Saturday Matinee: Good Morning Mr. Orwell

PETER GABRIEL, LAURIE ANDERSON, OINGO BOINGO, ALLEN GINSBERG, JOHN CAGE & OTHERS USHER IN 1984

By Martin Schneider

Source: Dangerous Minds

George Orwell’s sinister novel Nineteen Eighty-Four made it inevitable that the arrival of his eponymous year would be a media event. Decades after his death, Orwell made it onto the cover of Time magazine in late 1983, but on the big day itself—January 1, 1984—TV visionary Nam June Paik ushered in the year with an ambitious international video program called Good Morning, Mr. Orwell that was broadcast live simultaneously from New York (WNET public television), Paris, and San Francisco, with broadcasters in Germany and South Korea also carrying the transmissions if not contributing content.

According to Plimpton, Paik aptly referred to the project as a “global disco.” As the title suggested, Paik’s take on 1984 was considerably rosier than that of Orwell. In the spirit of Fluxus and/or technological optimism, as you please, Paik gathered a roster of artists with less inclination to lean on bleak themes such as Peter Gabriel, Laurie Anderson, John Cage, Allen Ginsberg, Merce Cunningham, Salvador Dalí, Oingo Boingo and many others for a stimulating showcase of art, music, theater, and video manipulation. One might imagine a band like DEVO being invited but it’s difficult to imagine Mark Mothersbaugh and Jerry Casale mustering up any enthusiasm for a project in which it was unironically asserted that technology is a boon to mankind.

The show was hosted by George Plimpton—the John Hodgman of his day, kind of—with assistance from the Centre Pompidou in Paris. In a move you can’t imagine happening today, Plimpton enthusiastically names the satellite—Bright Star—assisting with the remote sync-up. We would consider that akin to singling out the dedicated server permitting YouTube to bring you a video.

Among the performances: Gabriel and Anderson combine on a duet called “Excellent Birds”; a fitfully amusing comedy sketch called “Cavalcade of Intellectuals” in which a transatlantic discussion devolves into an interpersonal spat (a gag that worked better in Airplane! using airport PA announcers); a sprightly song by Yves Montand; John Cage plays “amplified cacti and plant materials” with a feather (so great); Oingo Boingo perform a song called “Wake Up (It’s 1984)”; Allen Ginsberg and Peter Orlovsky sing a little ditty about meditation to the cello stylings of Arthur Russell; and much more.

 

Saturday Matinee: David Lynch Presents the History of Surrealist Film (1987)

By Colin Marshall

Source: Open Culture

What living director has drawn the descriptor “surreal” more often than David Lynch? If you’ve seen, or rather experienced, a few of his films — particularly Eraserhead, Lost Highway, Mulholland Dr., or Inland Empire, or even the first half of his television series Twin Peaks — you know he’s earned it. Like any surrealist worth his salt, Lynch creates his own version of reality, with its own set of often unfathomable and inexplicably but emotionally and psychologically resonant qualities. In 1987, the year after his breakthrough Blue Velvet opened in theaters, the BBC apparently thought him enough of an authority on the matter of cinematic surrealism to enlist him to present an episode of Arena on the subject.

And so we’ve highlighted, just above in two parts, the fruit of their collaboration, with apologies for the straight-from-the-VHS quality of the video. (I just think of the slight muddledness as adding another welcome layer of unreality to the proceedings.)

Lynch’s duties on the broadcast include providing facts about the films and filmmakers excerpted throughout to tell the history of surrealist film. (He also provides several choice opinions, as when he calls Philadelphia “one of the sickest, most corrupt, decadent, fear-ridden cities that exists.”) We see bits and pieces of pictures like Luis Buñuel and Salvador Dali’s 1929 Un Chien Andalou, Jean Cocteau’s 1932 Blood of a Poet, Fernand Léger’s 1947 The Girl with the Prefabricated Heart, and Chris Marker’s 1962 La Jetée. Not only does Lynch contextualize them, he discusses their influence on his own work. Casual filmgoers who’ve caught a Lynch movie or two and taken them as the imaginings of an entertaining weirdo will, after watching this episode, come to understand how long a tradition they fit into — and they’ll no doubt want to see not just more of Lynch’s work, but his sources of inspiration as well. (They may, however, after hearing all he has to say here, still regard him as a weirdo.)

