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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Teaching At Fotografia Europea 2015 In Reggio Emilia, Italy

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The photography workshop needs a serious re-think and re-design. The traditional workshop formats that focus on linear story telling – with their now rather anachronistic conventions of ‘opening image’, ‘sense of place’ images, predictable first-this-one-then-that-one sequencing, basic narrative flow etc. just seems irrelevant and rather out-dated given the possibilities, flexibility, and imaginative capabilities presented by online media. Details »

Seeing Beauty Or Seeing Repression – Is It A Question Of Perspective?

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Federical Valabrega’s photo essay on the lives of Orthodox Jewish women in Brooklyn, New York that appeared on Time Lightbox reminded me of something I had read in Carol A. Brekenridge and Peter van der Veer’s excellent book Orientalism And The Post Colonial Predicament Details »

What Can’t Be Discussed Or How Photojournalism Disconnected Itself From Its Own Reality

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These are the discussions the photojournalism industry – from editors, to award winning photographers – refuse to engage in. I have already written about the many ways in which manipulated and doctored photography has been for the last some decades been a core part of photojournalism. I have argued that the competitions assiduously avoid speaking about this, and continue to waste time and energy on trivial issues of ‘digital image manipulation’. Somewhere along the line, photo editors, and photojournalists, have convinced themselves that their only, and exclusive, purview is what lies within the frame – the aesthetic of the image. So they endlessly discuss the style, the grammar, the technical facets of frame / image only, but nothing more. Nothing can touch on the lies, manipulations, and doctoring that goes on beyond the frame. Details »

On Things Shown And Those Hidden – The Travails Of World Press Photo

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What ails World Press Photo? Well, if you were to read the online comments, and the public statements being made by representatives and spokespersons of WPP, you would think that the only issue that matters is the now seriously tiresome, circular and self-righteous arguments around ‘image manipulation’. Here is a system (which also includes other competitions like POYI for example), that remains silent, and in fact in collusion with, the image manipulations of state-sanctioned, military enforced, ‘embedded’ photojournalism, and yet wails endlessly about ‘digital’ manipulation.

When compared to the fact that corporate and embedded photo/journalism has been one of the ugly handmaidens to our recent wars in Iraq, Afghanistan, Libya, Chad, Mali, Somalia, Pakistan’s Waziristan regions and more, I find it egregiously silly, if not entirely infantile, that manipulations that led to the deaths, destruction, occupation, torture, and more, are quietly ignored, but digital manipulations that are largely irrelevant and silly, garner all the outrage. We get so upset that Paul Hansen edited his image, while remain silent about the structural reasons for the deaths of the children that his image actually showed! Details »

How To Read In France

I question (a) its (Western liberal discourse’s) assumption that ‘religion’ is the major threat to the principles of tolerance and democracy; (b) its part in constructing “an Islamic enemy”; (c) its privileging of the fate of literary authors (and media persons) as against other victims of cruelty; (d) its sacralization of the principles of Freedom of Speech. In brief, I question the assumption that the people who attack these literary authors (and media persons) are part of the larger forces that threaten Modernity itself.

Talal Asad, Europe Against Islam: Islam In Europe 1997

Few are still willing to provide a context, so here is some.”Je Suis Charlie” could just as well be “Je Suis Charles” – here I am referring to the bigoted French interior minister from 1986-1988 Charles Pasqua whose immigration policies were so harsh – as he himself argued, waxing beautifully racist and stupid at the same time: “we will terrorize the terrorists”, that even the UN had to speak up and issue a severe reprimand.

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Seeing It Again, But This Time Seeing It Differently

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An image from Northern Iraq that I made back in 2005 while working on a story about the struggle of Iraq’s Assyrian Christian community, appears this week on the poster of a new film by Daniel Lombroso about the region’s oldest Christian community. Back in 2005 I had argued that the invasion and occupation of Iraq had bought no respite to a community that had been targeted under the Saddam Hussein regime, and that all pretense to the contrary, the so-called ‘liberation’ of Iraq was about to create even more miseries and difficulties for the very people we claimed we were there to ‘liberate’.

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Our Protection Of Frivolous Speech And Our Prosecution Of Political Speech

Our silence is hypocritical – we conflate bigotry with ‘free speech’ and celebrate ourselves, while refusing to fight the more uncomfortable, difficult and problematic acts of ‘free speech’ itself as in this case of the young British citizen. Free speech laws and rights are most in need of defense when speech is problematic and disturbing, not when speech easily joins a wide public discourse that is tinged with bigotry and self-congratulations. It takes no courage in Europe to humiliate and mock Muslims for example, because this is the easiest, most trite, and most acceptable form of fraudulent ‘free speech’ we know. It is merely an echo of widely held prejudice in our societies. Only cowards and hypocrites confuse it as something bold. It isn’t free speech if you are hurling abuse against the already demeaned, humiliated and reduced. It isn’t free speech if you are simply parroting the main stream. Our rights to genuine free speech are most obvious when something difficult is uttered about ourselves and our societies, something that stops us in our tracks, and reveals something sour in ourselves.

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A War Without Geography And Without End Keeps Coming Home

Paris. France. Charlie.

Of course, this has to be condemned. It is an outrage and cannot be allowed to go without the criminals being caught and prosecuted. Charlie Hebdo was a racist and bigoted rag that hid behind a false discourse of ‘free speech’ to selectively attack certain groups and certain speech. However, that cannot be a reason for such actions and our outrage at their bigotry can’t become a justification for violence. Not against publications, nor against communities either. Much as in response to the Ander’s Brevik’s attacks in Oslo, what is needed now is an effective criminal investigation, prosecution and indictment of the men who carried out this act. What has to be assiduously avoided is the use of this horrendous act for justifications for further wars, racism, anti-immigrant bigotry and humiliation that i fear will most likely be the reaction in a nation like France that is already drunk a vile and crass relationship with its ‘others’.

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In Nepal…

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Contradicting my own recent post (see The Lure of The Ephemeral), our travels across South Asia investigating the prevalence of fistula amongst women in South Asia is being posted regularly on Instagram and Facebook. Its not your usual set of UN feeds, so enjoy it while it lasts. We are wrapping up our work here, and moving on to Pakistan soon.

The Lure Of The Ephemeral

A few friends and fellow photographers have stepped away from Instagram and other social media platforms for their work. In fact, I too have not posted on any social media platform for a while because of a nagging sense that by constantly feeding a structure of information dissemination that relied on the ‘likes’ of random strangers (a large number of whom seem to be prepubescent or barely adolescent boys and girls), i was being dragged away from a more considered, and measured way of working. There was this realization that at some point feeding the beast become more important than patiently producing the work, and that any and all measure of its success and its relevance becomes reduced to ‘# of followers’ or ‘likes’. In fact, I remember distinctly a couple of major editors criticizing my work in Pakistan for not being ‘accessible’ enough, and for being too difficult. They were concerned that I had no ‘social media’ strategy, and wondered what I was going to do to bring tens of thousands of followers to my site. The fact was that I wasn’t really even interested in that. In fact, there is a distinct intent in my works to be difficult, and demanding. I design these projects to be hard to view, and engage with. They are never meant for a vast audience, and I can’t even see the value of the audience of ‘social media’ that I am being told I need to pursue. Details »

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