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My Teacher Made Us Read Dinesh D'souza

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2014 flick by Dinesh D'Souza

America:
Imagine the World Without Her
America Imagine a World Without Her.jpg

Theatrical release poster
Directed by
  • Dinesh D'Souza
  • John Sullivan
Written past
  • Dinesh D'Souza
  • John Sullivan
  • Bruce Schooley
Based on America: Imagine the World Without Her
by Dinesh D'Souza
Produced by
  • Dinesh D'Souza
  • Gerald R. Molen
Starring Dinesh D'Souza
Cinematography Benjamin Huddleston
Edited past
  • Rickie Lee
  • Jeffrey Linford
Music by Bryan E. Miller
Distributed by Lionsgate

Release appointment
  • June 27, 2014 (2014-06-27)

Running time

 103 minutes
Land United States
Language English
Upkeep $five million[1]
Box part $xiv.4 million[ii]

America: Imagine the Globe Without Her is a 2014 American political documentary film by Dinesh D'Souza based on his volume of the same proper name. It is a follow-up to his film 2016: Obama'south America (2012). In the film, D'Souza contends that parts of Usa history are improperly and negatively highlighted by liberals, which he seeks to counter with positive highlights. Topics addressed include conquest of Indigenous and Mexican lands, slavery, and matters relating to foreign policy and capitalism.[3] [4] D'Souza collaborated with John Sullivan and Bruce Schooley to conform his volume of the same name into a screenplay. D'Souza produced the film with Gerald R. Molen and directed it with Sullivan. The film combined historical reenactments with interviews with unlike political figures.

America: Imagine the World Without Her was marketed to political conservatives and through Christian marketing firms. Lionsgate released the film in three theaters on June 27, 2014 and expanded its distribution on the weekend of the U.S. holiday Independence Day on July iv, 2014. The film grossed $14.4 million, which made it the highest-grossing documentary in the United States in 2014, though D'Souza's previous documentary 2016: Obama's America had grossed over $33 million. Most professional person movie critics called the movie poorly-fabricated and partisan. Political commentators analyzed D'Souza'south rebuttal of Howard Zinn's criticisms, the filmmaker's handling of Saul Alinsky, Barack Obama and Hillary Clinton, and D'Souza'due south depiction of his own criminal prosecution. Conservative commentators expressed a mix of full and qualified back up for the documentary and D'Souza's intentions.

Synopsis [edit]

Setting the phase for a presentation of their views, D'Souza and Sullivan provide counterfactual histories in which George Washington is killed during the Revolutionary War, or the country is divided following civil war, creating a earth without America that would exist vastly worse off.[v] D'Souza identifies himself as an Indian immigrant who chose America, and has been impressed with what a unique force for good it is, something Americans have traditionally agreed with. He claims modern leftists are "telling a new story", however, contradicting traditional veneration for America in guild to "convince a nation to writer its own devastation" and "unmake the America that is here at present." He so challenges several "indictments" fabricated confronting the country and American exceptionalism, including sociology professor and activist Michael Eric Dyson's merits that "Thievery" was the "critical element" for "American empire" and historian and activist Ward Churchill's assertion that the United states is the earth's new evil empire, and says that 1960s Chicago radical Saul Alinsky, historian Howard Zinn, and others take promoted guilt and resentment regarding wealth inequality that has helped shape the political careers of Barack Obama and Hillary Clinton.

D'Souza argues that America'southward wealth has been created, not stolen. He says the $700 used to purchase colonial Manhattan from American Indians could buy many desolate parcels globally today, but that individual industry has made New York existent estate worth billions. He states that in Europe, India, and elsewhere most countries accept been founded on conquest, and observes that the American pattern of wealth creation hasn't been the universal norm. He cites examples like Arab historian Ibn Khaldun preferring looting to trade and says that merchants course Hinduism'south second-lowest social caste.

