Fahrenheit 9/11, Just Old Fashioned Propaganda?

If any of you are still running into friends that have swallowed the half truths that make up the whole of the movie Fahrenheit 9/11 here are some stories to check out.

To those of you out there that think Michael Moore's latest is anything but a piece of fiction designed to smear the president and take your money these stories are for you too.

Tracy pointed this article to me, Thanks Tracy

What's wrong with Fahrenheit 9/11?
Michael Moore claims that Bush is manipulating the American people. But who is manipulating whom? by Joey Tartakovsky

In one of the best-known scenes from Fahrenheit 9/11, President George W. Bush is captured on film appearing more concerned about his skill at golf than his leadership in the war for civilization. Speaking to a throng of reporters, President Bush remarks, "I call upon all nations to do everything they can to stop these terrorist killers. Thank you. Now, watch this drive." These three phrases alone seem to many incontrovertible evidence that Bush, insincere about the threat of al Qaeda, merely mouths boilerplate that looks robust in the morning papers. It makes for great sneering. Now, as it turns out, President Bush was talking not about al Qaeda, but Hamas, which had suicide-bombed in Israel hours before. But don't expect the movie to mention such a detail, for here Bush looks silly, and this is the great purpose of Fahrenheit 9/11.

The following places most things in perspective.

Fifty-nine Deceits in Fahrenheit 9/11 By Dave Kopel

This report was first posted on the web on the morning of July 1. Since then, I've revised several sections in response to reader requests for clarifications, and have added additional deceits which have been pointed out by readers or journalists. As a result, the number of listed deceits has been raised from 56 to 59.

And finally someone that calls it what it is, Propaganda.

Propaganda Tactics and Fahrenheit 9/11
Dr. Kelton Rhoads, Draft of 9/9/04

I had my nose buried in books on the subject of propaganda analysis during June 2004, when Michael Moore’s Fahrenheit 9/11 was released. So it’s embarrassing to admit I didn’t immediately recognize something big was happening in my field, and that it was as close as my local theater: “feature-length movie-house agitprop,” as one commentator called it, which he correctly recognized as “a relatively rare and new thing.” With a few notable exceptions, such as Leni Riefenstahl’s work, propaganda has made a poor showing at the box office.

Update: Say Anything took in a double feature watching both Farenheit and Farenhype.