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Journal articles on the topic 'Michael Moore'

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Author: Grafiati

Published: 4 June 2021

Last updated: 28 January 2023

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1

Jensen, Mikkel. "Michael Moore, an American Populist?" Anafora 9, no. 2 (2022): 241–64. http://dx.doi.org/10.29162/anafora.v9i2.2.

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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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Yaffe, Gideon. "TRYING TO DEFEND ATTEMPTS: REPLIES TO BRATMAN, BRINK, ALEXANDER, AND MOORE." Legal Theory 19, no. 2 (June 2013): 178–215. http://dx.doi.org/10.1017/s1352325213000050.

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Bingham, Michael. "Michael Moore, cinéaste social." Mouvements 27-28, no. 3 (2003): 73. http://dx.doi.org/10.3917/mouv.027.0073.

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GBS and JH. "Michael Edward York-Moore." Bulletin of the Royal College of Psychiatrists 11, no. 9 (September 1987): 321–22. http://dx.doi.org/10.1192/s0140078900018083.

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Moore, Michael. "Remarks by Michael Moore." Proceedings of the ASIL Annual Meeting 107 (2013): 447–65. http://dx.doi.org/10.1017/s0272503700072256.

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6

Rollin, H. R. "Michael Edward York-Moore." Psychiatric Bulletin 11, no. 9 (September 1, 1987): 321–22. http://dx.doi.org/10.1192/pb.11.9.321-a.

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Woelders, Aad. "Michael Moore, here we come!" Maatwerk 6, no. 4 (August 2005): 111. http://dx.doi.org/10.1007/bf03070552.

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Tibbetts, John C., and Michael, 1954 Apr Moore. "An Interview with Michael Moore." Film & History: An Interdisciplinary Journal of Film and Television Studies 34, no. 2 (2004): 86–88. http://dx.doi.org/10.1353/flm.2004.0049.

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O'Connor, John E. "Michael Moore: Cinematic Historian or Propagandist?: Introduction: Historians on Michael Moore and Fahrenheit 9/11." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 2 (2005): 7. http://dx.doi.org/10.1353/flm.2005.0053.

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Laferrère, Armand. "Fahrenheit 9/11de Michael Moore : terrifiant." Commentaire Numéro107, no. 3 (2004): 793. http://dx.doi.org/10.3917/comm.107.0793.

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11

Dolgon, Corey. "Introduction. Michael Moore: A Love Story?" Theory In Action 2, no. 4 (October 31, 2009): 1–6. http://dx.doi.org/10.3798/tia.1937-0237.09021.

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Jackson, Francesina R. "Stupid White Men by Michael Moore." Multicultural Perspectives 7, no. 3 (July 2005): 55–56. http://dx.doi.org/10.1207/s15327892mcp0703_10.

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Franklin, Deeanna. "The Art of Michael G. Moore." Clinical Psychiatry News 36, no. 1 (January 2008): 22. http://dx.doi.org/10.1016/s0270-6644(08)70021-3.

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Anderson, Patrick. "There Will Be No Bobby Sands in Guantánamo Bay." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1729–36. http://dx.doi.org/10.1632/pmla.2009.124.5.1729.

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In his recent film sicko, Michael Moore turns his attention to the crisis in medical care in the United States eventuated by the powerful and wealthy insurance and pharmaceutical companies that control how, when, and if patients experience the broad range of practices we call healing. Moore uses his familiar technique of visiting everyday people and recording their sometimes heartbreaking stories of illness, pitching these narratives against interviews with representatives from large corporations and government agencies.

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15

Cordero Marines, Liliana. "Activismo antitrumpista: Ken Burns y Michael Moore en la trinchera del documental estadunidense." Convergencia Revista de Ciencias Sociales 27 (August 10, 2020): 1. http://dx.doi.org/10.29101/crcs.v27i0.13852.

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Al entender al documental como una herramienta que adquiere un papel activo en la construcción de identidades políticas y en la conformación de la historia de las comunidades, el objetivo del texto es analizar los documentales de dos cineastas estadounidenses —Michael Moore y Ken Burns— en relación con la candidatura y gestión presidencial de Donald Trump. A través de una metodología cualitativa de corte interpretativo, se descubre que los directores y sus respectivos documentales —Michael Moore in Trumpland (2016), Fahrenheit 11/9 (2018) y The Central Park Five (2012)— abonan y participan en el debate nacional actual, coincidiendo en un contexto que consideran peligroso y urgente, a pesar de sus profundas diferencias y matices. Se concluye que en Estados Unidos, como desde hace nueve décadas, el documental sigue siendo una herramienta necesaria de la disidencia para abrir discusiones sobre temas que se consideran de relevancia nacional.