The film argues that American Indians exhibited this "conquest ethic" amid themselves, and that nigh of the American Indian depopulation that occurred during European colonization resulted from the accidental transmission of plagues (which had earlier devastated Europe), not from an intent to wipe out a people. The film argues that modern American Indians have petty interest in returning to their hunter-gatherer past. In an interview, Senator Ted Cruz compares the Texas Revolution to the American Revolution. Professor and Reconquista advocate Charles Truxillo is assorted with an interviewed Tejano who says he has no want to render to a poverty and crime ridden Mexico and instead wants to live the "American Dream".

D'Souza says that slavery impeded American development, rather than boosting it. The film argues that slavery was an omnipresent miracle for most of human history, merely that its abolition was "uniquely Western", noting the rarity of a "great war fought to cease slavery" like the American Civil War. According to the film, the Declaration of Independence essentially says "freedom is the solution to injustice," a "promissory note" cashed throughout history by Americans such every bit Martin Luther Male monarch, Jr. C.J. Walker, the black entrepreneur and daughter of slaves who is regarded as America's first self-made female millionaire, is cited as an instance of the type of individual success story the American organization allows that is ignored past historians like Zinn because it undermines their leftist narrative. Columbia University economist Jagdish Bhagwati is shown saying that the "world is embracing the free marketplace," for which there is "no reason for us to be apologetic." The film attempts to outline how somewhat gratis enterprise and consumer "choice" rather than "coercion", have peradventure raised living standards by making existing goods cheaper and creating new ones.[6]

Cast [edit]

  • John Koopman as General George Washington, founding father, Continental Army general, and 1st President of the Usa
    • Jodie Moore as old George Washington
  • Caroline Granger every bit Martha Washington
    • Lynette Bennette as one-time Martha Washington
  • Don Taylor as President Abraham Lincoln, American lawyer and 16th President of the United States
  • Josh Bonzie as Frederick Douglass
  • Janitta Swain as Madame C. J. Walker, outset female self-made millionaire and philanthropist
  • Michelle Swink every bit Mary Todd Lincoln, Abraham Lincoln'due south wife
  • Rett Terrell as Alexis de Toqueville
  • Rodney Luis Aquino as Hernán Cortés
  • Michael D. Arite as Major Henry Rathbone
  • Chad Bakery as Gustave de Beaumont
  • Rich Bentz equally Saul D. Alinsky
  • Todd Trice as Stephen Douglas
  • Chris Bauza every bit young John Fer
  • Chad Baker as Gustave de Beaumont
  • Walker Theodore Thomas as William Ellison
  • Corey Dykes as Christopher Columbus
  • Jen Pierce as young Hillary Clinton

Interviews [edit]

D'Souza conducted interviews with the following individuals:[seven]

  • Charmaine White Confront, a Native American activist
  • Charles Truxillo, a professor of Chicano at University of New United mexican states
  • Noam Chomsky, a political commentator and anarcho-syndicalist activist
  • Michael Eric Dyson, a professor of sociology at Georgetown University
  • Rand Paul, the junior United States senator for Kentucky
  • Ted Cruz, the inferior U.s. senator from Texas
  • Temo Muniz, law student, and Hispanic activist
  • Ronald Radosh, one-time Communist Political party USA member and American writer
  • Alan Dershowitz, a scholar on United States constitutional law and criminal law
  • John Fer, a U.S. Air Strength pilot and former Pw of the Vietnam War
  • Ward Churchill, American author and political activist
  • Jagdish Bhagwati, professor of economics and law at Columbia University
  • Star Parker, American syndicated columnist and bourgeois political activist
  • Stanley Kurtz
  • Harvey Silverglate, American author

Cameos [edit]

The following persons appear in cameos via archive footage

  • Martin Luther King Jr
  • Bill Ayers
  • Richard Nixon
  • Barack Obama
  • Joe Biden
  • Nancy Pelosi
  • Ronald Reagan
  • Elizabeth Warren
  • Becky Gerritson
  • Steve Jobs
  • Bill Gates
  • Aaron Swartz
  • Matt Damon
  • Bono
  • Sean Hannity
  • Megyn Kelly

