The Pentagon & Hollywood’s successful and deadly propaganda alliance
By Michael McCaffrey | RT | March 12, 2018
The Pentagon helps Hollywood to make money and, in turn, Hollywood churns out effective propaganda for the brutal American war machine.
The US has the largest military budget in the world, spending over $611 billion – far larger than any other nation on Earth. The US military also has at their disposal the most successful propaganda apparatus the world has ever known… Hollywood.
Since their collaboration on the first Best Picture winner ‘Wings’ in 1927, the US military has used Hollywood to manufacture and shape its public image in over 1,800 films and TV shows. Hollywood has, in turn, used military hardware in their films and TV shows to make gobs and gobs of money. A plethora of movies like ‘Lone Survivor,’ ‘Captain Philips,’ and even blockbuster franchises like ‘Transformers’ and Marvel, DC and X-Men superhero movies have agreed to cede creative control in exchange for use of US military hardware over the years.
In order to obtain cooperation from the Department of Defense (DoD), producers must sign contracts that guarantee a military approved version of the script makes it to the big screen. In return for signing away creative control, Hollywood producers save tens of millions of dollars from their budgets on military equipment, service members to operate the equipment, and expensive location fees.
Capt. Russell Coons, director of the Navy Office of Information West, told Al Jazeera what the military expects for their cooperation: “We’re not going to support a program that disgraces a uniform or presents us in a compromising way.”
Phil Strub, the DOD chief Hollywood liaison, says the guidelines are clear. “If the filmmakers are willing to negotiate with us to resolve our script concerns, usually we’ll reach an agreement. If not, filmmakers are free to press on without military assistance.”
In other words, the Department of Defense is using taxpayer money to pick favorites. The DOD has no interest in nuance, truth or – God forbid – artistic expression; only in insidious jingoism that manipulates public opinion to their favor. This is chilling when you consider that the DOD is able to use its financial leverage to quash dissenting films it deems insufficiently pro-military or pro-American in any way.
The danger of the DOD-Hollywood alliance is that Hollywood is incredibly skilled at making entertaining, pro-war propaganda. The DOD isn’t getting involved in films like ‘Iron Man,’ ‘X-Men,’ ‘Transformers’ or ‘Jurassic Park III’ for fun. They are doing so because it’s an effective way to psychologically program Americans, particularly young Americans, not just to adore the military, but to worship militarism. This ingrained love of militarism has devastating real-world effects.
Lawrence Suid, author of ‘Guts and Glory: The Making of the American Military Image in Film’told Al Jazeera, “I was teaching the history of the Vietnam War, and I couldn’t explain how we got into Vietnam. I could give the facts, the dates, but I couldn’t explain why. And when I was getting my film degrees, it suddenly occurred to me that the people in the US had never seen the US lose a war, and when President Johnson said we can go into Vietnam and win, they believed him because they’d seen 50 years of war movies that were positive.”
As Suid points out, generations of Americans had been raised watching John Wayne valiantly storm the beaches of Normandy in films like ‘The Longest Day,’ and thus were primed to be easily manipulated into supporting any US military adventure because they were conditioned to believe that the US is always the benevolent hero and inoculated against doubt.
This indoctrinated adoration of a belligerent militarism, conjured by Hollywood blockbusters, also resulted in Americans being willfully misled into supporting a farce like the 2003 Iraq War. The psychological conditioning for Iraq War support was built upon hugely successful films like ‘Saving Private Ryan’ (1998), directed by Steven Spielberg, and ‘Black Hawk Down’ (2001), produced by Jerry Bruckheimer, that emphasized altruistic American militarism. Spielberg and Bruckheimer are two Hollywood heavyweights considered by the DoD to be their most reliable collaborators.
Another example of the success of the DoD propaganda program was the pulse-pounding agitprop of the Tom Cruise blockbuster ‘Top Gun’ (1986). The movie, produced by Bruckheimer, was a turning point in the DoD-Hollywood relationship, as it came amid a string of artistically successful, DoD-opposed, ‘anti-war’ films, like ‘Apocalypse Now,’ ‘Platoon’ and ‘Full Metal Jacket,’ which gave voice to America’s post-Vietnam crisis of confidence. ‘Top Gun’ was the visual representation of Reagan’s flag-waving optimism, and was the Cold War cinematic antidote to the “Vietnam Syndrome”.
‘Top Gun,’ which could not have been made without massive assistance from the DoD, was a slick, two-hour recruiting commercial that coincided with a major leap in public approval ratings for the military. With a nadir of 50 percent in 1980, by the time the Gulf War started in 1991, public support for the military had spiked to 85 percent.
Since Top Gun, the DoD propaganda machine has resulted in a current public approval for the military of 72 percent, with Congress at 12 percent, the media at 24 percent, and even Churches at only 40 percent. The military is far and away the most popular institution in American life. Other institutions would no doubt have better approval ratings if they too could manage and control their image in the public sphere.
It isn’t just the DoD that uses the formidable Hollywood propaganda apparatus to its own end… the CIA does as well, working with films to enhance its reputation and distort history.
For example, as the ‘War on Terror’ raged, the CIA deftly used ‘Charlie Wilson’s War’ (2007) as a disinformation vehicle to revise their sordid history with the Mujahideen in Afghanistan and to portray themselves as heroic and not nefarious.
The CIA also surreptitiously aided the film ‘Zero Dark Thirty’ (2012), and used it as a propaganda tool to alter history and convince Americans that torture works.
The case for torture presented in ‘Zero Dark Thirty’ was originally made from 2001 to 2010 on the hit TV show ‘24,’ which had support from the CIA as well. That pro-CIA and pro-torture narrative continued in 2011 with the Emmy-winning show ‘Homeland,’ created by the same producers as ‘24,’ Howard Gordon and Alex Gansa.
A huge CIA-Hollywood success story was Best Picture winner ‘Argo’ (2012), which ironically is the story of the CIA teaming up with Hollywood. The CIA collaborated with the makers of ‘Argo’ in order to pervert the historical record and elevate their image.
The fact that this propaganda devil’s bargain between the DoD/CIA and Hollywood takes place in the self-declared Greatest Democracy on Earth™ is an irony seemingly lost on those in power who benefit from it, and also among those targeted to be indoctrinated by it, entertainment consumers, who are for the most part entirely oblivious to it.