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16

Maldonado, Chandra A. "Michael Moore and the rhetoric of documentary." Journal of Communication 65, no. 6 (October 28, 2015): E1—E3. http://dx.doi.org/10.1111/jcom.12189.

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17

Sartorio, C. "Causation and Responsibility, by Michael S. Moore." Mind 119, no. 475 (July 1, 2010): 830–38. http://dx.doi.org/10.1093/mind/fzq053.

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18

Kramer, Matthew H. "Michael Moore on Torture, Morality, and Law." Ratio Juris 25, no. 4 (November 19, 2012): 472–95. http://dx.doi.org/10.1111/j.1467-9337.2012.00523.x.

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19

Bergman. "Michael Moore and the Rhetoric of Documentary." Rhetoric and Public Affairs 19, no. 4 (2016): 702. http://dx.doi.org/10.14321/rhetpublaffa.19.4.0702.

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20

Nolting, Jenny, and Joachim Renzikowski. "Eine metaphysische Theorie der Kausalität: Michael Moores „Causation and Responsibility“ (Moore)." Rechtswissenschaft 2, no. 4 (2011): 452–64. http://dx.doi.org/10.5771/1868-8098-2011-4-452.

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21

Gardner, John. "WRONGDOING BY RESULTS: MOORE'S EXPERIENTIAL ARGUMENT." Legal Theory 18, no. 4 (July 4, 2012): 459–71. http://dx.doi.org/10.1017/s1352325212000110.

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Michael Moore and I agree about the moral importance of how our actions turn out. We even agree about some of the arguments that establish that moral importance. In Causation and Responsibility, however, Moore foregrounds one argument that I do not find persuasive or even helpful. In fact I doubt whether it even qualifies as an argument. He calls it the “experiential argument.” In this comment I attempt to analyze Moore's “experiential argument” in some detail and thereby to bring out why it does not help. In the process I raise some problems about the rationality of the emotions, which may be where Moore and I part company. We both believe that emotions should be taken more seriously by moral philosophy. But apparently we have radically different views about what this means.

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Sartorio, Carolina. "TWO WRONGS DO NOT MAKE A RIGHT: RESPONSIBILITY AND OVERDETERMINATION." Legal Theory 18, no. 4 (July 3, 2012): 473–90. http://dx.doi.org/10.1017/s1352325212000122.

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In this paper I critically examine Michael Moore's views about responsibility in overdetermination cases. Moore argues for an asymmetrical view concerning actions and omissions: whereas our actions can make us responsible in overdetermination cases, our omissions cannot. Moore argues for this view on the basis of a causal claim: actions can be causes but omissions cannot. I suggest that we should reject Moore's views about responsibility and overdetermination. I argue, in particular, that our omissions (just like our actions) can make us responsible in overdetermination cases. I go on to provide an account of how this may be possible.

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23

Moore, Thomas R. "Stilte dirigeren. Michael Maierhofs gebruik van gedirigeerde en gemeten stiltes / Conducting Silence. Michael Maierhof’s use of conducted and measured silences." Forum+ 26, no. 3 (November 1, 2019): 64–71. http://dx.doi.org/10.5117/forum2019.3.moor.

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Stiltes zijn een essentieel onderdeel van muziek. Wanneer stilte nauwkeurig wordt gemeten, zoals in Michael Maierhofs Zonen 6 voor gitaarorkest, kan deze een hele compositie structureren en de luisteraar helpen om een stuk zin te geven. Het artistieke gebruik ervan heeft ook een dramatische invloed op de rol en de uitvoeringspraktijk van de dirigent. Precies 75% van Zonen 6 voor gitaarorkest van Michael Maierhof bestaat uit gecomponeerde en uitgemeten soundscapes, uitgevoerd door zeventien gitaristen. De andere 25% van het stuk bestaat uit afgemeten en gedirigeerde stilte. In dit artikel peilt Thomas Moore het artistieke gebruik van deze stiltes en onderzoekt hij de manier waarop zij de soundscapes omlijsten en helpen structureren. Ook het nut van de dirigent(e) tijdens deze stiltes wordt overwogen, net als de manieren waarop de dirigent(e) invloed uitoefent op de uitvoering door de gitaristen, en de perceptie van het stuk door het publiek.Silences are an essential part of music. When rigorously measured, like in Michael Maierhof's Zonen 6 for guitar orchestra, silences can structure an entire composition and help the listener make sense of a piece. Their artistic usage also has a dramatic affect on the conductor's role and performance practice. Exactly 75% of Michael Maierhof's Zonen 6 for guitar orchestra can be described as composed and metered soundscapes played and performed by seventeen guitar players. The other 25% of the piece is comprised of measured and conducted silence. In this article, Thomas Moore will delve in the artistic use of these silences and examine the manner in which they frame the soundscapes and help create structure. The use of the conductor throughout these silences will also be considered, as well as the possible ways in which this affects the guitarists' performance and the audience's perception of the piece.

