Screen
Propaganda, Hollywood and the CIA
Selected
Articles
Global Research, February 28, 2013
“One of the most pervasive trends in
21st century western culture has become somewhat of an obsession in America.
It’s called “Hollywood history”, where the corporate studio machines in Los
Angeles spend hundreds of millions of dollars in order to craft and precisely
tailor historical events to suit the prevailing political paradigm.” (Patrick
Henningsen, Hollywood History: CIA Sponsored “Zero Dark Thirty”, Oscar
for “Best Propaganda Picture”)
Black Hawk Dawn, Zero Dark Thirty
and Argo, those are only a few major recent productions showing how today’s
movie industry promotes US foreign policy. But the motion picture has been used
for propaganda since the beginning of the 20th century and Hollywood’s
cooperation with the Department of Defense, the CIA and other government
agencies is no modern trend.
With Michelle Obama awarding Ben
Affleck’s Argo the Oscar for best movie, the industry showed how close
it is to Washington. According to Soraya Sepahpour-Ulrich, Argo is a
propaganda film concealing the ugly truth about the Iranian hostage crisis and
designed to prepare the American public for an upcoming confrontation with
Iran:
Foreign policy observers have long
known that Hollywood reflects and promotes U.S. policies (in turn, is
determined by Israel and its supporters). This fact was made public
when Michelle Obama announced an Oscar win for “Argo” – a highly propagandist,
anti-Iran film. Amidst the glitter and excitement, Hollywood and
White House reveal their pact and send out their message in time for the
upcoming talks surrounding Iran’s nuclear program [...]
Hollywood has a long history of
promoting US policies. In 1917, when the United States entered
World War I, President Woodrow Wilson’s Committee on Public Information (CPI)
enlisted the aid of America ’s film industry to make training films and
features supporting the ‘cause’. George Creel, Chairman of the CPI
believed that the movies had a role in “carrying the gospel of Americanism to
every corner of the globe.”
The pact grew stronger during World
War II […] Hollywood ’s contribution was to provide propaganda. After the war,
Washington reciprocated by using subsidies, special provisions in the Marshall
Plan, and general clout to pry open resistant European film markets […]
As Hollywood and the White House
eagerly embrace “Argo” and its propagandist message, they shamelessly and
deliberately conceal a crucial aspect of this “historical” event. The
glitter buries the all too important fact that the Iranian students who took
over the U.S. Embassy in Tehran , proceeded to reveal Israel ’s dark secret to
the world. Documents classified as “SECRET” revealed LAKAM’s
activities. Initiated in 1960, LAKAM was an Israeli network assigned to
economic espionage in the U.S. assigned to “the collection of scientific
intelligence in the U.S. for Israel ’s defense industry” (Soraya
Sepahpour-Ulrich Oscar to Hollywood’s “Argo”: And the Winners are … the
Pentagon and the Israel Lobby)
For a real account of the Iranian
hostage crisis, a CIA covert operation, Global Research recommends reading
Harry V. Martin’s article published in 1995: The Real Iranian Hostage Story from the Files of Fara
Mansoor:
Fara Mansoor is a fugitive. No, he
hasn’t broken any laws in the United States. His crime is the truth. What he has
to say and the documents he carries are equivalent to a death warrant for him,
Mansoor is an Iranian who was part of the “establishment” in Iran long before
the 1979 hostage taking. Mansoor’s records actually discount the alleged
“October Surprise” theory that the Ronald Reagan-George Bush team paid the
Iranians not to release 52 American hostages until after the November 1980
Presidential elections [...]
With thousands of documents to
support his position, Mansoor says that the “hostage crisis” was a political
“management tool” created by the pro-Bush faction of the CIA, and implemented
through an a priori Alliance with Khomeini’s Islamic Fundamentalists.” He says
the purpose was twofold:
- To keep Iran intact and communist-free by putting Khomeini in full control.