Production [edit]

America: Imagine the Earth Without Her is directed by Dinesh D'Souza and John Sullivan. The ii wrote a screenplay with Bruce Schooley based on D'Souza's book of the aforementioned title. The documentary was produced under the director's company D'Souza Entertainment. Sullivan said he was inspired by the History Channel miniseries The Men Who Built America, "I really thought that in that location was something in that style which allows you to tell a bigger story." The managing director said the fiscal success of 2016: Obama'southward America allowed the filmmakers to enhance financing for America. Re-enactment scenes were filmed in Camden, South Carolina. Actor John Koopman III, a resident of Colchester, Connecticut who had portrayed General George Washington at country and national parks throughout the United States, was cast to portray Washington in the documentary. Koopman brought his own historical wardrobe and horse for filming, which took place in Camden over the class of four days.[8]

The filmmakers chose to feature clips of celebrities including Woody Harrelson, Matt Damon, and Bono to illustrate the documentary'south points to audiences who may be unfamiliar with historical figures like Frederick Douglass. Harrelson is shown condemning the United States'south treatment of Native Americans. The film likewise shows Howard Zinn's history book A People's History of the United States being mentioned past Damon's character in the flick Good Will Hunting as well as in the TV series The Sopranos. A clip featuring Bono, who did not participate in the product, is shown to illustrate support for American exceptionalism.[9]

The filmmakers also sought to license the song "It's America" recorded by Rodney Atkins, but the licensing was denied by one of the songwriters due to the political premise of the documentary. They instead involved Dave Mustaine, founder of Megadeth, who recorded a heavy metal guitar version of "The Star-Spangled Banner" for the film. The filmmakers also licensed the song "America" past Imagine Dragons and "Domicile" by Phillip Phillips.[10]

In addition to the theatrical cut, D'Souza edited an lxxx-minute cut for educational purposes, removing interviews with political pundits. He said, "Information technology's all purely historical content now."[xi]

Marketing [edit]

D'Souza released the trailer for America: Imagine the World Without Her on January 26, 2014.[12] He afterward screened the trailer to 3,500 attendees at the Conservative Political Action Conference in Washington, DC on March 7, 2014.[13] The filmmakers hired Christian marketing firms to create a sermon, replete with video clips, based on the documentary, and make it available for download. The Hollywood Reporter said on June 19, 2014 that over 1,000 preachers had downloaded the sermon and that insiders expected the number to attain v,000 before the film's release. The filmmakers too emailed 120,000 evangelical churches asking them to promote the movie and hired the company Faithit.com to contact 80,000 Christian consumers.[14] In the following July, D'Souza and fellow filmmaker Bruce Schooley traveled to the state of Texas to promote the documentary on radio and television programs owned by Glenn Brook.[15]

D'Souza wrote the book America: Imagine the Globe Without Her, on which the documentary is based. Shortly before the movie's release, the warehouse club Costco pulled the volume from its shelves, saying its action was due to low sales. D'Souza called Costco's explanation "preposterous" and noted that his book had only been out a few weeks and was ranked #ane on Amazon.com'southward bestseller listing, while Costco continued to stock hundreds of much lower-selling books. D'Souza asserted the book was pulled because one of Costco's co-founders, James Sinegal, supported Obama's politics. Rush Limbaugh and other media voices on the political correct supported D'Souza with widespread criticism of Costco.[xvi] [17] Costco reordered the volume and cited the documentary's release and related involvement for the reorder.[xviii]

Since America: Imagine the World Without Her and its predecessor 2016: Obama'due south America share "America" in their titles, several moving-picture show websites, including Rotten Tomatoes, Yahoo! Movies, and MovieTickets.com, had difficulty presenting results for the newer documentary. While these websites resolved the results, the filmmakers contacted the search engine Google to mutter about a lack of firsthand search results pertaining to the documentary. Other results, including 2016: Obama'south America and Captain America: The Get-go Avenger and Captain America: The Winter Soldier, were being shown instead. They expressed concern that a lack of results, including showtimes, would bear on the documentary's gross.[19] D'Souza claimed that the lack of search results was politically motivated on Google'south part.[20] A preliminary ready stopped list results for either of D'Souza's documentaries. Google said the term "America" being common in motion-picture show titles prevented specific results, and it updated its Knowledge Graph to bear witness results for the 2014 documentary.[21] [22]