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24

Briley, Ron. "Fahrenheit 9/11: Michael Moore Heats It Up." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 2 (2005): 11–12. http://dx.doi.org/10.1353/flm.2005.0029.

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25

Weissmann, Gerald. "Sicko Statistics: Michael Moore and L'Ècole de Paris." FASEB Journal 23, no. 3 (March 2009): 667–71. http://dx.doi.org/10.1096/fj.09-0301ufm.

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26

Ferns, John. "George Whalley: Remembrances ed. by Michael D. Moore." ESC: English Studies in Canada 17, no. 1 (1991): 114–18. http://dx.doi.org/10.1353/esc.1991.0045.

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27

Schaffer, Jonathan. "DISCONNECTION AND RESPONSIBILITY." Legal Theory 18, no. 4 (August 29, 2012): 399–435. http://dx.doi.org/10.1017/s1352325212000092.

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In Causation and Responsibility, Michael Moore offers an integrated conception of the law, morality, and metaphysics, centered on the notion of causation. I contest Moore's claim that causation cannot relate absences and show how accepting absence causation would improve Moore's view. For denying absence causation drives Moore to a disjunctive account of legal and moral responsibility in order to handle cases such as negligence. It forces him into denying that beheading someone can cause them to die, since the route from beheading to death involves the absence of blood flow to the brain. And it leads him into allowing that responsibility can arise from mere correlation with a crime, given that counterfactual dependence can still hold between correlates.

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28

Marra, Daniel, and Juscéia Aparecida Veiga Garbelini. "“Cartas da zona de guerra”: formações de identidades e representações ideológicas no livro de Michael Moore (“Letters from the war zone”: identities formations and ideological representations in michael moore’s book)." Estudos da Língua(gem) 10, no. 2 (December 30, 2012): 89. http://dx.doi.org/10.22481/el.v10i2.1186.

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Esta reflexão tem como objetivo buscar a(s) identidade(s) psicossocial(is) de Bush construída pelos soldados estadunidenses em cartas reunidas no livro Cartas da Zona de Guerra de Michael Moore. Para tanto, serão observados: (i) os processos discursivos utilizados, (ii) os itens lexicais através de seus aspectos valorativos, (iii) a posição enunciativa dos sujeitos enunciadores, através da mobilização de conceitos da ADF, marco teórico desse estudo. Assim, a identidade psicossocial que emergiu das famílias parafrásticas analisadas mostra um ethos negativo de Bush, tecido por palavras depreciativas, com um posicionamento ideológico desvelador dos temas obscuros da guerra no Iraque.PALAVRAS-CHAVE: ADF. Bush. Cartas. Famílias parafrásticas. Identidade.ABSTRACT This discussion aims at to seek the psychosocial identities of Bush built by U.S. soldiers in letters collected in the book Letters from the War Zone by Michael Moore. To do so, shall be observed: (i) the discursive processes used, (ii) the lexical items through its evaluative aspects, (iii) the enunciative position of the enunciators subjects, by mobilizing concepts of FDA, theoretical framework of this study. Thus, the psychosocial identity that emerged from the analyzed famílias parafrásticas shows a negative ethos of Bush, woven by disparaging words, with an unveiling ideological positioning of the obscure themes of the war in Iraq.KEYWORDS: FDA. Bush. Letters. Famílias parafrásticas. Identities.

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29

Graff, Harvey J. "Introduction to Michael B. Katz 2015 SSHA Memorial Session." Social Science History 41, no. 4 (2017): 757–60. http://dx.doi.org/10.1017/ssh.2017.29.