 

Love, Western Nihilism and Revolutionary Optimism


By Andre Vltchek

Source: Dissident Voice

How dreadfully depressing life has become in almost all of the Western cities! How awful and sad.

It is not that these cities are not rich; they are. Of course, things are deteriorating there, the infrastructure is crumbling and there are signs of social inequality, even misery, at every corner. But if compared to almost all other parts of the world, the wealth of the Western cities still appears to be shocking, almost grotesque.

The affluence does not guarantee contentment, happiness or optimism. Spend an entire day strolling through London or Paris, and pay close attention to people. You will repeatedly stumble over passive aggressive behavior, over frustration and desperate downcast glances, over omnipresent sadness.

In all those once great [imperialist] cities, what is missing is life. Euphoria, warmth, poetry and yes – love – are all in extremely short supply there.

Wherever you walk, all around, the buildings are monumental, and boutiques are overflowing with elegant merchandize. At night, bright lights shine brilliantly. Yet the faces of people are gray. Even when forming couples, even when in groups, human beings appear to be thoroughly atomized, like the sculptures of Giacometti.

Talk to people, and you’ll most likely encounter confusion, depression, and uncertainty. ‘Refined’ sarcasm, and sometimes a bogus urban politeness are like thin bandages that are trying to conceal the most horrifying anxieties and thoroughly unbearable loneliness of those ‘lost’ human souls.

Purposelessness is intertwined with passivity. In the West, it is increasingly hard to find someone that is truly committed: politically, intellectually or even emotionally. Big feelings are now seen as frightening; both men and women reject them. Grand gestures are increasingly looked down upon, or even ridiculed. Dreams are becoming tiny, shy and always ‘down to earth’, and even those are lately extremely well concealed. Even to daydream is seen as something ‘irrational’ and outdated.

*****

To a stranger who comes from afar, it appears to be a sad, unnatural, brutally restrained and, to a great extent, a pitiful world.

Tens of millions of adult men and women, some well educated, ‘do not know what to do with their lives’. They take courses or go ‘back to school’ in order to fill the void, and to ‘discover what they want to do’ with their lives. It is all self-serving, as there appear to be no greater aspirations. Most of the efforts begin and end with each particular individual.

Nobody sacrifices himself or herself for others, for society, for humanity, for the cause, or even for the ‘other half’, anymore. In fact, even the concept of the ‘other half’ is disappearing. Relationships are increasingly ‘distant’, each person searching for his or her ‘space’, demanding independence even in togetherness. There are no ‘two halves’; instead there are ‘two fully independent individuals’, co-existing in a relative proximity, sometimes physically touching, sometimes not, but mostly on their own.

In the Western capitals, the egocentricity, even total obsession with one’s personal needs, is brought to a surreal extreme.

Psychologically, it can only be described as a twisted and pathological world.

Surrounded by this bizarre pseudo reality, many otherwise healthy individuals eventually feel, or even become, mentally ill. Then, paradoxically, they embark on seeking ‘professional help’, so they can re-join the ranks of the ‘normal’, read ‘thoroughly subdued’ citizens. In most cases, instead of continuously rebelling, instead of waging personal wars against the state of things, the individuals who are still at least to some extent different, get so frightened by being in the minority that they give up, surrender voluntarily, and identify themselves as ‘abnormal’.

Short sparks of freedom experienced by those who are still capable of at least some imagination, of dreaming about a true and natural world, get rapidly extinguished.

Then, in a short instant, everything gets irreversibly lost. It may appear as some horror film, but it is not. It is the true reality of life in the West.

I cannot function in such an environment for more than a few days. If forced, I could last in London or Paris for two weeks at most, but only while operating on some ‘emergency mode’, unable to write, to create and to function ‘normally’. I cannot imagine ‘being in love’ in a place like that. I cannot imagine writing a revolutionary essay there. I cannot imagine laughing, loudly, happily, freely.

While briefly working in London, Paris or New York, the coldness, purposelessness, and chronic lack of passion and of all basic human emotions, is having a tremendously exhausting effect on me, derailing my creativity and drowning me in useless, pathetic existentialist dilemmas.

After one week there, I’m simply beginning to get influenced by that terrible environment: I’m starting to think about myself excessively, ‘listening to my feelings’, instead of considering the feelings of the others. My duties towards humanity get neglected. I put on hold everything that I otherwise consider essential. My revolutionary edge loses its sharpness. My optimism begins to evaporate. My determination to struggle for a better world begins to weaken.

