Michael Moore, an American Populist?

IF 0.1 0 LITERATURE Anafora Pub Date : 2022-01-01 DOI:10.29162/anafora.v9i2.2
M. Jensen
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Abstract

This article contextualizes the films of Michael Moore in the tradition of American populism. Extending in particular from historian Thomas Frank’s argument in People without Power that populism can usefully be understood as a particular American tradition of leftism, the article traces how three of Moore’s films—Roger & Me (1989), Sicko (2007), and Capitalism: A Love Story (2009)—articulate political concerns that overlap with the political beliefs of American populism. The article also explores some of the populist elements in Moore’s style and argues that there is good reason to see Michael Moore as a twenty-first-century American populist but that any attempt to do so must remain clear about the definitions of populism used to make this contextualist argument.
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迈克尔·摩尔,美国民粹主义者?
本文将迈克尔·摩尔的电影置于美国民粹主义传统的语境中。本文特别延伸了历史学家托马斯·弗兰克在《无权力的人》中的观点,即民粹主义可以被有效地理解为一种特殊的美国左翼传统。本文追溯了摩尔的三部电影——《罗杰和我》(1989年)、《精神病人》(2007年)和《资本主义:一个爱情故事》(2009年)——如何表达与美国民粹主义政治信仰重叠的政治关切。本文还探讨了摩尔风格中的一些民粹主义元素,并认为有充分的理由将迈克尔·摩尔视为21世纪的美国民粹主义者,但任何这样做的尝试都必须清楚民粹主义的定义,这些定义是用来进行这种语境主义论证的。
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来源期刊
Anafora
Anafora LITERATURE-
CiteScore
0.10
自引率
0.00%
发文量
1
审稿时长
20 weeks
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