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I first met Michael Katz on a clear, cool autumn afternoon in 1970. I was an uncertain first-year graduate student at the University of Toronto intending to complete a doctorate in British history with a project on antisocialism. Feeling confused, anxious, and unsatisfied by my courses, I began to share my concerns with fellow students. One of them, who became a lifelong friend (and editor), suggested that I contact that “young professor up the street” in history of education at the Ontario Institute for Studies in Education who worked in the new social history. Having read Thernstrom, Tilly, E. P. Thompson, Eric Hobsbawm, Barrington Moore, and so forth, in a senior honors seminar, I drew up my courage and went to meet Michael.

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Toledo Maria, Cristiane. "O Cinema-Ensaio como forma no documentário Capitalismo: uma história de amor." Remate de Males 37, no. 2 (December 19, 2017): 855. http://dx.doi.org/10.20396/remate.v37i2.8648692.

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Este artigo tem como objetivo analisar os procedimentos formais utilizados pelo cineasta Michael Moore em seu filme Capitalismo: uma história de amor (Capitalism: A Love Story, EUA, 2009). A partir de um levantamento dos elementos estéticos e políticos que constituem a narrativa desse documentário, notamos que a linguagem ensaística dá forma à proposta central do filme: investigar a crise financeira de 2008 e suas causas e consequências na sociedade contemporânea.

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31

Vieira, Laís Farago, and Vanessa Matos dos Santos. "Descortinando Fahrenheit 9/11: as estratégias de Michael Moore." DOC online - Revista Digital de Cinema Documentário, no. 23 (March 30, 2018): 196–211. http://dx.doi.org/10.20287/doc.d23.ac02.

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Abdallah, Mogniss H. "Le spectacle du racisme américain montré par Michael Moore." Hommes et Migrations 1246, no. 1 (2003): 118–22. http://dx.doi.org/10.3406/homig.2003.4106.

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33

Mintz, Steven. "Michael Moore and the Re-Birth of the Documentary." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 2 (2005): 10–11. http://dx.doi.org/10.1353/flm.2005.0049.

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34

Hegnsvad, Kristoffer. "Et forsvar for populærkulturen – En præcisering af det populærkulturelle begreb og en kritisk læsning af Adornos syn på populærkulturen." Slagmark - Tidsskrift for idéhistorie, no. 58 (March 9, 2018): 113–27. http://dx.doi.org/10.7146/sl.v0i58.104715.

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This article explores the concept of popular culture and popular art. When Michael Moore’s Fahrenheit 9/11 received the Golden Palm in Cannes in 2004, the French press and director Jean-Luc Godard joined in a critique of the jury’s choice. The press discussed the possibility of the festival loosing its status as the most prestigious festival of art cinema after giving the prize to an American political documentary. Godard criticized Michael Moore for being to direct and not communicating through more subtle aesthetics. Between the lines of both critiques one find a devaluation of popular art often seen in modern aesthetic theory and this article tries to refute this devaluation in a critical reading of Theodor W. Adorno’sview on the popular.

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Dunn, Austin Graham, Rylan Lee, Nick Michael, and Jack Corbett. "DVD/Blu-ray." Film Matters 10, no. 2 (September 1, 2019): 84–99. http://dx.doi.org/10.1386/fm_00012_4.

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24 Frames (2017)USADirector Abbas Kiarostami Runtime 114 minutesBlu-rayUSA, 2019 Distributed by The Criterion Collection (Region A/1)Bowling for Columbine (2002)USADirector Michael Moore Runtime 120 minutesBlu-ray USA, 2018Distributed by The Criterion Collection (Region A/1)Heart of a Dog (2015)USADirector Laurie Anderson Runtime 75 minutesDVD USA, 2016Distributed by The Criterion Collection (region 1)Monterey Pop (1968)USADirector D. A. Pennebaker Runtime 79 minutesBlu-ray USA, 2017Distributed by The Criterion Collection (region 1)

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36

Toledo Maria, Cristiane. "O cinema político e a indústria cultural: a obra de Michael Moore." Boletim de Pesquisa NELIC 15, no. 24 (December 18, 2015): 46. http://dx.doi.org/10.5007/1984-784x.2015v15n24p46.

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http://dx.doi.org/10.5007/1984-784X.2015v15n24p46Este artigo tem como objetivo discutir a respeito da produção fílmica do cineasta norte-americano Michael Moore, tendo como questão central a relação que se estabelece entre arte e política num momento histórico que, de um lado, aponta para a crise do capitalismo e, de outro, para a fragmentação política da classe trabalhadora. Focado na análise dos documentários Roger e Eu (Roger & Me, 1989) e Capitalismo: uma história de amor (Capitalism: a love story, 2009), este artigo é uma tentativa de compreender o método desenvolvido pelo cineasta para lidar com a crise de representação e comunicação vivida pela arte política nas últimas décadas, bem como as condições de representação da luta de classes dentro da indústria cultural norte-americana.

