Animated history of the US. Of course the cartoon is highly oversimplified, and most critics consider it one of the weakest parts of the film. But it makes a valid claim which you ignore entirely: That the strategy to promote "gun rights" for white people and to outlaw gun possession by black people was a way to uphold racism without letting an openly terrorist organization like the KKK flourish. Did the 19th century NRA in the southern states promote gun rights for black people? I highly doubt it. But if they didn't, one of their functions was to continue the racism of the KKK. This is the key message of this part of the animation, which is again being ignored by its critics. Buell shooting in Flint. You write: "Fact: The little boy was the class thug, already suspended from school for stabbing another kid with a pencil, and had fought with Kayla the day before". This characterization of a six-year-old as a pencil-stabbing thug is exactly the kind of hysteria that Moore's film warns against. It is the typical right-wing reaction which looks for simple answers that do not contradict the Republican mindset. The kid was a little bastard, and the parents were involved in drugs -- case closed. But why do people deal with drugs? Because it's so much fun to do so? It is by now well documented that the CIA tolerated crack sales in US cities to fund the operation of South American "contras" It is equally well known that the so-called "war on drugs" begun under the Nixon administration is a failure which has cost hundreds of billions and made America the world leader in prison population (both in relative and absolute numbers).

What type of the film is being discussed and what is on of the key messages?

Literary career During the war Camus joined the French Resistance cell Combat, which published an underground newspaper of the same name. This group worked against the Nazis, and in it Camus assumed the nom de guerre Beauchard. Camus became the paper's editor in 1943. He first met Sartre at the dress rehearsal of Sartre's play, The Flies, in June 1943. When the Ailies liberated Paris in August 1944, Camus witnessed and reported the last of the fighting. Soon after the event on 6 August 1945, he was one of the few French editors to publicly express opposition and disgust to the United States' dropping the atomic bomb in Hiroshima. He resigned from Combat in 1947 when it became a commercial paper. After the war, Camus began frequenting the Cafe de Flore on the Boulevard Saint-Germain in Paris with Sartre and others. He also toured the United States to lecture about French thought. Although he leaned left, politically, his strong criticisms of Communist doctrine did not win him any friends in the Communist parties and eventually alienated Sartre. In 1949, his tuberculosis returned, whereupon he lived in seclusion for two years. In 1951, he published The Rebel, a philosophical analysis of rebellion and revolution which expressed his rejection of communism. Upsetting many of his colleagues and contemporaries in France, the book brought about the final split with Sartre. The dour reception depressed Camus; he began to translate plays. Camus's first significant contribution to philosophy was his idea of the absurd. He saw it as the result of our desire for clarity and meaning within a world and condition that offers neither, which he expressed in The Myth of Sisyphus and incorporated into many of his other works, such as The Stranger and The Plague. Despite his split from his "study partner", Sartre, Camus was still categorized as an Existentialist. He specifically rejected that label in his essay "Enigma" and elsewhere.

What label assigned to him did Camus reject?

On his return to Nuremberg in 1495, Durer opened his own workshop (being married was a requirement for this). Over the next five years his style increasingly integrated Italian influences into underlying Northern forms. Durer's father died in 1502, and his mother died in 1513. His best works in the first years of the workshop were his woodcut prints, mostly religious, but including secular scenes such as The Men's Bath House (ca. 1496). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition. It is now thought unlikely that Durer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Durer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block.
How long after opening his workshop did Durer's mother die?