If America is the Greatest Democracy in the World™, why are its military and intelligence agencies so intent on covertly misleading its citizens, stifling artistic dissent, and obfuscating the truth? The answer is obvious… because in order to convince Americans that their country is The Greatest Democracy on Earth™, they must be misled, artistic dissent must be stifled and the truth must be obfuscated.
In the wake of the American defeat in the Vietnam war, cinema flourished by introspectively investigating the deeper uncomfortable truths of that fiasco in Oscar-nominated films like ‘Apocalypse Now,’ ‘Coming Home,’ ‘The Deer Hunter,’ ‘Platoon,’ ‘Full Metal Jacket’ and ‘Born on the Fourth of July,’ all made without assistance from the DoD.
The stultifying bureaucracy of America’s jingoistic military agitprop machine is now becoming more successful at suffocating artistic endeavors in their crib. With filmmaking becoming ever more corporatized, it is an uphill battle for directors to maintain their artistic integrity in the face of cost-cutting budgetary concerns from studios.
In contrast to post-Vietnam cinema, after the unmitigated disaster of the US invasion of Iraq and the continuing quagmire in Afghanistan, there has been no cinematic renaissance, only a steady diet of mendaciously patriotic, DoD-approved, pro-war drivel like ‘American Sniper’ and ‘Lone Survivor.’ Best Picture winner ‘The Hurt Locker’ (2008), shot with no assistance from the DoD, was the lone exception that successfully dared to portray some of the ugly truths of America’s Mesopotamian misadventure.
President Eisenhower once warned Americans to “guard against the acquisition of unwarranted influence, whether sought or unsought, by the military industrial complex.”
Eisenhower’s prescient warning should have extended to the military industrial entertainment complex of the DoD/CIA-Hollywood alliance, which has succeeded in turning Americans into a group of uniformly incurious and militaristic zealots.
America is now stuck in a perpetual pro-war propaganda cycle, where the DoD/CIA and Hollywood conspire to indoctrinate Americans to be warmongers and, in turn, Americans now demand more militarism from their entertainment and government. Wash. Rinse. Repeat.
The DoD/CIA-Hollywood propaganda alliance guarantees Americans will blindly support more future failed wars and will be willing accomplices in the deaths of millions more people across the globe.
Michael McCaffrey is a freelance writer, film critic and cultural commentator. He currently resides in Los Angeles where he runs his acting coaching and media consulting business. mpmacting.com/blog/
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Hollywood’s anti-Arab and anti-Muslim propaganda
Screengrab from American Sniper
By Noura Mansour | MEMO | January 29, 2015
The media plays a significant role in shaping public opinion and narratives. Over the years, it has become a force to be reckoned with in all aspect of life, culture, education, society, language, economy and, especially, politics. Visual media such as movies and TV shows are probably the most popular as there is a wide and diverse audience. Films and programmes target the hearts and minds of viewers, who tend to sympathise with characters and get caught up in the emotion of what they watch. The effect doesn’t end when the credits roll, as people internalise the sights and sounds they have witnessed. Some studies have shown that this not only affects viewers’ perceptions but also their behaviour, especially in the younger age groups.
Hollywood, the movie capital of the world, is as an efficient and powerful tool for mainstreaming American culture and values. However, with great power goes great responsibility. When it comes to films involving Arab and Muslim characters, Hollywood has proved repeatedly to be irresponsible, manipulative, misleading and biased. It has been presenting and reinforcing stereotypical images, which line up with belligerent and orientalist American policies towards Arabs and Muslims; the industry has seldom challenged that image or made an effort to reflect a more objective version.
“The Wind and the Lion” (1975); “Under Siege” (1986); “Wanted: dead or alive” (1987); “True Lies” (1994); “Homeland” (2011-2013); “World War Z” (2013); “Teenage Mutant Ninja Turtles” (2014); and “American Sniper” (2014), are all examples of films and TV programmes which contribute, directly or indirectly, to the constant vilification of Arabs and Muslims in the mainstream media. Some, such as “True Lies” and, most recently, “American Sniper” have done so openly by presenting uncivilised, violent and merciless Arab characters, which end up being killed as a part of the “happy” ending. Others have done it in a more subtle way, like “World War Z” and “Teenage Mutant Ninja Turtles”, for example.
In “World War Z”, the Israeli army and “security” agencies are portrayed as the guardians of Jerusalem, who built the Apartheid Wall in order to keep zombies locked-in behind it. In real life, the Wall functions as a racist barrier, a key component of Israel’s occupation policies which strip almost 3 million Palestinians in the West Bank of their rights and freedoms. That very same wall is presented in the film as a positive and necessary tool for the salvation of humanity. Israeli soldiers are the heroes and protectors, misleading viewers and distorting reality. By creating sympathy and positive feelings towards militant oppressors and a brutal colonial occupation whilst demonising those living behind the wall, the film provides a degree of legitimacy to Israel’s occupation and, indeed, to the state itself. It is worth remembering that Israel has, since 1948, committed numerous war crimes and crimes against humanity as it carries out the ethnic cleansing of Palestine.
If you don’t think anything is wrong with this let’s change a few variables and then consider whether you still think nothing is wrong. Instead of the Apartheid Wall, let’s use concentration camps to control the zombies and instead of Israeli soldiers the security is provided by those in Nazi uniforms. For the sake of objectivity, let’s add that ridiculous scene where Arabs and Israelis are singing together aimlessly about peace in Jerusalem; only let’s have Nazis and Jews singing together about peace instead. See what I mean?
Such a film would, rightfully, have caused outrage around the world for diminishing the suffering of European Jews during World War Two. It should have created a similar reaction for diminishing the ongoing suffering of the Palestinian people, but it didn’t.
Similarly, in “American Sniper”, US soldiers are glorified and Arabs are demonised. Saying that the movie is one-sided and biased is an understatement. American soldiers are presented as heroes, protectors and even at times victims in Iraq, whereas the Arabs are all presented as militants, including women and children, who are also engaged in fighting. There are no civilian Iraqis in this movie, except for one family, whose members are killed by Iraqi militants, of course, and not American soldiers.
