al actors recruited to the film are far greater than the observational mode would suggest.In Roger and Me, Michael Moore interviews many laid off auto workers, the city council of Flint, Michigan, representatives of upper-class Flint, and in the end, he finally speaks briefly with Roger Smith. In the majority of these interviews, Moore is actively involved, either in a visual or audio sense. Moores substantial involvement in the film does cause it to cross into the Reflexive mode of Documentary. As Michael Moore takes center stage, acting as hero for his hometown of Flint he employs the stylistic reflexive mode of documentary. Nichols writes on page sixty of Representing Reality,The reflexive mode of representation gives emphasis to the encounter between filmmaker and viewer rather than filmmaker and subject. Moore acts as the narrator/protagonist throughout Roger and Me, ushering the viewer on a guided tour of his observations and actions. This is a potentially dangerous role to play as a filmmaker. Nichols addresses this problematic situation on page seventy-one, writing,The use of stylistic devices to achieve a reflexive effect runs the risk of manipulating social actors for textual effect rather than provoking a reflexive consideration of how texts are constructed. In other words, Nichols opinion stands that Moores controlling role in the film inadvertently undermines the social and moral issue he intends to examine, because he portrays the very people he is fighting for as ignorant victims. I do not agree with this statement. Nichols seems to be looking at the residents of Flint through snobby eyes. Not everyone uses big words, like he do. The factory workers speak down-home language, and this style of speech sometimes includes double negatives and profanities. Moore can not reprogram them to sound smart during their interviews. The auto-workers may not have gone to college, but they are wise in practical matters....