In Baronial 2014, the nonprofit organisation Movie to Movement invited President Barack Obama and members of the The states Congress to a free screening of America. The Hollywood Reporter said the organization "helps to promote small, wholesome movies, many of which seem to accept a Christian or conservative theme to them though the group is non-partisan". Movie to Movement'south founder and CEO said he budgeted $5,500 to pay for the politicians' tickets and would secure commitment of a digital copy if the documentary was not available in a theater about a politician.[23]

Release [edit]

Lionsgate, which handled dwelling entertainment distribution for D'Souza's previous movie 2016: Obama's America, acquired rights to distribute America: Imagine the Earth Without Her in theaters in the United states of america. Historically, information technology distributed in theaters 2 political documentaries, Fahrenheit ix/11 (2004) and Religulous (2008).[24] The Uk-based Manifest Film Sales acquired rights to distribute America exterior the U.s.a. with the goal of screening the documentary at the 2014 Cannes Pic Festival, merely the screening did not take place.[25]

Lionsgate gave the flick a limited release in three theaters in the U.Southward. cities Atlanta and Houston on June 27, 2014. The cities were selected for premiering America since 2016: Obama'south America performed well in them in 2012. The Hollywood Reporter said America "opened to solid numbers" with $39,000 for a theater average of $13,000. The distributor and so planned a wide release for the weekend of the U.South. holiday Independence Day on July 4, 2014.[26] On July ii, 2014, Lionsgate expanded the release to 1,105 theaters. For the weekend of July 4–half-dozen, 2014, information technology grossed $2.seven one thousand thousand and ranked 11th at the box function.[ii] CinemaScore reported that its sample of opening-night audiences gave the pic what The Wrap identified as a rare A+ course on a scale of A+ to F.[27] [28]

The film concluded its theatrical run after 70 days with a full gross of $14.iv million.[2] The Hollywood Reporter said the gross was "a very strong showing for a documentary film".[29] For 2014, America was the highest-grossing documentary in the United States.[xxx] The film did not perform every bit well as 2016: Obama's America, which grossed over $33 million.[27] To engagement, America ranks every bit the sixth highest-grossing political documentary in the The states.[31]

Lionsgate released the motion picture on Digital Hard disk drive on October 14, 2014 and on DVD and Blu-ray on October 28, 2014,[32] a week before the national Election Day on November 4. The home media included xl minutes of boosted footage, including interviews with Ted Cruz, Ward Churchill, Star Parker, and onetime pow John Fer.[32] For the week ending November 2, 2014, it ranked third in disc sales after X-Men: Days of Future Past and Mr. Peabody & Sherman. It ranked seventh in Blu-ray sales with 26% of discs sold beingness Blu-ray.[33]

Critical response [edit]

The Times-Piffling reported, "America wasn't widely screened for critics, but the commencement scattering of reviews are... not particularly glowing," saying that the reviews essentially labeled the film as "partisan".[34] The News-Printing reported, "America has been criticized past some as offensive, right-wing propaganda."[11] The moving-picture show review website Metacritic surveyed 11 movie critics and assessed 10 reviews as negative and ane equally mixed, with none beingness positive. Information technology gave a weighted average score of 15 out of 100, indicating "overwhelming dislike".[35] Rotten Tomatoes surveyed 24 critics and, categorizing the reviews as positive or negative, assessed 22 every bit negative and 2 as positive. Of the 24 reviews, information technology adamant an average rating of 4 out of 10. The website gave the motion picture an overall score of viii% and the site's consensus stated: "Passionate but poorly constructed, America preaches to the choir."[36] According to The Hollywood Reporter 's Paul Bail, the film performed well in its limited theatrical release, "overcoming several negative reviews in the mainstream media". Bond reported, "Conservatives... seem thrilled with the movie."[9] USA Today 's Bryan Alexander said, "America was savaged by mainstream critics... It received an 8% disquisitional score on RottenTomatoes.com... Only the film received an 88% positive audience score on the same website."[32]

