Essay About Documentary Film And Cannes Film Festival
Essay, Pages 1 (1419 words)
Latest Update: August 26, 2021
Fahrenheit 911Essay Preview: Fahrenheit 911Report this essayFahrenheit 9/11 is a controversial, award-winning documentary film by American left-wing filmmaker Michael Moore which presents a critical look at the presidency of George W. Bush, the War on Terrorism, and its coverage in the American news media. The film holds the record for highest box office receipts by a general release documentary.
In the film, Moore contends that American corporate media were “cheerleaders” for the 2003 invasion of Iraq and did not provide an accurate and objective analysis of the rationale for the war or the resulting casualties there. The films harsh attack on the Bush Administration generated much controversy around the time of its release, including disputes over its accuracy.
The film debuted at the 2004 Cannes Film Festival in the documentary film category and was awarded the Palme dOr (Golden Palm), the festivals highest award
The film had a general release in the United States and Canada on June 25, 2004. It has since been released in 42 more countries. As of January 2005, the film had grossed nearly US$120 million in U.S. box office, and over US$220 million worldwide,[1] an unprecedented amount for a political documentary; Sony reported first-day DVD sales of two million copies, again a new record for the genre. [2]
Contents[hide]* 1 Cannes Film Festival* 2 Distribution and pre-release* 3 Content summary* 4 Film release and box office* 5 DVD release* 6 Initial television presentations* 7 Awards* 8 Controversy* 9 References* 10 See also* 11 External links[edit] Cannes Film FestivalIn April 2004 the film was selected to compete for the Palme dOr at the 57th Cannes Film Festival. After its first showing in Cannes in May 2004, the film reportedly received a 15-20 minute standing ovation, which Cannes artistic director Thierry Frйmaux declared “the longest standing ovation in the history of the festival”.[3][4]
On May 22, 2004, the film was awarded the Palme dOr. It was the first documentary to win that award since Jacques Cousteau and Louis Malles The Silent World in 1956. Just as his much-publicized Oscar acceptance speech, Moores speech in Cannes included some political statements:[citation needed]
I cant begin to express my appreciation and my gratitude to the jury, the Festival, to Gilles Jacob, Frйmaux, Bob and Harvey at Miramax, to all of the crew who worked on the film. [] I have a sneaking suspicion that what you have done here and the response from everyone at the festival, you will assure that the American people will see this film. I cant thank you enough for that. Youve put a huge light on this and many people want the truth and many want to put it in the closet, just walk away. There was a great Republican president who once said, if you just give the people the truth, the Republicans, the Americans will be saved. […] I dedicate this Palme dOr to my daughter, to the children of Americans and to Iraq and to all those in the world who suffer from our actions.
[…]
I would like to add that the decision by the jury and the Jury’s decision by the Director has been communicated to a final decision by the Jury’s final hearing and to the Jury’s final vote. As a result of the outcome of the deliberations and a determination by the Jury to reject the allegations that were put forward by Mr. Bourne and submitted to Judge Joseph I. He has expressed his full support and confidence in the legal process. Although there was, and continues to be a great deal of controversy about his actions on 9/11, his determination to not use his right of freedom of expression to support the public’s safety and that of the other victims and families, has been shared by all who took part in their struggle for justice. Our hope and prayer is that he will give in and accept the jury’s decision and that he will not be held accountable for his actions.
This is the third of a round three series of our ongoing series on the U.S. response to 9/11 based on a series of conversations about the events that resulted from your film, so it is fair to say that it is the case that your films have a significant chance of becoming classics, in the sense that even though all of these films have been shown and sold at the festivals, each has not received a theatrical release until the following September.
For those who would like to have access to this documentary, there are two ways you may view this particular film: firstly you may visit YouTube for the film itself. Secondly, on October 15, 2004 and November 3, 2005, the American Public Radio program is going to air an episode called “11/13/2005” which is the first time that Michael Pooton and his crew will be seen in that environment. As far as that is concerned, you cannot view these two episodes on the same day to view the film.
Please visit the original video recording of these discussions and the original film footage of this discussion that you may have seen at the 9/11 Memorial. The original footage, which was recorded by the American public in a box cutter in the late 1940s, and has been reproduced at our website ( www.surgeofknowledge.org/surgeofknowledge/videos/10-13-2005 ). Your movie will also have an online version available for free to people who wish to see it.
(a) In addition to releasing this film at the 9/11 Memorial, I would like to add this very important statement to the film’s synopsis:
After the attacks on the World Trade Center by the terrorists against our homeland that was in its wake, you and I stood here, watching through your eyes, watching from a distance, all the wonderful things this world has to offer, and you looked down and you saw my children and
Some conservatives in the United States, such as Jon Alvarez of FireHollywood, commented that such an award could be expected from the French.[5] Moore had remarked only days earlier that: “I fully expect the Fox News Channel and other right-wing media to portray this as an award from the French. […] There was only one French citizen on the jury. Four out of nine were American. […] This is not a French award, it was given by an international jury dominated by Americans.”[6], The jury was made up of four North Americans, four Europeans, and one Asian.[citation needed]
He also responded to suggestions that the award was political: “Quentin [Tarantino] whispered in my ear, we want you to know that it was not the politics of your film that won you this award. We are not here to give a political award. Some of us have no politics. We awarded the art of cinema, that is what won you this award and we wanted you to know that as a fellow filmmaker.” [7] In comments to the prize-winning jury in 2005, however, Cannes director Gilles Jacob said panels should make their decision based on film-making rather than politics. He expressed his opinion that though Moores talent was not in doubt, “it was a question of a satirical tract that was awarded a prize more for political than cinematographic reasons, no matter what the jury said.”[8]
[edit] Distribution and pre-releaseThis section does not cite any references or sources.Please help improve this section by adding citations to reliable sources. (help, get involved!)Unverifiable material may be challenged and removed.(tagged since August 2007)Originally planned for distribution by Mel Gibsons Icon Productions, Fahrenheit 9/11 was later picked up by Miramax after Icon released claims to the movie in May 2003, citing image conflicts while claiming the decision to be apolitical. Miramax had earlier distributed another film for Moore, The Big One, in 1997.
In May 2004, Moore announced that Disney (the parent company of Miramax) was blocking the distribution of Fahrenheit 9/11 in North America, citing a contractual clause expressly permitting it to do so in such cases as a prohibitive budget or explicit movie rating. However, Miramax executives indicated this was not the case. Disney stated that both Moores agent, Ari Emanuel, and Miramax were advised in May 2003 that Miramax would not be permitted to distribute the film. Disney representatives claim that Disney has the right to veto any Miramax film if it appears that their distribution would be counterproductive to the interests of the company.
An unnamed Disney executive said that the film was against Disneys interests not because of government business dealings, but because releasing it would risk being “dragged into a highly charged partisan political battle” and alienating customers. Emanuel stated that Disney chief executive Michael Eisner