This is when I know: it is time to run, to run away. Fast, very fast! It is time to pull myself from the stale emotional swamp, to slam the door behind the intellectual bordello, and to escape from the terrifying meaninglessness that is dotted with injured, even wasted lives.

I cannot fight for those people from within, only from outside. Our way of thinking and feeling do not match. When they get out and visit ‘my universe’, they bring with them resilient prejudices: they do not register what they see and hear, they stick to what they were indoctrinated with, for years and decades.

For me personally there are not many significant things that I can do in Western cities. Periodically I come to sign one or two book contracts, to open my films, or to speak briefly at some university, but I don’t see any point of doing much more. In the West, it is hard to find any meaningful struggle. Most struggles there are not internationalist; instead they are selfish, West-oriented in nature. Almost no true courage, no ability to love, no passion, and no rebellion remain. On closer examination, there is actually no life there; no life as we human beings used to perceive it, and as we still understand it in many other parts of the world.

*****

Nihilism rules. Was this mental state, this collective illness something that has been inflicted on purpose by the regime? I don’t know. I cannot yet answer this question. But it is essential to ask, and to try to understand.

Whatever it is, it is extremely effective – negatively effective but effective nevertheless.

Carl Gustav Jung, a renowned Swiss psychologist and psychiatrist, diagnosed Western culture as ‘pathological’, right after WWII. But instead of trying to comprehend its own abysmal condition, instead of trying to get better, even well, Western culture is actually made to expand, to rapidly spread to many other parts of the world, dangerously contaminating healthy societies and nations.

It has to be stopped. I say it because I do love this life, the life, which still exists outside the Western realm; I’m intoxicated with it, obsessed with it. I live it to the fullest, with great delight, enjoying every moment of it.

I know the world, from the ‘Southern Cone’ of South America, to Oceania, the Middle East, to the most god-forsaken corners of Africa and Asia. It is a truly tremendous world, full of beauty and diversity, and hope.

The more I see and know, the more I realize that I absolutely cannot exist without a struggle, without a good fight, without great passions and love, and without purpose; basically without all that the West is trying to reduce to nothing, to make irrelevant, obsolete and ridiculous.

My entire being is rebelling against the awful nihilism and dark pessimism that is being injected almost everywhere by Western culture. I’m violently allergic to it. I refuse to accept it. I refuse to succumb to it.

I see people, good people, talented people, wonderful people, getting contaminated, having their lives ruined. I see them abandoning great battles, abandoning their great loves. I see them choosing selfishness and their ‘space’ and ‘personal feelings’ over deep affection and inseparability, opting for meaningless careers over great adventures of epic battles for humanity and a better world.

Lives are being ruined one by one, and by millions, every moment and every day. Lives that could have been full of beauty, full of joy, of love, full of adventure, of creativity and uniqueness, of meaning and purpose, but instead are reduced to emptiness, to nothingness, in brief: to thorough meaninglessness. People living such lives are performing tasks and jobs by inertia, respecting without questioning all behavior patterns ordered by the regime, and obeying countless grotesque laws and regulations.

They cannot walk on their own feet anymore. They have been made fully submissive. It is over for them.

That is because the courage of the people in the West has been broken. It is because they have been reduced to a crowd of obedient subjects, submissive to the destructive and morally defunct Empire.

They have lost the ability to think for themselves. They have lost courage to feel.

As a result, because the West has such an enormous influence on the rest of the world, the entire humanity is in grave danger, is suffering, and is losing its natural bearing.

*****

In such a society, a person overflowing with passion, a person fully committed and true to his or her cause can never be taken seriously. It is because in a society like this, only deep nihilism and cynicism are accepted and respected.

In such a society, a revolution or a rebellion could hardly go beyond the pub or a living room couch.

A person, who is still capable of loving in such an emotionally constipating and twisted environment, is usually seen as a buffoon, even as a ‘suspicious and sinister element’. It is common for him or for her to be ridiculed and rejected.

Obedient and cowardly masses hate those who are different. They distrust people who stand tall and who are still capable of fighting, people who know perfectly well what their goals are, people who do and not just talk, and those who find it easy to throw their entire life, without the slightest hesitation, at the feet of a beloved person or an honorable cause.

