Manufacturing consent: Noam Chomsky and the media. Part 2

Canada, 1992

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Activating dissent, part two of this inspiring profile on leading US linguist and political activist, Noam Chomsky, continues with him on his travels through Canada, Japan, Europe and across the USA as he informs, challenges and confronts the public and the press. He further develops his analysis of media manipulation and neglect in coverage of Cambodia and East Timor and vehemently defends his controversial support for the democratic right to free speech of the French academic, Robert Faurissson, who maintains there were no Nazi death camps. Part two concludes with Chomsky praising the journalism practised by alternative publishers and public broadcasters.

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Credits

production company

ONF | NFB

Necessary Illusions

co-producers/directors

Peter Wintonick

Mark Achbar

Duration

01:13:00:00

Production places

Canada

Production dates

1992

Collection metadata

ACMI Identifier

303366

Language

English

Audience classification

Subject categories

Advertising, Film, Journalism, Mass Media & TV → Freedom of the press

Advertising, Film, Journalism, Mass Media & TV → Mass media - Political aspects

Anthropology, Ethnology, Exploration & Travel → East Timor

Anthropology, Ethnology, Exploration & Travel → Timor Island

Economics, Philosophy, Politics, Religion & Sociology → Democracy

Economics, Philosophy, Politics, Religion & Sociology → Freedom of speech

Economics, Philosophy, Politics, Religion & Sociology → Mass media - Political aspects

History → Cambodia - History

People → Chomsky, Noam, 1928-

People → Faurisson, Robert

Places → East Timor

Places → Timor Island

Sound/audio

Sound

Colour

Holdings

VHS; Access Print (Section 1)

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If you would like to cite this item, please use the following template: {{cite web |url=https://acmi.net.au/works/82226--manufacturing-consent-noam-chomsky-and-the-media-part-2/ |title=Manufacturing consent: Noam Chomsky and the media. Part 2 |author=Australian Centre for the Moving Image |access-date=2 October 2022 |publisher=Australian Centre for the Moving Image}}