Bowling_for_Columbine

View and/or listen to a text with a significant aural component – such as a radio podcast, a film or an radio interview – and write an analysis of that text which answers the following question: How has this text introduced you to some understanding of the Elective from Module C that you will be studying in Term 3' In Michael Moore’s film Bowling for Columbine, each element of production, from the documentary style medium, to the choice of music, audio-visual techniques and selection of interview subjects, combine to create a representation of Moore’s perspective of the Gun related violence in America. Within the film there are many conflicting perspectives, which are in turn represented according to the beliefs and personal bias of the composer, Moore. The way Moore has created the film is a representation which shapes meaning of the events which occurred and influence the responses of the audiences which see the film. From this film, we learn that representation is subjective, dependent on the audience and composer; that in the event of conflicting perspectives we must discover why and how they conflict, and to always remember the role of the composer in shaping meaning in representations. Representation is subjective and therefore depends on individual’s perspective- especially the composer. The different attitudes displayed between Charlton Heston the National Rifle Association president, and Jimmie Hughes the Principal of Buell Elementary, concerning the school shooting of a first grader is an example of conflicting perspectives within the film. The event is introduced to the audience when the original recording of a 911 call made by the victims teacher is played with subtitles over a blank black screen. This audio technique used by Moore is designed to emotionally shock the audience. By leaving the screen black, full attention is directed the high emotion and desperate tone imbued in the teachers voice as she cries “Please lord! Please lord! Please!” This immediately affects the viewers perception of how emotionally distressing the situation was. Moore utilises the documentary style medium, using one-on-one interviews to investigate each interviewee’s outlook on the issue. A vast difference is revealed between the high emotions displayed by Ms. Hughes who breaks down in tears, and Mr. Heston who shows no emotion, refusing to look at a photograph of 6 year old victim Kayla Rowland. A vast difference can also be seen however, between the interview style and technique adopted by Moore. When interviewing the principal, we see a soft spoken, subdued Moore who says very little, this is a direct contrast to the Moore we see interviewing Heston, who is outspoken, argumentative and endlessly asking provocative questions. These interview techniques adopted allow Moore to achieve a desired reaction, depending on how he wishes to present them. By contrasting the highly emotive Principal with the cold emotionless Heston, Moore is able to influence the audience to his own way of thinking. When we see conflicting perspective, it is important to deconstruct both why they conflict and how they are presented to us. The central focus of the film is finding the cause of gun violence in America, a question on which there are a multitude of conflicting perspectives and opinions, highlighted by Moore’s comment “But who was to blame' All the experts had an answer.” These conclusions range from “cartoons” and “toys guns” to “Satan”. A large number then place the blame on shock rocker Marilyn Mason and the angry heavy metal music he makes. When interviewed, Manson makes claims supporting Moore’s premise that the Media is significantly responsible for the violence in America, stating “You’re watching the news and they pump you full of fear”. He proposes the Media’s ideology in the construction of this representation is to “Keep everyone afraid and they’ll consume.”The perception presented by the media, and the perception presented by Manson conflict, because in its simplest form, neither party want to be held responsible for what happened at Columbine. We must also deconstruct how the composer presents both arguments to us. In the build up to Manson’s interview, a montage of experts condemn him and the music he makes, one labelling them as “the sickest group ever promoted by a main stream record company”. When interviewed by Moore, Manson is displayed as a highly intelligent and softly spoken individual; discrediting legitimacy of the media. Moore attacks the unscrupulous nature of the Media many times throughout the film. An example of this is by juxtaposing the on and off-air behaviour of a television reporter. A shift in character is revealed between the professional and sympathetic on-air reporter, to the profound vanity displayed off-air, distraught with his rushed, scruffy appearance. Through this juxtaposition, Moore humorously questions the legitimacy of the Media by revealing this shallow and insincere reporter. By revealing the lack of emotion in the media, he is promoting his own outlook to viewers. The construction of the representation is driven by the composers desire to influence the audience or change their perspective. Moore uses many audio-visual techniques in his editing that aim to shape meaning and have a profound effect on the audience. An example of this is the “wonderful world” montage, which highlights the hypocrisy of America’s presentation as a flawless society. Louis Armstrong’s What A Wonderful World plays on a backdrop of horrific images, ranging from gun violence, real footage of shootings and American military forces in other nations. The song is juxtaposed with the images of violence and destruction displayed to highlight the realities of the world we live in. The perspective of the song is highly conflicting with the scenes chosen by Moore for the montage, as he wishes to emphasise the irony that our world is not so wonderful to the audience. Michael Moore’s film Bowling for Columbine is an example which reveals how representation is governed by a composer’s perspective wether intentional or subconsciously. It also displays how events, personalities and situations will always be interpreted and represented in different ways to reflect the conflicting perspectives of both composers and viewers. In the film, the medium, choice of music, audio-visual techniques and use of interviews are mechanisms used by Moore to shape meaning and influence responses. By analysing this film, it is clear that the construction of the representation is driven by both entertain, while aiming to influence the audience and change their perspective, and therefore should never be accepted unquestioningly.