jingle. It&#8217;s Moore&#8217;s comic response to an interview with Rep. John Conyers Jr., of<br \/>\nMichigan,&nbsp;which is both hilarious and devastating for what Conyers says about the<br \/>\nCongressional legislative process in general and the Patriot Act in particular.<\/P><br \/>\n<P>Another detail I loved is the video clip showing our bonehead Maximum Leader reading to<br \/>\nthe school children in Florida on 9\/11 while the World Trade Center and the Pentagon are under<br \/>\nattack. It&#8217;s bizarre and funny because of the goofy look on his face, a moment stretched<br \/>\nout&nbsp;for emphasis&nbsp;in slow motion. The bonehead appears to be channeling Alfred E.<br \/>\nNewman&#8217;s &#8220;What Me Worry?&#8221; gaze from MAD magazine. For that alone, the flick was worth<br \/>\nseeing.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Attacks on &#8220;Farenheit 9\/11&#8221; from the usual suspects on the right are not surprising. But when it comes from the left it&#8217;s a&nbsp;story of &#8220;man bites dog.&#8221; Robert Jensen, a journalism professor at the University of Texas at Austin and the author of &#8220;Citizens of the Empire: The Struggle to Claim Our Humanity&#8221; from City [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-744","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-c0","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/744","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=744"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/744\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=744"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=744"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=744"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}