The movie sends out a pernicious message at the very beginning that killing women and children is inevitable and is a part of a soldier’s duty to “protect”. The moral dilemma about such issues is absent. The sniper shoots to kill and not to disarm, even when the targets are women and children.
Furthermore, there is a clear objectification of Iraqi militants versus the humanisation of American militants. When an American soldier is killed, we get to see a close up of his face so that we can absorb his feelings and his wounds. However, when an Iraqi militant is killed, we only see his body falling down from afar; there’s no blood, no facial expressions and thus no feelings. In addition, American soldiers are more than just soldiers; they are husbands, fathers, sons and daughters, whereas Iraqi militants are one-dimensional.
The “hero” is a man admired for holding the record for the highest number of kills in Iraq and whose fellow soldiers call a “legend”; he shows no remorse over those whom he has killed. The only thing he regrets is not having the chance to kill more Arabs. It is no surprise that such a movie has evoked massive anti-Arab and anti-Muslim responses among cinema audiences in the United States; social media outlets are alive with people expressing enthusiasm for killing Arabs and Muslims.
Even when the plot has nothing to do with Arabs or Palestinians, Hollywood inserts completely irrelevant Arabic/Muslim cultural indicators, often planted on the bad guy, creating a false link between evil and Arabs or Muslims. In “Teenage Mutant Ninja Turtles” it is deemed appropriate, relevant and logical to use the Palestinian Keffiyeh scarf as a part of the Foot Clans’ (Shredder’s army) uniform even though the characters couldn’t be any further from the Arab/Muslim world geographically, culturally, socially and politically; they were originally meant to be Japanese.
Screengrab from Teenage Mutant Ninja Turtles
Hollywood promotes anti-Arab and anti-Muslim propaganda, by creating a false association between evil and Arabs and Muslims, regardless of the context of the plot, or by portraying them as the ultimate bad guys in all contexts and providing justification for illegal, immoral and inhumane practices against them. There is a long history of this, even in apparently innocent films.
This incitement against Arabs and Muslims could have disastrous outcomes. Feelings of hate and animosity towards Arabs are translated into actions in many places around the world, not only on a political level but also socially and physically. Whether cinema reflects life or vice versa, the powerful effect it has on us is undeniable. It is pertinent to ponder the words of Malcolm X in this respect: “If you are not careful, newspapers [media] will have you hating the oppressed and loving the oppressors.” The evidence for the truth of his words can be found without too much effort. Hollywood has a lot to answer for.
Anti-Arab brainwashing by the US media
By Paul J. Balles | August 8, 2009
More insidious than the wars with tanks and guns, aircraft and bombs, missiles and guidance systems, shock and awe campaigns. The wickedest wars are the wars for people’s minds – the propaganda campaigns that exercise thought control…
Western brainwashing comes from the media. Readers, listeners and viewers need to be aware of these propaganda sources. About the media in general, Steven Salaita correctly observed:
The flippancy with which US media apply the word “terrorism” to Arab populations reinforces the notion that violence in the Arab world is ahistorical and therefore senseless. Arabs in turn become a people without narratives who belong to a culture incapable of rationality.
Steve Emerson has a website and blog with as much anti-Arab ranting on it as any bigot might produce. Harvard law professor Alan Dershowitz has implied that all Arabs are potential terrorists and therefore worthy of slaughter. American Israeli Caroline Glick, Deputy Managing Editor of The Jerusalem Post, writes two weekly syndicated columns preaching hard-line Israeli propaganda.
InThe Progressive, Ruth Conniff validated the false but widespread notion that while violence exists among both Arabs and Israelis, terrorism is exclusive to the Arabs. When Arabs fight against Israelis, the Arabs are guilty of “terrorist violence” but the Israelis are engaging in “military reprisals”.
On anti-Arab radio you hear things like “Arabs love dictators” and “Obama is an Arab,” as if being an Arab disqualifies one from humanity. If they aren’t referring to Arabs as “camel jockeys” or “rag heads”, they’re calling them as Islamo-fascists. Along with O’Reilly, Sean Hannity, Lou Dobbs and Glenn Beck give Fox news stable of anti-Arab propagandists.
Hollywood films have been vilifying Arabs for decades. Jack Shaheen revealed, in The TV Arab, how television stereotypes Arabs as “billionaires, bombers and belly dancers”.
Even as a youngster, Shaheen was disturbed by the Arab stereotypes in children’s cartoon characters.
In Shaheen’s Reel Bad Arabs, a long line of degrading images – from Bedouin bandits and submissive maidens to sinister sheiks and gun-wielding “terrorists” – have vilified Arabs since the days of silent films.
In his research, Shaheen identified more than 1150 films that defile Arabs. His newest book, Guilty: Hollywood’s Verdict on Arabs after 9/11, reveals how the film industry continues to shape American understanding of Arabs and Arab culture.
Muslim scholar Ziauddin Sardar made it clear that anti-Islamic brainwashing is not new: “From the days of Voltaire right up to 1980, thanks largely to the efforts of Enlightenment scholars, it was a general Western axiom that Islam had produced nothing of worth in philosophy, science and learning.”
That the propaganda has reached the masses should be clear from some of the slurs on the internet, examples of which are displayed here:
F**K ALL YOU SAND NIGGERS! I HOPE WE BLOW YOU ALL UP AND TAKE THE ONLY THING YOU ARE GOOD FOR OIL!
It wasn’t enough to curse Arabs. He had to shout it, writing his message in uppercase letters, revealing how effective anti-Arab propaganda has been in America.
Those who control the media control the mental attitudes of the population; Americans have been programmed to hate Arabs and Muslims and to love Israelis. How could compassionate Americans be nonchalant about their slaughter of a million Arabs in Iraq, even though they know that it was all based on lies? Decades of propaganda and brainwashing.
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Lights, Camera… Covert Action: The Deep Politics of Hollywood
By Matthew Alford and Robbie Graham | Global Research | January 21, 2009
Here we build a prima facae case supporting the idea that Hollywood continues to be a target for infiltration and subversion by a variety of state agencies, in particular the CIA. Academic debates on cinematic propaganda are almost entirely retrospective, and whilst a number of commentators have drawn attention to Hollywood’s longstanding and open relationship with the Pentagon, little of substance has been written about the more clandestine influences working through Hollywood in the post-9/11 world. As such, our work delves into the field of what Peter Dale Scott calls “deep politics”; namely, activities which cannot currently be fully understood due to the covert influence of shadowy power players.
