By Miles Orvell
Publication by way of Orvell, Miles
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Additional resources for After the Machine: Visual Arts and the Erasing of Cultural Boundaries
The question of power is even more explicitly the subject of the next chapter, "Documentary Film and the Power of Interrogation: Kopple's American Dream and Moore's Roger and Me," a comparison of documentary filmmakers Barbara Kopple and Michael Moore. Their quite different works both take as their subject the fate of the factory (which is to say, the fate of the factory worker) in the global economy that Salgado likewise portrays. Focussing on the labor-management conflict, Kopple and Moore offer congruently sympathetic views of labor; but in contrasting ways they are also simultaneously representing the situation of the filmmaker: Kopple's traditional mode assumes the privileges of the camera while Moore's dramatizes its powerlessness in the face of privilege and class.
Page iii After the Machine Visual Arts and the Erasing of Cultural Boundaries By Miles Orvell Page iv Copyright © 1995 by the University Press of Mississippi All rights reserved Manufactured in the United States of America 98 97 96 95 4 3 2 1 The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. Library of Congress Cataloging-in-Publication Data Orvell, Miles. After the machine : visual arts and the erasing of cultural boundaries / by Miles Orvell.
If Sheeler's response to Fordforgetting the labor practices, the strikes, the Ford police, the social campaignswas thus a positive one, it was not far from the popular response to the myth of Ford (Smith 15-55).
After the Machine: Visual Arts and the Erasing of Cultural Boundaries by Miles Orvell