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37

Walker, Nigel. "Even More Varieties of Retribution." Philosophy 74, no. 4 (October 1999): 595–605. http://dx.doi.org/10.1017/s0031819199000704.

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Professor Cottingham's article ‘Varieties of Retribution’ in the Philosophical Quarterly, 1979, 29, 238ff. is discussed, and new varieties of retributivism are outlined and criticised, particularly those proposed by Richard Burgh, Michael Moore and Robert Nozick. The ‘Kantian gap’ between moral censure and the obligation to punish is emphasised. Distinctions are drawn between theories which make punishment a duty and those which make it a right, and also between those based on the notion of a rule and those based on the expression of blame.

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38

Chambers, Liam. "The Life and Writings of Michael Moore c.1639–1726." Irish Economic and Social History 29, no. 1 (June 2002): 75–76. http://dx.doi.org/10.1177/033248930202900107.

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39

Harnden, DG. "An appreciation of Dr Michael Moore Editor, BJC, 1979-1988." British Journal of Cancer 59, no. 1 (January 1989): 1. http://dx.doi.org/10.1038/bjc.1989.1.

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40

Poindexter, Mark. "Art Objects: The Works of Michael Moore and Peter Watkins." Journal of Popular Culture 44, no. 6 (December 2011): 1268–88. http://dx.doi.org/10.1111/j.1540-5931.2011.00900.x.

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41

Cherobin, Nicoletta, Sara Silva Oliveira, Sâmila Maria Oliveira da Silva, and Patrícia Salviano de Oliveira. "Nicola Gardini. Lost Words. Tradução de Michael F. Moore. New York: New Directions Publishing Corporation, 2016. 232 p." Cadernos de Tradução 36, no. 3 (September 6, 2016): 379. http://dx.doi.org/10.5007/2175-7968.2016v36n3p379.

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http://dx.doi.org/10.5007/2175-7968.2016v36n3p379Publicado em janeiro deste ano, Lost Words é a tradução do livro Le parole perdute di Amelia Lynd, publicado em 2012 e vencedor do Premio di Narrativa Viareggio - Rèpaci do mesmo ano. A obra é de autoria de Nicola Gardini, escritor italiano que leciona Literatura Italiana na Universidade de Oxford, formado em Letras Clássicas pela Universidade de Milão e Ph.D. em Literatura Comparada pela Universidade de Nova Iorque. Publicou, além de ensaios críticos de literatura e coleções de poesias, alguns romances. A tradução foi feita por Michael F. Moore que, além de tradutor, é intérprete de língua italiana, PhD em italiano pela Universidade de Nova Iorque e com traduções que vão desde Alberto Moravia e Primo Levi até autores mais recentes, como Fabio Genovesi e Nicola Gardini. Atualmente, Michael é chefe do Advisory Board for the PEN-Heim Translation Fund e trabalha também como intérprete para as Nações Unidas.

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42

Knowles, Dudley. "Unjustified Retribution." Israel Law Review 27, no. 1-2 (1993): 50–58. http://dx.doi.org/10.1017/s0021223700016848.

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In a number of related papers Michael S. Moore has advanced a powerful theory of retributive punishment. The position as stated is simple: “retributivism is the view that we ought to punish offenders because and only because they deserve to be punished”. Desert is a necessary and sufficient condition for just punishment. However simple and straightforward the view, it still needs to be defended and Moore has been energetic in defending his corner against traditional objections and against replies that his account has attracted since first publication. His latest effort invites readers to pursue these problems in still greater depth. This is an invitation I am happy to accept. First I want to reexamine the charge that there is circularity in his account and second, I want to look more closely at the intuitions which ground his acceptance of the principle of desert.One worrying thought, for Moore, is that he may be begging the question. His argument proceeds by inviting us to consider a range of cases. In “The Moral Worth of Retribution” the focus is on a couple of savage murders. In “Justifying Retributivism” we are asked to practice Kant's thought-experiment: how should we deal with the last murderer before we leave the island; and ponder the fate of Dostoyevsky's nobleman who set his dogs to tear a child to pieces.

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43

Yaffe, Gideon. "MOORE ON CAUSING, ACTING, AND COMPLICITY." Legal Theory 18, no. 4 (June 14, 2012): 437–58. http://dx.doi.org/10.1017/s1352325212000109.