The Latest Picture
A variety of state agencies have liaison offices in Hollywood today, from the FBI, to NASA and the Secret Service. Few of these agencies, though, have much to offer in exchange for favourable storylines, and so their influence in Hollywood is minimal. The major exception here is the Department of Defense, which has an ‘open’ but barely publicized relationship with Tinsel Town, whereby, in exchange for advice, men and invaluable equipment, such as aircraft carriers and helicopters, the Pentagon routinely demands flattering script alterations. Examples of this policy include changing the true identity of a heroic military character in Black Hawk Down (2001) due to his real-life status as a child rapist; the removal of a joke about “losing Vietnam” from the James Bond film Tomorrow Never Dies (1997), and cutting images of Marines taking gold teeth from dead Japanese soldiers in Windtalkers (2002). Instances such as these are innumerable, and the Pentagon has granted its coveted “full cooperation” to a long list of contemporary pictures including Top Gun (1986), True Lies (1994), Executive Decision (1996), Air Force One (1997), The Sum of All Fears (2002), Transformers (2007), Iron Man (2008), as well as TV series such as JAG (1995-2005).
Such government activity, whilst morally dubious and barely advertised, has at least occurred within the public domain. This much cannot be said of the CIA’s dealings with Hollywood, which, until recently, went largely unacknowledged by the Agency. In 1996, the CIA announced with little fanfare the dry remit of its newly established Media Liaison Office, headed by veteran operative Chase Brandon. As part of its new stance, the CIA would now openly collaborate on Hollywood productions, supposedly in a strictly ‘advisory’ capacity.
The Agency’s decision to work publicly with Hollywood was preceded by the 1991 “Task Force Report on Greater CIA Openness,” compiled by CIA Director Robert Gates’ newly appointed ‘Openness Task Force,’ which secretly debated –ironically– whether the Agency should be less secretive. The report acknowledges that the CIA “now has relationships with reporters from every major wire service, newspaper, news weekly, and television network in the nation,” and the authors of the report note that this helped them “turn some ‘intelligence failure’ stories into ‘intelligence success’ stories, and has contributed to the accuracy of countless others.” It goes on to reveal that the CIA has in the past “persuaded reporters to postpone, change, hold, or even scrap stories that could have adversely affected national security interests…”
These admissions add weight to several reports and Congressional hearings from the 1970s which indicated that the CIA once maintained a deep-rooted and covert presence in national and international media, informally dubbed “Operation Mockingbird.” In its 1991 report, the CIA acknowledged that it had, in fact, “reviewed some film scripts about the Agency, documentary and fictional, at the request of filmmakers seeking guidance on accuracy and authenticity.” But the report is at pains to state that, although the CIA has “facilitated the filming of a few scenes on Agency premises,” it does “not seek to play a role in filmmaking ventures.” But it seems highly implausible that the CIA, whilst maintaining a decades-long presence in media and academia, would have shown no interest in the hugely influential Cinema industry.
Indeed, it should come as no surprise that the CIA has been involved in a number of recent blockbusters and TV series.The 2001 CBS TV series, The Agency, executive produced by Wolfgang Petersen (Das Boot, Air Force One) was actually co-written by ex-CIA agent and Marine Bazzel Baz, with additional ex-CIA agents working as consultants. The CIA gladly opened its doors to the production, and facilitated both external and internal shots of its Langley headquarters as the camera gazed lovingly at the CIA seal. This arrangement was comparable to the Feds’ efforts on the popular TV series The FBI (1965-74) which was shaped by the Bureau in cooperation with ABC and which thanked J. Edgar Hoover in the credits of each episode. Similarly, The Agency glorified the actions of US spooks as they fought predictable villains including the Russian military, Arab and German terrorists, Columbian drug dealers, and Iraqis. One episode even shows the CIA saving the life of Fidel Castro; ironically, since the CIA in real life had made repeated attempts to assassinate the Cuban President. Promos for the show traded on 9/11, which had occurred just prior to its premiere, with tag lines like “Now, more than ever, we need the CIA.”
A TV movie, In the Company of Spies (1999) starring Tom Berenger depicted a retired CIA operative returning to duty to save captured Agency officers held by North Korea. The CIA was so enthusiastic about this product that it hosted its presentation, cooperated during production, facilitated filming at Langley, and provided fifty off-duty officers as extras, according to its website.
Espionage novelist Tom Clancy has enjoyed an especially close relationship with the CIA. In 1984, Clancy was invited to Langley after writing The Hunt for Red October, which was later turned into the 1990 film. The Agency invited him again when he was working on Patriot Games (1992), and the movie adaptation was, in turn,granted access to Langley facilities. More recently, The Sum of All Fears (2002) depicted the CIA as tracking down terrorists who detonate a nuclear weapon on US soil. For this production, CIA director George Tenet gave the filmmakers a personal tour of the Langley HQ; the film’s star, Ben Affleck also consulted with Agency analysts, and Chase Brandon served as on-set advisor.
Media sources indicate that the CIA also worked on the Anthony Hopkins/Chris Rock feature Bad Company (2002) and the Jerry Bruckheimer blockbuster Enemy of the State (2001). However, no details whatsoever about these appear to be in the public domain. Similarly, Spy Game director Tony Scott’s DVD commentary for said film indicates that he visited Langley whilst in pre-production but, according to one report, endorsement appeared to have been withheld after Chase Brandon read the final draft of the script.
More details than usual emerged about CIA involvement in the Tom Hanks movie Charlie Wilsons War (2007) and Robert De Niro’s The Good Shepherd (2006) – but not many. Milt Beardon had traveled to the Moscow Film Festival with De Niro and claims the pair then “disappeared and hung out with the mob and KGB crowd for a while. I introduced him to generals and colonels, the old guys I had been locked with for so many years.” De Niro later tagged along with Beardon to Pakistan. “We wandered around the North-West Frontier Province,” Bearden recalls, “crossed the bridge [to Afghanistan] I built years ago, hung out with a bunch of guys firing off machine guns and drinking tea.” Still, The Good Shepherd didn’t fulfill the CIA’s earnest hopes of being the CIA equivalent of Flags of Our Fathers (2006), which the Agency’s official historian says it should have been – all in the interests of what he calls a “culture of truth.”