Such individuals terrify and irritate those suave, submissive and shallow crowds in Western capitals. As a punishment, they get deserted and divorced, ostracized, socially exiled and demonized. Some end up getting attacked, even thoroughly destroyed.

The result is: there is no culture, anywhere on Earth, so banal and so obedient as that which is now regulating the West. Lately, nothing of revolutionary intellectual significance is flowing from Europe and North America, as there are hardly any detectable unorthodox ways of thinking or perceptions of the world there.

The dialogues and debates are flowing only through fully anticipated and well-regulated channels, and needless to say they fluctuate only marginally and through the fully ‘pre-approved’ frequencies.

*****

What is on the other side of the barricade?

I don’t want to glorify our revolutionary countries and movements.

I don’t even want to write that we are the “exact opposite” of that entire nightmare that has been created by the West. We are not. And we are far from being perfect.

But we are alive if not always well. We are standing, trying to advance this wonderful ‘project’ called humanity, attempting to save our planet from Western imperialism, its nihilist gloom, as well as absolute environmental disaster.

We are considering many different ways forward. We have never rejected socialism and Communism, and we are studying various moderate and controlled forms of capitalism. The advantages and disadvantages of the so-called ‘mixed economy’ are being discussed and evaluated.

We fight, but because we are much less brutal, orthodox and dogmatic than the West, we often lose, as we recently (and hopefully only temporarily) lost in Brazil and Argentina. We also win, again and again. As this essay goes to print, we are celebrating in Ecuador and El Salvador.

Unlike in the West, in such places like China, Russia and Latin America, our debates about the political and economic future are vibrant, even stormy. Our art is engaged, helping to search for the best humanist concepts. Our thinkers are alert, compassionate and innovative, and our songs and poems are great, full of passion and fire, overflowing with love and longing.

Our countries do not steal from anyone; they don’t overthrow governments in the opposite parts of the world, they do not undertake massive military invasions. What we have is ours; it is what we have created, produced and sown with our own hands. It is not always much, but we are proud of it, because no one had to die for it, and no one had to be enslaved.

Our hearts are purer. They are not always absolutely pure, but purer than those in the West are. We do not abandon those whom we love, even if they fall, get injured, or cannot walk any longer. Our women do not abandon their men, especially those who are in the middle of fighting for a better world. Our men do not abandon their women, even when they are in deep pain or despair. We know whom and what we love, and we know whom and what we hate: in this we rarely get ‘confused’.

We are much simpler than those living in the West. In many ways, we are also much deeper.

We respect hard work, especially work that helps to improve the lives of millions, not just our own lives, or the lives of our families.

We try to keep our promises. We don’t always succeed in keeping them, as we are only humans, but we are trying, and most of the times we are managing to.

Things are not always exactly like this, but often they are. And when “things are like this”, it means that there is at least some hope and optimism and often even great joy.

Optimism is essential for any progress. No revolution could succeed without tremendous enthusiasm, as no love could. No revolution and no love could be built on depression and defeatism.

Even in the middle of the ashes to which imperialism has reduced our world, a true revolutionary and a true poet can always at least find some hope. It will not be easy, not easy at all, but definitely not impossible. Nothing is ever lost in this life for as long as our hearts are beating.

*****

The state in which our world is right now is dreadful. It often feels that one more step in a wrong direction, another false turn, and everything will finally collapse, irreversibly. It is easy, extremely easy, to give up, to throw everything up into the air, and to land on a couch with a six-pack of beer, or to simply declare “there is nothing that can be done”, and then resume one’s meaningless life routine.

Western nihilism has already done its devastating work: it has landed tens of millions of thinking beings on their proverbial couches of defeatism. It has spread pessimism and gloom, and a general belief that things can never improve anymore. It has maneuvered people into refusing to ‘accept labels’, into rejecting progressive ideologies, and into a pathological distrust of any power. The “all politicians are the same” slogan could be translated clearly into: “We all know that our Western rulers are gangsters, but do not expect anything else from those in other parts of the world.” “All people are the same” reads: “The West has been plundering and murdering hundreds of millions, but don’t expect anything better from Asians, Latin Americans or Africans”.

This irrational, cynical negativism already domesticated in virtually all countries of the West, has successfully been exported to many colonies, even to such places as Afghanistan, where people have been suffering incessantly from crimes committed by the West.