Joe Leydon, reviewing for Variety, called America "a slick, sprawling celebration of American exceptionalism that could, much like its predecessor, brand a bundle past rigorously reinforcing the deeply held beliefs and darkest suspicions of its target audience". Leydon said the interim in the historical re-enactments was of inconsistent quality. The critic found that D'Souza gave screen time to those with whom he disagreed, but said, "For the about role, nevertheless, D'Souza gives the impression of someone obsessed with whitewashing any and all dark chapters in U.S. history books." Leydon commended the documentary's "tech values" also as composer Bryan Eastward. Miller's opening theme.[seven] The Hollywood Reporter 's Stephen Farber said D'Souza overstated "anti-American tenets ostensibly running rampant in our order" and that his responses to critiques of America "aren't very convincing". Farber said of the moving picture's production quality, "The boxing scenes are competent but no more than that, and the performances are perfunctory at best." Farber said the historical re-enactments would non print moviegoers who had seen many other historical films, though he called Ben Huddleston's cinematography "hit". The critic ended, "Hither is ane more dubious piece of agitprop that will delight the writer'south fans and accept very fiddling impact on his opponents."[37] Metacritic scored each merchandise paper'due south review of the picture to exist thirty out of 100.[35]

Metacritic assessed reviews from The A.V. Society, Indiewire'due south The Playlist, Slant Magazine, and TheWrap as fully negative with no merit given.[35] TheWrap 'southward James Rocchi said the documentary had straw man arguments favoring D'Souza and had anecdotes in place of information, "The picture is intellectually and factually spurious, in addition to beingness... deeply cocky-serving." Rocchi called America "technically inept" with "clumsy" editing and added, "The sound mix is incomprehensibly sloppy. Graphics look slapdash; historical recreations are either cheap-looking, unintentionally funny, or both." The critic said while liberal filmmaker Michael Moore "may be self-of import at his worst", that he could direct a meliorate movie than D'Souza and Sullivan.[38] The A.Five. Club 'due south David Ehrlich as well said America had straw man arguments, "[D'Souza and Sullivan are] hellbent on pacifying the American guilt they believe was responsible for Obama's election, desperately attempting to assuage the national conscience about the evils of colonialism, capitalism, and racism." Ehrlich said, "It's admirable that D'Souza is then willing to engage people who don't share his perspective, just his editing and the instructive music with which he pushes information technology suggest that he'due south non particularly interested in what they have to say."[39]

Rob Humanick, reviewing for Slant Magazine, said "The cynically opportunistic America descends into another one-note assault on the sitting president, appreciative to the same plethora of taboos, one-half-truths, and outright lies traded en masse by mainstream conservatism for the last seven years." Humanick called the documentary "a carefully cultivated collection of false equivalencies, hyperbolic pronouncements, blatant recontextualizations of others' arguments, and shameless appeals to patriotism, all within a vaguely fear-mongering framework of demonizing the other". The critic said exceptions were cited to excuse America'south history and that D'Souza'due south criticism of Obama did not ask "greater fundamental questions". Humanick concluded, "Anyone who'southward ever really studied history exterior of public teaching, or read the texts alluded to throughout America (such as Howard Zinn'southward A People's History of the United States), will understand the degree to which history has been flattened and narratives simplified for the sake of lending greater legitimacy to these binary-reliant 'lessons.'"[40] Gabe Toro, reviewing for The Playlist, said, "The moving-picture show plays out similar more of a bullet-point presentation than an bodily film, taking each argument he thinks liberal minds are having and dissecting each, ruby-picking anomalies in order to face up some sort of liberal 'truth' that doesn't be." Toro called the documentary "artless propaganda, uninformed, sensationalistic and devoted to buzzphrases, ...simplicity, ...and grandstanding". The critic said, "Insidiously, these are some of the ways D'Souza and co-director John Sullivan proceed the film brisk and conventionally entertaining... Filled with soaring guitars, pointless blacksmith montages and recreations with porn-level production values... it's all fist-pumping anti-idea, consisting of groundless revisionist history and idle contrarianism."[41]