- To destablize the Carter Administration and put George Bush in the White House. (Harry V. Martin, The Real Iran Hostage Crisis: A CIA Covert Op)
Zero Dark Thirty is another great silver screen propaganda piece which
spurred outrage earlier this year. It exploits the horrific events of 9/11 to
present torture as an effective and necessary evil:
Zero Dark Thirty is disturbing for
two reasons. First and foremost, it leaves the viewer with the erroneous
impression that torture helped the CIA find bin Laden’s hiding place in
Pakistan. Secondarily, it ignores both the illegality and immorality of using
torture as an interrogation tool.
The thriller opens with the words
“based on first-hand accounts of actual events.” After showing footage of the
horrific 9/11 attacks, it moves into a graphic and lengthy depiction of torture.
The detainee “Ammar” is subjected to waterboarding, stress positions, sleep
deprivation, and confined in a small box. Responding to the torture, he
divulges the name of the courier who ultimately leads the CIA to bin Laden’s
location and assassination. It may be good theater, but it is inaccurate and
misleading. (Marjorie Cohn, “Zero Dark Thirty”: Torturing the Facts)
Earlier this year the Golden Globe
awards made some analysts criticize Hollywood’s dark “celebration of the police
state” and argue that the real Golden Globe winner was the
military-industrial complex:
Homeland won best TV series, best TV
actor and actress. It IS a highly entertaining show which actually portrays
some of the flaws of the MIIC system.
Argo won best movie and best
director. It glorifies the CIA and Ben Affleck spoke with the highest praise
for the CIA.
And best actress went to Jessica
Chastain of Zero Dark Thirty, a movie that has been vilified for propagandizing
the use of torture.
***
The Military Industrial Intelligence
Complex is playing a more and more pervasive role in our lives. In the
next few years we’ll be seeing movies that focus on the use of drone technology
in police and spy work in the USA. We’ve already been seeing movies that show
how spies can violate every aspect of our privacy– of the most intimate parts
of our lives. By making movies and TV series that celebrate these cancerous
extensions of the police state Hollywood and the big studios are normalizing
the ideas they present us with– lying to the public, routinely creating
fraudulent stories as covers for what’s really going on. (Rob Kall cited in
Washington’s Blog, The CIA and Other Government Agencies Dominate Movies and
Television)
All these troublesome Hollywood
connections have been examined in an in-depth report Global Research published
in January 2009: Lights, Camera… Covert Action: The Deep Politics of
Hollywood. The article lists a great number of movies in part
scripted for propaganda purposes by the Defense Department, the CIA and
other government agencies. It is interesting to note that this year’s
Oscar-winning director Ben Affleck cooperated with the CIA in 2002 as he
starred in The Sum of All Fears.
Authors Matthew Alford and Robbie
Graham explain that compared to the CIA, the Department of Defense “has an
‘open’ but barely publicized relationship with Tinsel Town” which, “whilst
morally dubious and barely advertised, has at least occurred within the public
domain.” Alford and Graham cite a 1991 CIA report revealing the sprawling
influence of the agency, not only in the movie business but also in the media
where it “has relationships with reporters from every major wire service,
newspaper, news weekly, and television network in the nation.” It was not
until 1996 that the CIA announced it “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” [...]
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.
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, the
journalist quoted Kelbaugh as saying [...] Kelbaugh emphatically denied having
made the public statement. (Matthew Alford and Robbie Graham, Lights, Camera… Covert Action: The Deep Politics of
Hollywood)
During the Cold War the CIA’s
Psychological Strategy Board (PSB) agent Luigi G. Luraschi was a Paramount
executive. 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’”. The purpose of these changes was
“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.” (Ibid.)
The latest award-winning movie
productions show that the Manichean view of the world put forward by the US
foreign policy agenda has not changed since the Cold War. The Hollywood-CIA
alliance is alive and well and still portrays America as the “leader of the
free world” fighting “evil” around the world:
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” […] 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. (Ibid.)
Global Research offers its readers a
list of articles on this topic.
Contrary to the Hollywood film
industry, Global Research is not subject to any influence from the US
intelligence apparatus and works to provide you the truth rather than fiction
and propaganda.
No comments:
Post a Comment