Its goal is evident: to prevent people from taking action and to convince them that any rebellion is futile. Such attitudes are brutally choking all hopes.

In the meantime, collateral damage is mounting. Metastases of the passivity and nihilistic cancers which are being spread by the Western regime are already attacking even that very human ability to love, to commit to a person or to a cause, and to stand by one’s pledges and obligations.

In the West and in its colonies, courage has lost its entire luster. The Empire has managed to reverse the whole scale of human values, which was firmly and naturally in place on all the continents and in all cultures, for centuries and millennia. All of a sudden, submission and obedience have come to vogue.

It often feels that if the trend is not reversed soon, people will increasingly start to live like mice: constantly scared, neurotic, unreliable, depressed, passive, unable to identify true greatness, and unwilling to join those who are still pulling our world and humanity forward.

Billions of lives will get wasted. Billions of lives are already being wasted.

Some of us write about invasions, coups and dictatorships imposed by the Empire. However, almost nothing is being written about this tremendous and silent genocide that is breaking the human spirit and optimism, throwing entire nations into a dark depression and gloom. But it is taking place, even as these lines are being penned. It is happening everywhere, even in such places as London, Paris and New York, or more precisely, especially there.

In those unfortunate places, fear of great emotions has already been deeply rooted. Originality, courage and determination are now evoking fear. Great love, great gestures and unorthodox dreams are all observed with panic and mistrust.

But no progress, no evolution is possible without entirely unconventional ways of thinking, without the revolutionary spirit, without great sacrifices and discipline, without commitment, and without that most powerful and most daring set of emotions, which is called love.

The demagogues and propagandists of the Empire want us to believe that ‘something ended’; they want us to accept defeat.

Why should we? There is no defeat anywhere on the horizon.

There are only two separate realities, two universes, into which our world had been shattered into: one of Western nihilism, another of revolutionary optimism.

I have already described the nihilism, but what do I imagine when I dream about that better, different world?

Do I envision red flags and people forming closed ranks, charging against some lavish palaces and stock exchanges? Do I hear loud revolutionary songs blasted from loudspeakers?

I actually do not. What comes to my mind is essentially very quiet and natural, human and warm.

There is a park near the old train station in the city of Granada, Nicaragua. I visited it some time ago. There, several old trees are throwing fantastic shadows on the ground, providing a desirable shade. Into a few big metal columns are engraved the most beautiful poems ever written in this country, while in between those columns stand simple but solid park benches. I sat on one of them. Not far from me, a couple of ageing lovers was holding hands, reading cheek to cheek from an open book. They were so close that they appeared to be forming a simple and totally self-sufficient universe. Above them were the shining verses written by Ernesto Cardenal, one of my favorite Latin American poets.

I also recall two Cuban doctors, sitting on a very different bench, thousands of miles away, chatting and laughing next to two goodhearted and corpulent nurses, after performing a complex surgery in Kiribati, an island nation ‘lost’ in the middle of South Pacific.

I remember many things, but they are never monumental, only human. Because that is what revolution really is, I think: a couple of ageing peasants in a beautiful public park, both of them in love, holding hands, reading poetry to each other. Or two doctors travelling to the end of the world, just in order to save lives, far from the spotlight and fame.

And I always remember my dear friend, Eduardo Galeano, one of the greatest revolutionary writers of Latin America, telling me in Montevideo, about his eternal love for his wonderful lady called “Reality”.

Then I think: no, we cannot lose. We are not going to lose. The enemy is mighty and many people are weak and scared, but we will not allow the world to be converted into a mental asylum. We’ll fight for each and every person who has been affected, and drowned in gloom.

We’ll expose the abnormality and perversity of Western nihilism. We’ll fight it with our revolutionary enthusiasm and optimism, and we will use the greatest weapons, such as poetry and love.

 

Andre Vltchek is a philosopher, novelist, filmmaker and investigative journalist. He has covered wars and conflicts in dozens of countries. Three of his latest books are the revolutionary novel Aurora and two bestselling works of political non-fiction: Exposing Lies Of The Empire and Fighting Against Western Imperialism. View his other books here. Watch his Rwanda Gambit, a documentary about Rwanda and DRCongo. He continues to work around the world and can be reached through his website and Twitter. Read other articles by Andre.