Los Angeles Times 'due south Martin Tsai, whose review Metacritic scored to be 40 out of 100, the highest of its sample of 11,[35] said, "He attempts to debunk [Howard] Zinn through apagoge, as if finding an exception to Zinn's every dominion will invalidate Zinn's entire argument... D'Souza makes some cogent points yet will non concede the existence of any gray area. The possibility that he and Zinn could both exist right seems unfathomable." Tsai said, "'America' seems more intent on editorializing, razzling and dazzling than on stimulating civic fence." He summarized, "It's far more invested in elaborate historical reenactments, hypothetical dramatizations and special effects than interviews, research and data."[42]

[edit]

U.South. News & Globe Report 'south Nicole Hemmer said D'Souza's documentary was intended for conservatives and conveyed the premise that leftist radicals portrayed American history as shameful to win political ability.[3] Simon van Zuylen-Forest, writing in National Journal, said the flick treated "the radical-left worldview of marginal figures similar Bill Ayers" as representative of American liberalism and that it engaged "in a selective historiography" like minimizing slavery in the United States past highlighting the being of black slaveholders. Zuylen-Woods also compared D'Souza to liberal filmmaker Michael Moore in how both employ their roots to convey their letters and how they are both central characters in their documentaries, introducing "one ideological pathology later another" to moviegoers.[15]

Mark Stricherz of The Atlantic said that D'Souza message suffered "the intellectual pitfalls of ignoring the critics", finding that he did not contextualize Obama'due south phrase "You didn't build that" in America. Stricherz said, "At times, America lives upward to D'Souza's sometime intellectual standards. He meets in person with left-wing critics... He argues persuasively that Alexis de Tocqueville is a more than reliable guide than Howard Zinn to troubling episodes in early American history such as slavery and the treatment of Native Americans." Stricherz ended, "D'Souza'south pride, his conventionalities he needs neither intellectual nor moral critics, has brought about his fall from the showtime rank of bourgeois intellectuals."[43] John Tamny of Forbes said, "D'Souza'due south America is noble in its effort to discredit myths almost the U.South. as a genocidal, thieving, racist, capitalistically rapacious nation, but really, who believes this? Information technology's popular in the victimized portion of the conservative movement to assert that those who beloved the U.S., freedom, and the prosperity information technology delivers do and so in silence out of fearfulness that the majority haters volition persecute them for having those views, but permit'due south exist serious. This extreme kind of thinking is all too rare every bit nosotros all well know."[44]

John Fund of National Review said the documentary was a response to U.S. progressive critique of the country: "D'Souza's film and his accompanying book are a no-holds-barred assault on the contemporary doctrine of political correctness." Fund said D'Souza's message was "deeply pessimistic" merely concluded, "Virtually people will leave the theater with a more optimistic conclusion: Much of the criticism of America taught in the nation's schools is easily refuted, America is worth saving, and we take the tools to do so in our DNA, just waiting to be harnessed."[4] National Review 's Jay Nordlinger said: "Dinesh is the anti-Moore: taking to the big screen to printing bourgeois points... The shame narrators (let's telephone call them) focus on maybe 20 pct of the American story. Dinesh just puts the other fourscore percent back in."[45] Nordlinger bisected the documentary: "The first [office] deals with the 'shame narrative.' The 2nd deals with today'due south politics, and in particular presidential politics." The conservative commentator said: "The second motion-picture show confirms for me that ane of Dinesh's keen advantages is that he is absolutely clear-eyed virtually the Third Earth. While liberal Americans romanticize it, he has lived it."[46]

