According to transformational grammar, every intelligible sentence conforms not only to grammatical rules peculiar to its particular language, but also to "deep structures," a universal grammar underlying all languages and corresponding to an innate capacity of the human brain. Chomsky and other linguists who built on his work formulated transformational rules, which transform a sentence with a given grammatical structure (e.g., "John saw Mary") into a sentence with a different grammatical structure but the same essential meaning ("Mary was seen by John"). Transformational linguistics has been influential in psycholinguistics, particularly in the study of language acquisition by children. In the 1990s Chomsky formulated a "Minimalist Program" in an attempt to simplify the symbolic representations of the language facility. Chomsky is a prolific author whose principal linguistic works after Syntactic Structures include Current Issues in Linguistic Theory (1964), The Sound Pattern of English (with Morris Halle, 1968), Language and Mind (1972), Studies on Semantics in Generative Grammar (1972), Knowledge of Language (1986), Language and Thought (1993), and Architecture of Language (2000).
Chomsky also has wide-ranging political interests. An early and outspoken critic of U.S. involvement in the Vietnam War and a vociferous opponent of the Iraq war, he has written extensively on many political issues from a generally left-wing point of view. Among his political writings are American Power and the New Mandarins (1969), Peace in the Middle East? (1974), Manufacturing Consent (with E. S. Herman, 1988), Profit over People (1998), Rogue States (2000), Hegemony or Survival (2003), and Failed States (2006). Chomsky's controversial bestseller 9-11 (2002) is an analysis of the World Trade Center attack that, while denouncing the atrocity of the event, traces its origins to the actions and power of the United States.
See interviews with D. Barsamian (1992, 1994, 1996, and 2001); biography by R. F. Barsky (1997); studies by F. D'Agostino (1985), C. P. Otero (1988 and 1998), R. Salkie (1990), M. Achbar, ed. (1994), M. Rai (1995), V. J. Cook (1996), P. Wilkin (1997), J. McGilvray (1999), N. V. Smith (1999), A. Edgley (2000), H. Lasnik (2000), and J. Bricmont and J. Franck, ed. (2009); Manufacturing Consent: Noam Chomsky and the Media (film by P. Wintonick and M. Achbar, 1992) and Power and Terror: Noam Chomsky in Our Times (film by J. Junkerman, 2002).
Manufacturing Consent: Noam Chomsky and the Media (1992) is a multi award-winning documentary film that explores the political life and ideas of Noam Chomsky, a linguist, intellectual, and political activist. Created by two Canadian independent filmmakers, Mark Achbar and Peter Wintonick, it expands on the ideas of Chomsky's earlier book, Manufacturing Consent: The Political Economy of the Mass Media, which he co-wrote with Edward S. Herman.
The film presents and illustrates Chomsky's and Herman's propaganda model, the thesis that corporate media, as profit-driven institutions, tend to serve and further the agendas of the interests of dominant, elite groups in the society. A centerpiece of the film is a long examination into the history of The New York Times' coverage of Indonesia's invasion and occupation of East Timor, which Chomsky claims exemplifies the media's unwillingness to criticize an ally.
Until the release of The Corporation (2003), made by Mark Achbar, Jennifer Abbott and Joel Bakan, it was the most successful documentary in Canadian history, playing theatrically in over 300 cities around the world; winning 22 awards; appearing in more than 50 international film festivals; and being broadcast in over 30 markets. It has also been translated into a dozen languages.
Chomsky's response to the film was mixed; in a published conversation with Achbar and several activists, he stated that film simply doesn't communicate his message, leading people to believe that he is the leader of some movement that they should join. In the same conversation, he criticizes the New York Times review of the film, which mistakes his message for being a call for voter organizing rather than media critique.