Wonder Woman Is a Hero Only The Military-Industrial Complex Could Create

By Jonathan Cooke

Source: TruePublica

For a while I have been pondering whether to write a review of the newly released Wonder Woman, to peel back the layers of comic-book fun to reveal below the film’s disturbing and not-so-covert political and militaristic messages.

There is usually a noisy crowd who deride any such review with shouts of “Lighten up, it’s only a movie!” – as though popular culture is neither popular nor culture, the soundtrack to our lives that slowly shapes our assumptions and our values, and does so at a level we rarely examine critically.

My argument is that this much-praised Gal Gadot vehicle – seemingly about a peace-loving superhero, Wonder Woman, from the DC Comics stable – is actually carefully purposed propaganda, designed to force-feed aggressive western military intervention, dressed up as humanitarianism, to unsuspecting audiences.

In short, this is straight-up propaganda for the military-industrial complex. It would have looked and sounded identical had it been scripted by a joint team from the Pentagon and the Israel Defense Forces.

My reticence to review the film has lifted after reading the latest investigations of Tom Secker and Matthew Alford into the manifold ways the U.S. military and security services interfere in Hollywood, based on a release of 4,000 pages of documents under Freedom of Information requests.

In their new book National Security Cinema, the pair argue that the Pentagon, CIA and National Security Agency have meddled in the production of at least 800 major Hollywood movies and 1,000 TV titles. That is likely to be only the tip of the iceberg, as they concede:

“It is impossible to know exactly how widespread this military censorship of entertainment is because many files are still being withheld.”

They write that their book “details how U.S. government involvement also includes script rewrites on some of the biggest and most popular films, including James Bond, the Transformers franchise, and movies from the Marvel and DC cinematic universes.”

The need for Pentagon toys

This isn’t just about minor adjustments, but wholesale collusion between film-makers and the military: “If there are characters, action or dialogue that the DoD [Department of Defense] don’t approve of then the film-maker has to make changes to accommodate the military’s demands. If they refuse then the Pentagon packs up its toys and goes home. To obtain full cooperation the producers have to sign contracts — Production Assistance Agreements — which lock them into using a military-approved version of the script.”

The fact that script-writers, producers and directors on these mega-budget pictures know their film may never make it into production if it does not get a thumbs-up from the Pentagon inevitably influences the choice of subjects, the political and military premises of selected films, and the story lines.

One movie, Countermeasures, was ditched after the military objected to a script that “included references to the Iran-Contra scandal … Similarly Fields of Fire and Top Gun 2 were never made because they couldn’t obtain military support, again due to politically controversial aspects of the scripts.”

One can imagine just how stringent the conditions imposed by the Pentagon must be, if it felt compelled to reject a movie like Top Gun 2, the sequel to the “flyboys with toys” killing fest that starred a young Tom Cruise.

The two authors add: “The documents also record the pro-active nature of the military’s operations in Hollywood and that they are finding ways to get involved during the earliest stages of development, ‘when characters and storylines are most easily shaped to the Army’s benefit’.”

Bad apples, not bad institutions

In addition, film-makers are pressured into changing scripts that suggest institutional or systemic problems in the U.S. security agencies.

The two authors observe that producer Jerry Bruckheimer has admitted that the script of the film Enemy of the State was changed under pressure from the NSA so that the wrongdoings at the heart of the film would be the responsibility of a single individual, not the agency itself.

“This idea of using cinema to pin the blame for problems on isolated rogue agents or bad apples, thus avoiding any notion of systemic, institutional or criminal responsibility, is right out of the CIA/DOD’s playbook,” they observe.

So not only are movies critical of U.S. and western politics and militarism almost certain to be off-limits for a big-budget production, but that void is certain to be filled by film proposals the studio is confident will win approval from the Pentagon, CIA and NSA.

And this is, of course, on top of the fact that the Hollywood money-men are themselves part of a larger globalized financial elite that depends on the proceeds of the homeland security industry, arms manufacturers and war profiteers. These financiers are certain to prefer funding films that support a neoliberal worldview at home and a neoconservative policy of warmongering abroad.

As Secker and Alford conclude: “In societies already eager to use our hard power overseas, the shaping of our popular culture to promote a pro-war mindset must be taken seriously.

Gal Gadot and the IDF

All of this is the context for deciphering the egregious propaganda in favor of western military violence, and the portrayal of peace-seeking as “appeasement”, that is Wonder Woman.