In the liberal Daily Kos blog, Dan Falcone wrote: "D'Souza's moving-picture show America sets out to report that anyone who tries to brand America more autonomous or inclusive is motivated by disdain for the country."[47] Media Matters for America called the film "racially charged agitprop".[48] In Salon, Elizabeth Stoker Bruenig called it a "laughable embarrassment" which ranges "from atrociously bad argumentation to humiliating propaganda".[49]

Rebuttal of Howard Zinn [edit]

The writings of historian Howard Zinn, writer of A People's History of the United states of america, was a key focus in D'Souza'due south documentary

In the documentary, D'Souza counters four "indictments" of the United States fabricated past historian Howard Zinn: the treatment of Native Americans, slavery, the transfer of Mexico, and its colonialist beliefs. John Fund in National Review said, "Consider his handling of those subjects as his direct rebuttal to... Zinn, whose textbooks treating America'south history every bit one of ceaseless oppression dominate many American high schools and colleges."[4] Andrew Romano, writing for The Daily Beast, said Zinn was for D'Souza "a somewhat smaller target" than Obama in his previous documentary. Romano said the filmmaker's counterarguments were disingenuous and did not bear witness Zinn wrong.[50] U.S. News & World Report 's Hemmer said D'Souza'due south argument that Zinn's volume A People's History of the The states was office of mainstream education was incorrect: "Though influential, the volume was hardly hegemonic. Information technology was even sharply criticized by prominent historians." Hemmer said Eric Foner's textbook Give Me Liberty! was more than common than Zinn's book and was even critical of the book as pessimistic.[three]

Treatment of Alinsky, Obama, and Clinton [edit]

In the documentary, D'Souza says Barack Obama and Hillary Clinton were followers of the left-wing activist Saul Alinsky. John Fund of National Review said "D'Souza is the first filmmaker to mine the rich material showing the radicalism of Alinsky."[four] National Review 'southward Jay Nordlinger said "I myself depart a bit from D'Souza on Alinskyism: I regard Obama and Hillary as mainstream Democrats, no dissimilar from Nancy Pelosi, John Kerry, and the rest of the gang. And this gang commands the respect, or at least the votes, of approximately half the country."[46] Gabe Toro, reviewing for Indiewire'due south The Playlist, said D'Souza "flat-out compares" Alinsky to the Devil and then suggests Alinsky's influence on Clinton and Obama.[51] National Journal 'southward Zuylen-Wood said despite Alinsky dying when Obama was a teenager in Hawaii, the moving-picture show portrayed Obama as one of Alinsky's "most famous disciples".[15] U.South. News & World Report 's Hemmer said Alinsky was a focus in D'Souza's film because President Obama was not up for reelection in 2016, then his statement about Obama's heritage could not apply to Hillary Clinton if she became a Presidential candidate. With Obama and Clinton both having links to Alinsky, Hemmer said Alinsky "has become the natural conduit to transfer criticisms of Obama to Clinton".[3]

The Guardian 's Ben Beaumont-Thomas said Hillary Clinton was a key focus in the documentary due to the likelihood of her existence a candidate in the 2016 U.Due south. presidential election. Beaumont-Thomas said the Telly networks NBC and CNN avoided producing miniseries about Clinton, "Both right- and leftwing voices expressed concern that the series would be either also favourable to Clinton or too politically cautious. Liberal voices will now likely clamour for a counterweight to D'Souza'southward motion-picture show."[52]

Filmmaker's prosecution [edit]

Toward the end of the film, D'Souza shows himself on camera wearing handcuffs, referring to his criminal confidence for violating election campaign finance laws. Joseph Amodeo, a political scientist and policy researcher for The Huffington Mail, said the scene "appears to exist an apology to his 'fans' and an awkward prove of penance for contempo improprieties on his office."[53] Michael Berkowitz, also writing for The Huffington Post, said of the scene, "[D'Souza'southward] suggestion that his own criminal conviction and his cheating on his wife are the result of political targeting are embarrassing and without support."[54] National Review 's Fund said of the scene, "He conspicuously conveys his view that he was selectively prosecuted. Only viewers should accept the film on its ain claim, he says, regardless of what they recall of him."[4]