Charlie Wilson’s War depicted the United States’ covert efforts to supply arms to Afghanistan to fight the Soviet Union in the 1980s which had the real-life consequence of America’s old ally turned against it in the form of al-Qaeda (as Crile explains in the book of the film). However, Beardon, who was the CIA agent who supplied the weapons, worked as consultant on the film and said prior to its release that it “will put aside the notion that because we did that, we had 9/11.” CIA involvement in the film therefore appears to have paid dividends.
The real reasons for the CIA adopting an “advisory” role on all of these productions are thrown into sharp relief by a solitary comment from former Associate General Counsel to the CIA, Paul Kelbaugh. In 2007, whilst at a College in Virginia, Kelbaugh delivered a lecture on the CIA’s relationship with Hollywood, at which a local journalist was present. The journalist (who now wishes to remain anonymous) wrote a review of the lecture which related Kelbaugh’s discussion of the 2003 thriller The Recruit, starring Al Pacino. The review noted that, according to Kelbaugh, a CIA agent was on set for the duration of the shoot under the guise of a consultant, but that his real job was to misdirect the filmmakers: “We didn’t want Hollywood getting too close to the truth,” the journalist quoted Kelbaugh as saying.
Peculiarly, in a strongly-worded email to the authors, Kelbaugh emphatically denied having made the public statement and claimed that he remembered “very specific discussions with senior [CIA] management that no one was ever to misrepresent to affect [film] content – EVER.” The journalist considers Kelbaugh’s denial “weird,” and told us that “after the story came out, he [Kelbaugh] emailed me and loved it… I think maybe it’s just that because [the lecture] was ‘just in Lynchburg’ he was okay with it – you know, like, no one in Lynchburg is really going to pay much attention to it, I guess. Maybe that’s why he said it, and maybe that’s why he’s denying it now.” The journalist stands by the original report, and Kelbaugh has pointedly refused to engage us in further discussion on the matter.
Early Screening
Clandestine agencies have a long history of interference in the cinema industry. Letters discovered in the Eisenhower Presidential Library from the secret agent Luigi G. Luraschi (identified by British academic John Eldridge), the Paramount executive who worked for the CIA’s Psychological Strategy Board (PSB), reveal just how far the CIA was able to reach into the film industry in the early days of the Cold War, despite its claims that it sought no such influence. For instance, Luraschi reported that he had secured the agreement of several casting directors to subtly plant “well dressed negroes” into films, including “a dignified negro butler” who has lines “indicating he is a free man” in Sangaree (1953) and in a golf club scene in the Dean Martin/Jerry Lewis vehicle The Caddy (1953). Elsewhere, CIA arranged the removal of key scenes from the film Arrowhead (1953), which questioned America’s treatment of Apache Indians, including a sequence where a tribe is forcibly shipped and tagged by the US Army. Such changes were not part of a ham-fisted campaign to instill what we now call “political correctness” in the populace. Rather, they were specifically enacted to hamper the Soviets’ ability to exploit its enemy’s poor record in race relations and served to create a peculiarly anodyne impression of America, which was, at that time, still mired in an era of racial segregation.
Other efforts were made. The PSB tried –unsuccessfully– to commission Frank Capra to direct Why We Fight the Cold War and to provide details to filmmakers about conditions in the USSR in the hope that they would use them in their movies. More successfully, in 1950, the CIA –along with other secretive organizations like the Office of Policy Coordination (OPC) and aided by the PSB– bought the rights to and invested in the cartoon of George Orwell’s Animal Farm (1954), which was given an anti-Soviet spin to satisfy its covert investors. Author Daniel Leab has pointed to the fact it took decades for the rumours about CIA involvement in Animal Farm to be properly documented; this, he observes, “Speaks volumes about the ability of a government agency to keep its activities covert.”
Additionally, the production of the Michael Redgrave feature Nineteen-Eighty Four (1956) was in turn overseen by the American Committee for Cultural Freedom, which was supervised by the CIA. Key points in the movie were altered to demonise the Soviets.
The CIA also tampered with the 1958 film version of The Quiet American, provoking the author, Graham Greene, to denounce the film. US Air Force Colonel Edward Lansdale, the CIA operative behind Operation Mongoose (the CIA sabotage and assassination campaign against Cuba) had entered into production correspondence with director Joseph L. Mankiewicz, who accepted his ideas. These included a change to the final scene in which we learn that Redgrave’s anti-hero has been hoodwinked by the Communists into murdering the suspicious American, who turns out not to be a bomb-maker as we had been led to believe, but instead a manufacturer of children’s toys.
Behind the Scenes
It would be a mistake to regard the CIA as unique in its involvement in Hollywood. The industry is in fact fundamentally open to manipulation by a range of state agencies. In 2000, it emerged that the White House’s drug war officers had spent tens of millions of dollars paying the major US networks to inject anti-drug plots into the scripts of primetime series such as ER, The Practice, Sabrina the Teenage Witch and Chicago Hope. Despite criticism for this blatant propagandizing, the government continued to employ this method of spreading its message on drugs.
The White House went to Tinsel Town again the following year when, on November 11, 2001 a meeting was held in Hollywood between President Bush’s then Deputy Chief of Staff, Karl Rove, and representatives of each of the major Hollywood studios to discuss how the film industry might contribute to the ‘War on Terror.’ Jack Valenti, president of the Motion Picture Association of America said with a straight face that, “content was off the table”, but Rove had clearly outlined a series of requests. It is hard to gauge the consequences of the meeting, but a Rambo sequel, for instance, was certainly discussed, and duly produced. Similarly, several series with national security themes emerged within a short time of the meeting including She Spies (2002-2004) and Threat Matrix (2003).
