Hollywood And War Or How The Silver Screen Is Also An Obfuscating Veil

The program does not go far enough, to be honest, but I was pleasantly surprised to see a news channel taking on the question

This of course is a subject well covered in some interesting books. The few come immediately to mind and that I consider interesting because they examination of the close collaboration between the United States arms of warfare and the United States arms of entertainment to sell a specific angle and perspective on the conflict the nation may be engaged in.

The most recent war sold has of course has been the ‘war against terror’ and the speed and energy with which Hollywood (and here I include television productions) has trotted out venomous and evil ‘Muslim’ terrorists out to ‘nuke’ America, created fantasy scenarios that set up the necessity of using torture and the many lives that were later saved, the ease with which extra-judiciary killings, incarcerations, and brutality were justified through scripts bent on simplifying the world into ‘with us/with them’, and the powerful ways in which our invasions and occupations have been re-cast as conflicts without histories and without our agency.

But this is an old story, and it goes back to WWII as Koppes and Black explain in Hollywood Goes To War: How Politics, Profits and Propaganda Shaped World War II Movies.

A work that looks at a more contemporary application of the same principles is Douglas Kellner’s Cinema Wars: Hollywood Film and Politics in the Bush-Cheney Era.

Then there is also Bogg’s Hollywood War Machine: US Militarism & Popular Culture. And so much more that helps us understand the reason we see what we see on the silver screen.

There are a lot of works that explore and highlight the close ties between those who produce mass media products like movies, television, mainstream newspapers, radio programs etc.

This is a broad, complex subject but in an age euphemistically known as ‘the information age’ our individual liberties and in fact our ability to defend or weakening democratic institutions depends on our understanding what we are told is ‘information’ and ‘news’, how this information is manufactured and sourced, how it is approved for distribution and dissemination, and how it is influenced. We are excited at the ease of access of information, but too many are too quick to grab the ‘corporate’ ease of an iPhone application, or the cable television news channels, or the laziness of the prime time evening news, and never bother to think about how all the information that is coming at them is prepared, packaged and presented.

There is no doubt that Hollywood films have been at the forefront of creating the popular beliefs that allow us to perpetuate war endlessly, and continue to silence as our public services and rights are erased while trillions continue to flow into the pockets of the military establishment and private corporate interests. popular assumptions about what is right, what is wrong, what is essential, what is compelled, are always manufactured assumptions. this is perhaps one of the oldest lessons of war and propaganda.

And while you are at it, this may also be a great time to return to Leni Reifenstahl’s Triump Of The Will to remember the original masters who conflated entertainment, and war, and helped close our minds while opening our will towards conquest and mayhem.

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Making Baldwin Boring

 

Black Body: Rereading James Baldwin’s “Stranger in the Village” – The New Yorker.

I am confused about Teju Cole. This is possibly one of the most boring pieces I have read in a long time. A rambling, pointless journey to a small Swiss town in the footsteps of James Baldwin echoes a tried and true magazine concept piece. Fair enough. But if you are going to write about Baldwin, then really write about him. And write about what it was that he was speaking out against. Do it with a voice and a passion that at least mirrors Baldwin’s. If you claim to be like him, in his body and in his footsteps, then try to find a way to be in his disappointment, anger, sense of betrayal and determination to fight. Details »

Asian American Writers’ Workshop – Salman Rushdie, Edward Said, and Moral Courage

A wonderful meditation on the lives of two artists and intellectuals, and the different paths they took in the aftermath of 9/11. Salman Rushdie, as Pankaj Mishra so angrily pointed out, was amongst the European intellectuals who lost their moral courage in the shadow of that terrible event. Speaking about Amis, Mishra argued that:

It is a depressing spectacle – talented writers nibbling on cliches picked to the bone by tabloid hacks. But, as Protestant theologian Reinhold Niebuhr pointed out, the “men of culture”, with their developed faculty of reasoning, tend to “give the hysterias of war and the imbecilities of national politics more plausible excuses than the average man is capable of inventing”.