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In Michael Moore's important book Causation and Responsibility, he holds that causal contribution matters to responsibility independently of its relevance to action. We are responsible for our actions, according to Moore, because where there is action, we typically also find the kind of causal contribution that is crucial for responsibility. But it is causation, and not action, that bears the normative weight. This paper assesses this claim and argues that Moore's reasons for it are unconvincing. It is suggested that sometimes a person's responsibility for that to which he causally contributes depends on his recognition of an identity between himself and the protagonist of the event for which he is held responsible. Since this fact about identity is not captured by causal contribution, action matters to responsibility for reasons that are not exhausted by the fact that action involves causal contribution. The relevance of this idea for accomplice liability is also briefly discussed.

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44

Hill, Christopher. "The Genesis of the Society: Kemp, Moore, Routledge et al." Ecclesiastical Law Journal 14, no. 1 (December 5, 2011): 82–87. http://dx.doi.org/10.1017/s0956618x11000767.

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In recognition of the Silver Jubilee of the Ecclesiastical Law Society and this Journal, the Comment section in this issue is devoted to some personal reminiscences and reflections from two individuals who were very much involved at the time, and who have subsequently made their own distinctive contribution to the Society and the Journal respectively: Bishop Christopher Hill, the current chairman, and Michael Goodman, founder editor of this Journal.

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45

FRANCOIS, JOSEPH, and BERNARD HOEKMAN. "Introduction to the Symposium Issue on Structural Issues at the World Trade Organisation." World Trade Review 14, no. 1 (January 2015): 1–5. http://dx.doi.org/10.1017/s1474745614000494.

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The papers in this Symposium issue complement two other compilations of research on the multilateral trading system published in Evenett and Hoekman (2006) and Hoekman and Vines (2007) and are a final output of the UK Department for International Development supported Global Trade and Financial Architecture project. The genesis of this Symposium was a CEPR workshop hosted by the OECD in March 2012 with support from DG Research (grant: PEGGED Collaborative Projects under the EU's Seventh Framework Programme, Contract no. SSH-CT-2008-217559). Draft papers were presented at a conference at the Elliott School of International Affairs, George Washington University, hosted by Michael Moore in April 2013. We are very grateful to Frank van Tongeren at the OECD and Mike Moore at the Elliott School for their support of the meetings, to Michelle Chester and Rebecca Martin at the World Bank for help with logistics, to the participants in both events, especially the discussants, and to Alan Winters and an anonymous referee for comments on the submitted papers.

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46

Avellar, Valter Luís de, and Fernanda Paiva Furtado da Silveira. "Uso de vídeo com narrativa digital como proposta para instigar a motivação em cursos a distância." Paradoxos 6, no. 1 (June 28, 2021): 21–37. http://dx.doi.org/10.14393/par-v6n1-2021-57147.

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A Educação a Distância tem como um de seus desafios manter o aluno motivado. Uma das formas de vencer esse desafio é produzir material didático de qualidade. Portanto, este artigo tem como objetivo propor a produção de vídeo com narrativa digital, como estratégia para instigar a motivação do aluno, melhorar as interações no ambiente virtual e revitalizar o material didático de uma disciplina a distância. O artigo foi desenvolvido a partir de uma pesquisa qualitativa de caráter exploratório e as teorias da aprendizagem multimídia (Richard Mayer), da carga cognitiva (John Sweller) e da distância transacional (Michael Moore) embasaram este estudo.

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Kuersten, Andreas. "Michael S. Moore, Mechanical Choices: The Responsibility of the Human Machine." Journal of Moral Philosophy 19, no. 4 (August 8, 2022): 415–19. http://dx.doi.org/10.1163/17455243-19040001.

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Krzych, Scott. "The Price of Knowledge: Hysterical Discourse in Anti-Michael Moore Documentaries." Comparatist 39, no. 1 (2015): 80–100. http://dx.doi.org/10.1353/com.2015.0001.

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Muirí, Réamonn Ó., and Liam Chambers. "Michael Moore, C. 1639-1726: Provost of Trinity, Rector of Paris." Seanchas Ardmhacha: Journal of the Armagh Diocesan Historical Society 20, no. 2 (2005): 354. http://dx.doi.org/10.2307/29742771.

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Beck, Bernard. "Gulliver's Travels: Michael Moore the Explorer in Who to Invade Next." Multicultural Perspectives 18, no. 4 (October 2016): 202–5. http://dx.doi.org/10.1080/15210960.2016.1228306.

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