The meeting was, in fact, just one in a series between Hollywood and the White House from October to December, 2001. On October 17, in response to 9/11, the White House announced the formation of its “Arts and Entertainment Task Force,” and by November, Valenti had assumed leadership of Hollywood’s new role in the ‘War on Terror’. As a direct result of meetings, Congress sought advice from Hollywood insiders on how to shape an effective wartime message to America and to the world. In November 2001, John Romano, writer-producer of the popular US TV series Third Watch, advised the House International Relations Committee that the content of Hollywood productions was a key part of shaping foreign perceptions of America.
On December 5, 2001, the powerful Academy of Television Arts & Sciences convened its own panel entitled “Hollywood Goes to War?” to discuss what the industry might do in response to 9/11. Representing the government at the meeting were Mark McKinnon, a White House advisor, and the Pentagon’s chief entertainment liaison, Phil Strub. Also in attendance, among others, were Jeff Zucker, President of NBC Entertainment, and Aaron Sorkin, creator and writer of the White House drama The West Wing (1999-2006). Immediately after, Sorkin and his team set about producing a special episode of the show dealing with a massive terrorist threat to America entitled “Isaac and Ishmael”. The episode was given top priority and was successfully completed and aired within just ten days of the meeting. The product championed the superiority of American values whilst brimming with rage against the Islamist jihadists.
The interlocking of Hollywood and national security apparatuses remains as tight as ever: ex-CIA agent Bob Baer told us, “There’s a symbiosis between the CIA and Hollywood” and revealed that former CIA director George Tenet is currently, “out in Hollywood, talking to studios.” Baer’s claims are given weight by the Sun Valley meetings, annual get-togethers in Idaho’s Sun Valley in which several hundred of the biggest names in American media –including every major Hollywood studio executive– convene to discuss collective media strategy for the coming year. Against the idyllic backdrop of expansive golf courses, pine forests and clear fishing lakes, deals are struck, contracts are signed, and the face of the American media is quietly altered. The press has yet to be granted permission to report on these corporate media gatherings and so the exact nature of what is discussed at the events has never been publicly disclosed. It is known, however, that Tenet was keynote speaker at Sun Valley in 2003 (whilst still CIA head) and again in 2005.
Conclusions
Many would recoil at the thought of modern Hollywood cinema being used as a propagandist tool, but the facts seem to speak for themselves. Do agencies such as the CIA have the power, like the Pentagon, to affect movie content by providing much-sought-after expertise, locations and other benefits? Or are they able to affect script changes through simple persuasion, or even coercion? Do they continue to carry out covert actions in Hollywood as they did so extensively in the 1950s, and, beyond cinema, might covert government influence play some part in the creation of national security messages in TV series such as 24 and Alias (the star of the latter, Jennifer Garner, even made an unpaid recruitment video for the CIA)? The notion that covert agencies aspire to be more open is hard to take seriously when they provide such scant information about their role within the media, even regarding activities from decades past. The spy may have come in from the cold, but he continues to shelter in the shadows of the movie theatre.
iFilm English: Window to Iran culture and civilization
Ask your provider to include in your programming
Press TV – March 12, 2013
Following the remarkable success of iFilm Arabic and iFilm Persian, the English edition of Iran’s 24-hour entertainment and movie channel (iFilm English) has been launched as the first Iranian channel broadcasting movies and serials in English.
The channel, which broadcasts premium Iranian movies and serials that have been professionally dubbed, and which has been launched with the objective of introducing Iran’s culture, civilization and history to the people of the world, officially began broadcasting today, Monday, March 11, 2013.
iFilm English broadcasts movies, serials and entertainment programs in English 24/7. The audience of the channel can receive its programs through the four satellites of Hotbird, Optus (for Australia), Nilesat (for the Middle East) and Intelsat (for the EU and Africa). In addition to satellite coverage, the programs of iFilm English can also be received from the Internet on personal computers, tablets, cell-phones and smart TVs across the world.
According to Head of the Islamic Republic of Iran Broadcasting (IRIB) World Service Dr. Mohammad Sarafraz, iFilm English, with the slogan of “A New Family Experience,” seeks to introduce families in Western societies to a new experience of visual media and cinema with a content different from that of Hollywood, and thus provide a safe and attractive environment for their leisure time and in their own language.
Dr. Sarafraz says the channel’s programs include dubbed Iranian movies and serials in the genres of family-society, comedy, thrillers and history, and also various interesting programs, including those depicting behind-the-scenes of the movies and TV serials, candid camera programs, 100-second dramas, various documentaries about Iran and programs establishing interaction between the viewers and the channel.
iFilm English attempts to counter the West’s campaign to spread Iranophobia by opening a window to the Iranian-Islamic culture and civilization, portraying the truths about the Iranian society and offering an image based on the reality of the peace-loving people of Iran and its ancient civilization.
Using cutting-edge technology and streaming programs on the Internet and cell-phones, iFilm English also attempts to counter the efforts recently made by certain Western satellite companies aimed at limiting the voice of the culture of the Iranian people.
http://www.ifilmtv.ir/english/
The channel can be watched on the following frequencies:
Hotbird 13B at 13.0° E
Frequency: 11727 (TP XP50)
FEC: ¾
Polarization: V
Symbol Rate: 27500
Optus D2 at 152° E
Frequency: 12706 (TP 8L)
FEC: ¾
Polarization: V
Symbol Rate: 22500
Eutelsat 7 West A at 7.3° (Nilesat)
Frequency: 11679 (TP C25)
FEC: ¾
Polarization: H
Symbol Rate: 27500
Intelsat 10at 47.5° E (Europe Africa beam)
Frequency: 12602 (TP 21 K)
FEC: ¾
Polarization: V
Symbol Rate: 27500
Related article
- Press TV announces new frequency for US, Canada viewers (alethonews.wordpress.com)
Hollywood’s Imperial Propaganda
By JOE GIAMBRONE | CounterPunch | February 20, 2013
Hollywood likes to pretend that things aren’t political when they are. It’s that bi-partisan nationalist myth that if both corporate parties agree to cheer for the empire, then everyone cheers for the empire. It’s gotten so bad now that races like the Oscars and the Writer’s Guild screenwriting award are tight contests between one CIA propaganda film and another CIA propaganda film. The first one helps to demonize Iranians and set up the next World War scenario, while the second film fraudulently promotes the effectiveness of state-sanctioned torture crimes.