There has been plenty of guffawing at Middle East countries, including Lebanon, for seeking to ban Wonder Woman because it stars Gal Gadot, an Israeli beauty queen turned actress.

In fact, it is understandable that the Lebanese might object to a film heavily promoting Gadot as the world’s savior, given that she served in the Israeli army, one that brutally occupied parts of their country for two decades, until 2000, and continues to maintain a belligerent occupation of the Palestinians.

But there is also an undeniable irony to Gadot playing an Amazonian goddess who opposes the militarism of men, and cannot bear to see the suffering of children in war, when in real life she publicly cheered on the Israeli army’s massive bombardment in 2014 of the imprisoned population of Gaza, which led to the killing of some 500 Palestinian children there.

But more importantly, it is not just that Gadot, a former IDF soldier, is now the face of Wonder Woman; it is that the film’s superhero character too almost perfectly embodies the shared militaristic values of the IDF and the Pentagon. If there is one film whose script suggests it was jointly engineered by the Pentagon and Israeli army, it is Wonder Woman.

Hillary Clinton as Wonder Woman?

The film is set near the end of the First World War, a cataclysmic confrontation between two colonial powers, Britain and Germany, each trying to assert its dominance in Europe. The film-makers blur their focus sufficiently to gloss over the problem that there were no good guys in that “war to end all wars”. Instead in true Hollywood fashion, the First World War is presented simply as a prelude (or prequel) to the Second World War and the rise of the Nazis.

The Germans are murderous villains, while the British are the flawed – until Gadot shows them the error of their ways – defenders of humanity. In fact, the film prefers to cast the anti-German side as “Allies”, the humane members of the world community, represented by the U.S. – Chris Pine is the male lead and Gadot’s love interest – and a ragtag support group that includes a Scot, a native American, and a generic Arab, presumably symbolizing “moderate” Arab states like Saudi Arabia, Egypt and Jordan.

The British leadership is trying to find ways to make peace and bring the war to an end, but is stymied by an evil presence. A German super-general, Erich Ludendorff (Danny Huston), believes he can win the war decisively by developing a horrifying gas that will wipe out men, women and children, forcing the British to surrender on his terms. To demonstrate his power, he tests the gas on innocent villagers on the front lines in Belgium.

All of this might sound disconcertingly familiar to anyone who has been following the western media-scripted coverage that has for several years now been trying to promote more aggressive “humanitarian intervention” in Syria – and before that, in Libya and Iraq.

Is Ludendorff supposed to be Bashar Assad, the evil Syrian president who – as long as we discount the dissenting voices of some experts – has twice used the chemical weapon sarin against innocent civilians?

Are the British leaders, seeking a peace deal with the Germans, supposed to be those “appeasers” in the West who have stood in the way of “intervention” in Syria, blocking no-fly zones and bombing runs that could bring down the Syrian government?

And in an even more disturbing, if now outdated, parallel, given the film’s insistent identity politics, is Wonder Woman – the Amazonian who brings peace through overpowering military violence – a stand-in for Hillary Clinton? When the movie was in production, the filmmakers must have assumed it would be released as Clinton was enjoying her early months in office as the first female U.S. president.

The use of Wonder Woman to justify Clinton’s well-documented blood lust–the woman who laughed as “our rebels” murderously sodomized Libya’s Col Gaddafi, saying: “We came, we saw, he died” – would have proved timely had the U.S. election turned out differently.

War is Peace, Ignorance is Strength

Those who have not seen the film, and take it seriously as entertainment, may wish to skip this section, which includes a significant spoiler.

The source of man’s evil in Wonder Woman is the only surviving Greek god, Ares, who is hiding somewhere in the human world. Wonder Woman believes she can end all war and human suffering only if she can locate Ares and kill him – before he kills her.

No one in the human world, of course, believes Wonder Woman, and foolishly they dismiss her ideas as lunacy. And for a while Wonder Woman makes a terrible mistake in thinking the German Ludendorff (Saddam / Gaddafi / Assad) is Ares. It is late in the film that she discovers she has been on the wrong scent.

Humankind’s ultimate enemy is not Ludendorff, but the kindly Sir Patrick Morgan (David Thewlis), the British leader who has spent the entire film counseling for negotiations and peace with the Germans.

