And, if even one-quarter of what Moore portrays is true, it is a stinging indictment of how one of the mightiest, richest, and most privileged countries in history can go so terribly wrong with health care for its citizens.
With documentary films, of course, there are always two basic threads that one can usually consider separately: The subject matter of SiCKO, the external issue under discussion, is the American healthcare system and what can be done to address the fundamental concerns that have been raised by its critics.
Of course there are some people who stubbornly insist that the American medical system is the best and most efficient in the world, but most people today recognize that there are deep flaws with the way medical care is delivered in the United States.
There are many different measures that testify to this, but consider just these two: One of the basic problems with the US system is that it, alone among leading developed nations, does not provide its citizens with Thesis of sicko michael moore guaranteed healthcare, leaving about fifty million people without any health insurance at all.
One could spend weeks, even years, examining the specifics of this vast, complicated, and important subject, and a two-hour movie is not going to do that.
Let us put the disturbing nature of that question aside for the moment and consider the other main topic of discussion here, which is the nature of the documentary film expression employed by Michael Moore.
I am always amazed by the animosity and contempt that so many people seem to feel for Moore. Right-wing and politically conservative people, of co urse, are inevitably offended by his positions, and they might be expected to dismiss his films.
Why do they hate him so much? But there is a deeper American cultural theme that underlies this animosity towards Moore, and it has its connections with the history of documentary films.
Inspired by the demonstrated success of Western empirical science, a good documentary film is supposed to lay bare the objective facts of a situation, so that a judicious and unprejudiced viewer can see objective reality and arrive at the truth. The camera was to be an objective record of reality.
But of course this is a fiction: Objectivism is the naive objective reality stance, which most of us adopt most of the time in our everyday activities.
For Interactionism, every human activity invariably involves an embodied interaction with something else even, as Heisenberg noted, when interacting with a scientific instrument.
In this respect, rather than Cartesian dualism and Newtonian analysis, one should associate Interactionism with Buddhism, Sufism, and the work of Merleau-Ponty.
From the Interactionist perspective, Objectivism is only an abstract ideal that has pragmatic application in many domains, but not all.
But real experience, which is inescapably interactive, can only be approximated by Objectivism -- and only approximated accurately some of the time, such as when observing more remote physical objects, like the stars.
In other spheres of activity, where account of human interaction cannot be minimized, such as the sphere of human social activity, Objectivist approximations are particularly weak and inaccurate. This means that the film editor has been highly selective in terms of what makes the final cut, and this selectivity almost invariably reflects a personal point of view.
In contrast with Objectivist-influenced American direct cinema documentarians, outstanding European documentary filmmakers, such as Werner Herzog and Louis Malle, have been Interactionists.
They recognize that every documentary film presentation necessarily involves interactions on the part of the filmmaker with his subject material, and they explicitly acknowledge that interaction by supplying their own personal commentary. Michael Moore belongs to the same camp and is an Interactionist, too, but he is operating in a popular society that clings stubbornly to the belief that Objectivism is the only option.
So in SiCKO Moore gives the viewer his personal narrative describing his investigation into a sick social patient, which in this case is the whole of American society. You may well not agree with his point of view, but this is his journey and his telling.
The unwanted symptoms are first examined Section 1. Next the recent history of how things got this way are covered Section 2. The final diagnosis is an exercise left for the viewer. But Moore reminds his audience at the end that America has always opportunistically borrowed good ideas from abroad and adopted them without prejudice.
It is time, he says, for America to do that again. The Difficulty of Getting Medical Coverage 30 minutes. The first section of the film documents an extended series of outrageous personal tales describing ordinary people who have been denied medical insurance and therefore have not been able to obtain critical medical treatment that they could not afford.
Of course one could complain that these are only selected cases taken from a large society, but the cases appear to reflect not just individual mistakes, but systematic policies that are unjustly applied on a wide scale. There are several types of problems described: Many people cannot obtain health insurance, even if they have the money to pay for it.“Sicko” Rhetorical Analysis Essay Sample “Sicko” is a documentary produced by Michael Moore that focuses on health care in benjaminpohle.com documentary provides an in depth understanding and analysis of the unceasing health care problems in America.
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