 Wang further distinguishes between “the empathetic performative mode,” which prompts audience identification with the subjects, and “the critical performative mode,” which provokes the audience to feel disgusted by, angry at, and critical about the subjects.With the filmmaker visible to the viewer, and freed to openly discuss his or her perspective in regard to the film being made, rhetoric and argumentation return to the documentary film as the filmmaker clearly asserts a message.Perhaps the most famous filmmaker currently working in this documentary mode is Michael Moore.