Proposed legislation [edit]

Florida's State Senator Alan Hays and Country Representative Neil Combee both filed a nib to require Florida's students to see the documentary

Alan Hays, a Republican member of the Florida Country Senate, saw America in theaters in July 2014 and after announced his intent to propose state legislation to require eye school and high schoolhouse students in Florida's public school system to see the film. Hays said, "I've looked at history books and talked to history teachers and the bulletin the students are getting is very different from what is in the film. It'south quack and insulting. The students need to see the truth without political favoritism." Hays said he would not object if America was paired with a liberal film and that he would requisition copies of America from charitable groups to give schools to avoid burdening Florida's taxpayers.[55] In November 2014, Hays filed a pecker in the state senate to require seeing the documentary.[56] [57] The Tampa Bay Times said Hays "received heavy criticism that he was foisting propaganda on children".[58] Hays asked Neil Combee, a Republican member of the Florida House of Representatives, to support his beak. Later Combee watched the documentary and discussed information technology, he agreed to file a companion bill.[11] [59] Combee filed the House beak in the following December, and the Times said the companion neb increased the likelihood of the legislation existence adopted.[58] The proposed bill required all of Florida's eighth and eleventh graders to lookout man America. The neb includes an option for parents to opt their children out of the film screening.[11]

The liberal advancement group People for the American Fashion criticized it for supporting a political documentary and as a cinematic selection by legislators rather than educators.[58] Southwest Florida's telly station WINK-Goggle box reported that critics said the legislation was "propaganda and ignorant". The head of Collier County'due south local Libertarian Party, Jared Grifoni, did not contest the content only the attempted requirement, "We should be working to get rid of political and social technology in schools regardless which side of the aisle is pushing it. This is the right side of the aisle pushing their calendar on students while accusing the left of the same thing."[60]

The House bill garnered eight co-sponsors.[61] Information technology ultimately died in the G-12 Subcommittee on April 28, 2015.[59] The Senate neb died in the Committee on Pre-1000 to 12 on May 1, 2015.[57]

Run into also [edit]

  • Political cinema
  • List of documentary films

References [edit]

  1. ^ "America (2014)". The Wrap. Archived from the original on March half dozen, 2017. Retrieved December ii, 2016.
  2. ^ a b c "America (2014)". Box Office Mojo . Retrieved November half dozen, 2014.
  3. ^ a b c d Hemmer, Nicole (July 29, 2014). "The Paranoid Style in Conservative Politics". U.Southward. News & World Report . Retrieved December 10, 2014.
  4. ^ a b c d east Fund, John (June 29, 2014). "D'Souza'south America: Dinesh D'ouza takes on Obama, Hillary, Saul Alinsky, and Howard Zinn in a single bold motion picture". National Review . Retrieved Baronial 19, 2014.
  5. ^ Buchanan, Jason. "Synopsis". Fandango.com. Rovi.
  6. ^ Harrod, Andrew East. (July 2, 2014). "Imaging a Earth without America; Dinesh D'Souza'southward New Film Refutes Detractors Who Scorn Her History". The Washington Times. Washington, DC. Retrieved July 28, 2014.
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Further reading [edit]

  • D'Souza, Dinesh (2014). America: Imagine a Globe Without Her . Book for which the motion picture is a companion. Regnery Publishing. ISBN978-1-62157-203-9.

External links [edit]

  • Official website
  • America: Imagine the World Without Her at IMDb
  • America: Imagine the World Without Her at Box Office Mojo
  • America: Imagine the World Without Her at Rotten Tomatoes
  • America: Imagine the World Without Her at Metacritic

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Source: https://en.wikipedia.org/wiki/America:_Imagine_the_World_Without_Her

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