Details »

The Militarization of U.S. Police: Finally Dragged Into the Light by the Horrors of Ferguson – The Intercept

Glenn Greewald’s piece about the growing militarization of the national police makes for uncomfortable reading. He argues, as others have that:

Ultimately, police militarization is part of a broader and truly dangerous trend: the importation of War on Terror tactics from foreign war zones onto American soil. American surveillance drones went from Yemen, Pakistan and Somalia into American cities, and it’s impossible to imagine that they won’t be followed by weaponized ones. The inhumane and oppressive conditions that prevailed at Guantanamo are matched, or exceeded, by the super-max hellholes and “Communications Management Units” now in the American prison system. And the “collect-it-all” mentality that drives NSA domestic surveillance was pioneered by Gen. Keith Alexander in Baghdad and by other generals in Afghanistan, aimed at enemy war populations.

Details »

Still Beautiful After All These Years…

Still possibly the most amazing photographer I have ever seen. Alex Webb continues to confound even as he continues to create incredibly complex new work. There is an intelligence at work, and an incisive intellectual and creative insight. There is also the magnificent single-mindedness of it all – a love of repetition and a commitment to experimenting. Its beautiful work and it continues to inspire me. And it is also a powerful rejoinder to anyone claiming that today everyone is a photographer. This is photography – deliberate, concentrated, precise, complex and intentional. All else is picture taking. Details »

The Telegenically Dead Can Tell No Tales

Sarah Kendzior makes a powerful point: the ease with which American media echoes Israeli talking points, but the willingness with which vile, sick and immoral men like Elie Wiesel offer ahistorical and immoral rhetoric to hide cold-blooded and ethnic murder. An entire book could be written about the way in which men like Boteach, Wiesel, Grossman, Oz and others, who walk and talk and speak like moral liberals, are in fact the plastic pretty faces of a venal, brutal, racist and relentless madness. Read the article by Sarah Kendzior by clicking on the image below.

This Can’t Be All That Is Left To Tell…

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An excellent example of why not to interview a photojournalist….Saman has no historical context to the stuff he is saying and that is being quoted. He seems to have no ability to put things into a meaningful context. relying on clichés of ‘humanitarian crisis’, ‘bad situation’ etc.

Details »

Rethinking Africa Or How Not To Talk About Your Africa Photo Project

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Vico’s The New Science is everywhere a reminder that scholars hide, overlook or mistreat the gross physical evidence of human activity, including their own.

Edward Said, Reflections On Exile, page 86)

…in the progress of nations negroes have shown less capacity for self-government than any other race of people. No independent government of any form has ever been successful in their hands. On the contrary whenever they have been left to their own devices they have shown an instant tendency to lapse into barbarism.

President Andrew Johnson (quoted in Amy Kaplan’s The Anarchy of Empire In The Making Of U.S. Culture, page 83)

The American photographer Pete Muller’s is working on a long-term project called Rethinking The Enemy: Men, Masculinity And Violence, that he claims attempts to:

…understand the causes of male-perpetrated violence,”

He explains that he is:

…working around the hypothesis that when men are not able to achieve what are often rigid standards of what makes successful manhood, they become extremely anxious and volatile, and they will revert to dangerous and violent behaviour in order to try to assert themselves as men.

This project has received considerable attention and support, not the least from the Open Society Initiative for South Africa, and he has produced work for the International Campaign to Stop Rape and Gender Violence in Conflict. It has recently been featured on Time Magazine’s Lightbox blog, The New York Times Lens blog and various other sites. It is clearly a work that is garnering considerable support and attention, even resulting in Pete Muller rubbing shoulders with celebrities, and diplomats. 

In a detailed description of the project that is being supported by the Open Society Initiative for South Africa, we are told that in:

…Eastern DRC, the project will engage with men who are involved in military activity. They will be interviewed about their upbringing, perspectives on masculinity, cultural norms and attitudes about violence and honour.

and that in:

…Namibia, he will…try and understand the social, cultural and gender forces that are behind the alarmingly high (and increasing) rates of gender-based violence – in a country that is widely praised for its peace and stability.

and finally that in:

…South Africa, Muller will…try to grasp what role notions of masculinity play in the extraordinary levels of violence that continue to plague the country – twenty years after democracy.