If there ever was a time for loud disgust and rejection of the Hollywood / Military-Industrial-Complex, this would seem to be it (contact@oscars.org). Naomi Wolf made a comparison of Zero Dark Thirty’s creators Bigelow and Boal to Nazi filmmaker Leni Riefenstahl (Triumph of the Will). That, to me, seems inappropriately offensive to Leni Riefenstahl. The good German filmmaker never promoted torture through deception. Nor was Triumph a call to war. The film was simply an expression of German patriotism and strength, rebirth from the ashes of World War I. The current insidious crop of propaganda, as in the CIA’s leaking of fictional scenes about locating Osama Bin Laden through torture extraction, are arguably more damaging and less defensible than Riefenstahl’s upfront and blatant homage to Hitler’s leadership.
The Zero Dark Thirty scandal should be common knowledge by now, but here is what the Senate Select Committee on Intelligence wrote to Sony Pictures about it:
“We believe the film is grossly inaccurate and misleading in its suggestion that torture resulted in information that led to the location of Usama bin Laden… Instead, the CIA learned of the existence of the courier, his true name and location through means unrelated to the CIA detention and interrogation program.”
The filmmakers had every opportunity to explore the issue more fully, instead of relying on the “firsthand accounts” of the torturers themselves, and/or their allies within the Central Intelligence Agency. Notably, torturers are felons and war criminals. Those who know about their crimes and help cover them up are guilty of conspiracy to torture. Thus, these self-serving fairy tales that illegal torture led to the desired results (bin Laden) are tangled up with the motivation to protect war criminals from prosecution. Not only does this claim of successful torture help insulate the guilty from legal prosecution, it also helps to promote further criminal acts of torture in the future.
Once this red flag issue was raised by the Senate, the filmmakers could have taken a second look at what they had put up on screens and reassessed the veracity of their material and the way it was being sold to the world. Instead they doubled down. Bigelow and Boal want it both ways, extraordinary access to CIA storytellers for a documentary-like “factual” telling of the bin Laden execution, but they also want license to claim that it’s just a movie and can therefore take all the liberties they please.
Jessica Chastain, who plays a state-employed torturer/murderer, who also allegedly located Osama bin Laden, said:
“I’m afraid to get called in front of a Senate committee… In my opinion, this is a very accurate film… I think it’s important to note the film is not a documentary.”
In a nutshell, that’s the Zero Dark Thirty defense. It’s a highly sourced “very accurate film,” but we can take all the liberties we like because it’s not a documentary, and so if we made up a case for torture based on the lies of professional liars in the CIA, then oops.
Mark Boal went so far as to mock the Senate Intelligence Committee, at the NY Film Critic’s Circle:
“In case anyone is asking, we stand by the film… Apparently, the French government will be investigating Les Mis.”
Any controversy over the picture seems to help its box office, as more uninformed people hear about it. The filmmakers themselves suffer no penalty as a result of misleading a large number of people on torture, to accept torture, to accept a secretive criminal state that tortures with impunity.
Kathryn Bigelow’s wrapped-in-the-flag defense of the film:
“Bin Laden… was defeated by ordinary Americans who fought bravely even as they sometimes crossed moral lines, who labored greatly and intently, who gave all of themselves in both victory and defeat, in life and in death, for the defense of this nation.” (emphasis in original)
Nice propaganda trick at the end equating those who “gave all of themselves” and “death” with the individuals who “sometimes crossed moral lines.” Everyone’s dirty; you see. All heroes are torturers; so it’s okay.
Bigelow’s half-assed response to getting called out by the Senate for putting false torture results into her film, is to say:
“Torture was, however, as we all know, employed in the early years of the hunt. That doesn’t mean it was the key to finding Bin Laden. It means it is a part of the story we couldn’t ignore. War, obviously, isn’t pretty, and we were not interested in portraying this military action as free of moral consequences.” (emphasis added)
Ignore? By her reasoning, because the Central Intelligence Agency tortured people, she was required to fit it into the plot somehow, whether it was relevant to the investigation or not. That’s her excuse. No matter that the scenes are fabrications, and the actual clues about bin Laden’s courier came from elsewhere (electronic surveillance, human intelligence, foreign services).
Bigelow told Charlie Rose, when asked the same question about the torture: “Well I think it’s important to tell a true story.” Unfortunately, when confronted with the Senate investigation, truth quickly takes a back seat.
The truth Bigelow now clings to is that, “Experts disagree sharply on the facts and particulars of the intelligence hunt, and doubtlessly that debate will continue.” To Kathryn Bigelow, the fact that the so-called “experts” she has sided with are torturer criminals with a vested interest in her portrayal of their crimes never occurs to her. She can dismiss the entire matter as a “debate.” Perhaps she no longer finds it “important to tell a true story?”
Kathryn Bigelow, America’s Leni Riefenstahl, claims that Zero Dark Thirty tells “a true story,” even when confronted by evidence that it is a lie. She is unapologetic and completely divorced from the real world damage her propaganda encourages. If this film takes home the Best Picture Oscar, it should serve as the cherry on top of a brutal, deceptive, decrepit and immoral empire, and signal this reality to the rest of the world. If this is allegedly the “best” of America, then we are truly finished.
As for Ben Affleck’s Argo, its sins aren’t so readily apparent. Both films show wonderful Central Intelligence “heroes” acting to further US interests and take care of imperial problems. The Argo scenario is a rescue, however, instead of a hit. The problem is that Iran, a country thrown into a bloodthirsty dictatorship after its nascent democracy was murdered by the very same CIA in 1953, is now the bad guy. There are clearly two sides, and the film takes sides with the people who destroyed democracy in Iran and propped up an illegitimate monarch in order to control its oil and its refineries. When this despotic monarch whose secret police disappeared, tortured and murdered the political opposition – with the help and training of the CIA – is overthrown, we are supposed to overlook all that, because America is always good. We rescue our people. We risk our lives, and we come up with elaborate creative plans to help our people. We are heroic and triumphant vs. the inferior wild-eyed Persians and Arabs of the world.
Now I do believe there’s a real story there, and the situation is ripe for telling, but an extreme sensitivity to the political context would be required.