The ultimate evil, the wolves in sheep’s clothing, Wonder Woman finds, are  those among us who preach fraternity, compassion and turning the other cheek. They make possible the killing of the innocents.

Those who appear to care, those who seem to offer a route out of bloodshed and war – those who defeat the aims and threaten the profits of the military-industrial complex – are in truth nothing more than appeasers. Their efforts are certain, even intended, to lead to greater suffering.

Militarism, superior firepower, and an absolute belief in the justness of one’s cause, as Wonder Woman is reminded by her Amazonian tutors during her childhood Krav Maga training (Gadot was herself an Israeli army combat trainer) are the way to save mankind from the evildoers.

There is no time to delay, to stand back, to question or to negotiate. Wonder Woman is outraged by the dithering of the men around her. She wants to be at the front line as soon as possible, to kick ass.

“War is peace, freedom is slavery, ignorance is strength” – and all of it is good for business, the film Wonder Woman concludes in truly Orwellian fashion.

A veneer of identity politics

Of course, this story – like all effective propaganda – is supposed to work its magic at a subconscious level, where it cannot be interrogated by our reason and our critical faculties. But even so, a few critics – themselves enthusiastic liberal interventionists – seem to have intuited the movie’s message.

Perhaps not surprisingly, a reviewer with the clearest sense of how the film panders to the pro-war sentiments and identity politics of many liberals is the film critic of the conservative Washington Free Beacon.

Sonny Bunch applauds the way the film “highlights the need for the strong to intervene on behalf of the weak and the oppressed, and treats as villains quislings who sue for a peace that will bring only more destruction.

But he also understands how the film has been crafted to make its war-mongering more palatable to liberals. Wonder Woman, he writes, proves “you could slap an identity politics veneer on just about any neoconservative policy and progressives would lap it up. … Liberal interventionism is back, baby!”

Drooling from liberals

And sure enough, the community of largely liberal film reviewers has mostly drooled over Wonder Woman. Despite dire acting from Gadot, preposterous dialogue and a risible screenplay, the film has racked up an astounding 92 percent approval rating from critics on the review aggregator website Rotten Tomatoes.

Here is a brief selection of their assessments:

Dana Stevens, of Slate: “This is a movie about battling evil that pauses to ask what evil is and whether it’s necessary to understand its nature in order to defeat it.”

Mick LaSalle, of the San Francisco Chronicle: “What lingers … is the feeling of hope that the movie brings, that it someday might be possible for female rationality to defeat male brutality.”

Richard Brody, of the New Yorker: Wonder Woman is “an entry in the genre of wisdom literature that shares hard-won insights and long-pondered paradoxes of the past with a sincere intimacy.”

A. O. Scott, of the New York Times: “Her sacred duty is to bring peace to the world. Accomplishing it requires a lot of killing, but that’s always the superhero paradox. … Unlike most of her male counterparts, its heroine is not trying to exorcise inner demons or work out messiah issues. She wants to function freely in the world, to help out when needed and to be respected for her abilities. No wonder she encounters so much resistance.”

The paradoxes of power

Wonder Woman grapples with the paradoxes of military power every American interventionist and Israeli patriot understands. To save the “beautiful children”, she must sometimes rush to intervene and kill with extreme prejudice, even if the other side’s children are among those who are sacrificed.

Wonder Woman wants to “function freely”: she must enjoy the right to go wherever her interests take her. She cannot be shackled by borders in her quest for justice. She is there to “help out” others in trouble, even if she alone gets to decide who needs help and what counts as trouble. And she needs “respect”, and is prepared to force others to accord it to her, through her superior strength if need be.

She will face “much resistance” because others are jealous of her power and her freedoms. They are the evildoers, and they must and will be defeated.

Is it any surprise that in the Hollywood-Pentagon-IDF world of Wonder Woman, the values of a female superhero sound exactly like those of the military men who run the West’s wars?

Now roll on “Wonder Woman 2: Time to Intervene (Humanely)”.

Saturday Matinee: Eraserhead

“Eraserhead” (1977) is an infamous cult classic and debut feature film written, produced, and directed by David Lynch. The majority of the plot involves the struggles of Henry (Jack Nance) as he cares for a severely deformed baby in an industrial, possibly post-apocalyptic wasteland. Like Tarkovsky’s Stalker, the film’s pace is slow, which is a good thing for those who appreciate its unforgettable atmosphere and immersiveness.

Watch the full film here.