What strikes one immediately – whether in the way Pete Muller explains the project, or in the way it is described in interviews of reviews, is the concentrated attention given to things like ‘traditions’, ‘culture’, ‘notions of masculinity’ and ‘traditional ideas of manhood’. This becomes even more contentious and curious when one simply recognises that this search for cultural explanations of social phenomenon are being sought in societies and communities scared not only be decades of war and conflict, but equally by decades of economic and political instability and its associated displacement, dispossession and discrimination.

Though some lip-service is given to this by Pete Muller, he is quick to dismiss the importance of looking at the political history as when he argues that his investigations into the question of violence in the Democratic Republic of Congo…

…does not necessarily require viewers to talk extensively about the DR Congo and the history of the conflict and the country and Belgian colonialism and all these things that people can find somewhat off-putting or intimidating. The issues of men, masculinity, male stoicism and violence are universally relatable.

Apparently the histories of precolonial and colonial genocide, the facts of post-colonial political and internecine violence, the decades of social dislocation and displacement, the disruption of any and all semblance of community and communal norms, the destruction of family life as a result of migrations, escape, or simply because of a search for work, the consequences of relentless and endless levels of military violence are all simply dismissed as ‘…somewhat off-putting or intimidating’. Details »

João Pina’s Condor Project & The Questions Of History

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I wonder if PIna ever made the additions and elaborations I felt were missing in his New York Times Lens blog discussion about this work. Some months ago I had argued that (see:http://www.asimrafiqui.com/tsh/2014/01/30/musings-and-confusions-january-30-2014/):

 

An important photo project, but if you are going to speak about Operation Condor, you cannot, and must not, remain silent about the American collaboration and acquiescence in the campaign. It is important to remember that six nations were involved in this campaign, and they were American allies, not the least of which was Pinochet’s Chile. The US was well aware of the mass disappearances and killings that were taking place, and it did not merely stand aside, but also provided technical and other assistance to our allies while it was all taking place.

 

The Lens blog discussion never bought this issue up. It basically erased from the discussion only the most significant imperial player in the region. The American influence, collusion and interference in the politics, society, and economy of Latin American countries was at its height at the very moment that the Argentinian government was busily disappearing and murdering thousands. I challenged Pina – a man who clearly understands the region and must clearly know the history. As I pointed out challenging the New York Times Len blog editors that: Details »

My Love For You Will Last….For As Long As You Are Of Measurable Value To Me Or The Neoliberal Self

Neoliberalist subjectivity, then, is about bringing a mentality of “winning” to every aspect of life — every little thing is a performance, a contest — while being forever discontented with the fruits of such success. The winning and losing is mediated by metrics, which induce one to assent to more invasive surveillance. The surveillance merely assures an audience for one’s performances and makes sure they are evaluated, given meaning. The metrics also overlay a veneer of objectivity to the endless evaluative process — numbers masquerade as a general equivalent. Neoliberal subjects want to “win” by amassing the most “human capital” across all the various dimensions of their lives, and they are invited to participate in the processes that harvest that capital as way of proving to themselves that it ever existed.

Internal exile — I think that’s well-put, and that the similarity….

Isn’t this the reality behind our obsession with social-media? Behind all that fine discourse of Instagram/SocialMe/Facebook’s transformative possibilities for photographer – most all of which remain for the moment nothing more than a mirage – is this lurking fear that somehow by not participating, we are at risk of failing. Though no one seems to know what it is that we fear to fail at, or why we even believe we would. All are swept into the frenzy by a debate that insists that irrelevance and obscurity awaits those who wait. Perhaps what rankles, and confuses, most is the ‘all or nothing’ nature of all these pronouncements. Neoliberalism is a politics of fear. You are with us, or against us. A fear that compels individuals to then rush, trampling others along the way, towards the imaginary utopia that never quite seems to arrive. It is a politics that reduces everything to have meaning only if it has meaning to the self. Details »

The Shot That Almost Killed Them But The Nonsense That Always Kills Me

The narcissism is staggering. The infantile posturing simply terrifying to witness. These are the people we have sent out into the world to report on it. Confused, lost, and reduced to simply making pictures that sell, for stories that are edited thousands of miles away, it is perhaps unsurprising to see that not a single person in this list of ‘luminaries’ has anything to say about any of the communities, and conflicts they covered. These series of articles – and we see them every few weeks – perpetuate a false understanding and a false ideal. And these photographers are all willing participants in this game.  Details »

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