“… [T]he Iran we see in the [Argo] news clips and the Iran we see dramatized are all on the same superficial level: incomprehensible, out-of-control hordes with nary an individual or rational thought expressed.
… But we never go behind-the-scenes at this revolution. (Instead, Affleck and screenwriter Chris Terrio’s tempering historical introduction is soon outweighed by the visceral power of mobs storming walls, chador-clad women toting rifles, and banshees screaming into news cameras.)
… The problem is that viewers … aren’t going to walk out of [Argo] muttering “gee, it’s more complicated than I thought.” Instead, they’ll leave with their fears and prejudices reaffirmed: that Middle Easterners create terror, that Americans must be the world’s policemen, and that Iranians cannot be trusted because they hate America.
… Argo almost completely ignores individual Iranians; its portrait of an entire culture is neither refined nor sophisticated; and it does reinforce a simplistic, Manichean perspective.”
Enough said?
So why are Argo and Zero Dark Thirty receiving all these awards? Are the awarding bodies so full of hyper-patriots who believe pro-American films can deceive and demonize with impunity, that they want to send an unequivocal message of support for these practices?
Is hyper-nationalist propaganda in vogue now?
With the ascendancy of Barack Obama, there is no longer a moral anti-war voice of any significant size in America. Obama, the smooth talker, has soothed away morality, ethics, law and rights. The empire is beyond reproach because Obama runs it. So the liberal center/left says nothing. Nothing but empty blather and ignorant praise of the Democrats. Murder is being codified in secret as we speak. Bush’s wars are being publicly scaled down, only to ramp up new covert wars of conquest across Africa. Nothing substantial has changed since George W., only the style.
There was a time when no one trusted the CIA. Far from heroes, they were the prime suspects in the assassination of president John F. Kennedy, and presidential candidate Robert Kennedy. CIA support of terrorists was well known, if not loudly opposed. This agency has sponsored Cuban exiles to commit acts of terrorism inside Cuba. Its Phoenix Program kidnapped and murdered Vietnamese villagers by the thousands, torturing and killing them for alleged communist sympathies. The CIA overthrew democracies from Iran to Gutemala to Chile, and was instrumental in waging a terror war against Nicaragua by employing drug-running mercenary terrorists called “Contras.” When the Church Committee investigated the agency in the mid-70s, lots of dirty laundry was aired. The agency was reined in for a time. Assassination was made technically illegal.
In the 1980s, the CIA fought a proxy war against the Soviet Union in Afghanistan by funneling money and arms to radical Islamic Jihadists – like Osama bin Laden – and creating an intelligence/military monster in Pakistan, known as the ISI. With untold billions of dollars of US tax money, plus Saudi oil money, the Pakistanis were propped up as a central hub for militant groups to operate throughout the region. Pakistan is where Osama bin Laden allegedly ended up living for the last decade of his life, half a mile from the Pakistani military academy.
The CIA today is instrumental in the blitzkrieg of terror across Syria. It funnels arms and money to radical Islamic Jihadists, exactly as it did in Afghanistan in the 1980s. In 2011 it participated in the Libyan Crime Against the Peace doing much the same type of activity on behalf of the Libyan Islamic Fighting Group, a group that helped take over that nation despite being included on the US State Department’s Terrorist List! The LIFG has sent its fighters over to Syria, after the fall of Qadaffi, to assist in the genocidal guerrilla war against the Syrian state, as well as civilians. The CIA assists in these activities.
But of course those victims aren’t Americans. So none of that counts.
“…Is it healthy for us to hold up images of Cold War CIA agents as selfless do-gooders?” –Jennifer Epps
Joe Giambrone is a filmmaker and author of Hell of a Deal: A Supernatural Satire. He edits The Political Film Blog, which welcomes submissions. polfilmblog at gmail.
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From the Archives
American media distortion on Palestine
By Alison Weir | MEMO | May 1, 2013
… We have conducted a number of statistical studies on this issue and found that US media were covering Israeli deaths in far greater detail than they were covering those of Palestinians.
For example, the New York Times was reporting on Israeli children’s deaths at a rate seven times greater than they were covering Palestinian children’s deaths; this didn’t even include the far larger number of words and amount of personal information given about Israeli victims compared to Palestinians. We also found that primetime network news programmes were covering Israeli children’s deaths at rates up to 14 times greater than the coverage given to Palestinians.
I discovered a system of reporting from the region in which a violent conflict between an officially “Jewish state” and the Muslims and Christians it had dispossessed (and was in the process of dispossessing further) was being covered most of the time by journalists with legal, familial or emotional ties to Israel. A great many are Israeli citizens (though this is almost never disclosed) or married to Israelis, their children also being Israeli.
I discovered that the Associated Press control bureau for the region, from which virtually all news reports that appear in US newspapers were transmitted, was located in Israel and was staffed almost entirely by Israeli and Jewish journalists (many of whom had served in the Israeli military).
I learned that the son of the New York Times bureau chief was serving in the Israeli military while his father was reporting on the conflict. In fact, I discovered that it was common for journalists in the region reporting for American media to have close personal ties to the Israeli military; that at least one staff member had been serving in the Israeli military even as he was reporting for the NY Times ; that US News & World Report’s senior foreign correspondent, who had covered and written about the Middle East for more than 40 years, had a son serving in the Israeli army during the time he was reporting there; that Middle East “pundit” Jeffrey Goldberg, whose commentary pervades both the print and broadcast media, is an Israeli citizen who served in the Israeli military.
I learned that CNN anchorman Wolf Blitzer lived in Israel for many years, at one point travelled around the US as the “voice of Israel” and had worked for an Israel lobby publication.
I learned that Time magazine’s bureau chief was an Israeli citizen, and that NPR’s long-time correspondent from the region had an Israeli husband who had served in the military and may be an Israeli citizen herself.
I also discovered that this pattern of Israel-centrism went beyond the regional reporting. In fact, the regional filtering of the news may not even be the most significant factor in the broken media reporting on this issue that Americans receive.
Within US-based journalism per se I discovered patterns of Israel-centrism that were deeply troubling. In some cases I personally experienced the intentional suppression of information on Palestine. Following are a few examples. … Read full article
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