They Live, We Sleep: A Dictatorship Disguised as a Democracy

leadtheylive1

By John W. Whitehead

Source: The Rutherford Institute

“You see them on the street. You watch them on TV. You might even vote for one this fall. You think they’re people just like you. You’re wrong. Dead wrong.”—They Live

We’re living in two worlds, you and I.

There’s the world we see (or are made to see) and then there’s the one we sense (and occasionally catch a glimpse of), the latter of which is a far cry from the propaganda-driven reality manufactured by the government and its corporate sponsors, including the media.

Indeed, what most Americans perceive as life in America—privileged, progressive and free—is a far cry from reality, where economic inequality is growing, real agendas and real power are buried beneath layers of Orwellian doublespeak and corporate obfuscation, and “freedom,” such that it is, is meted out in small, legalistic doses by militarized police armed to the teeth.

All is not as it seems.

This is the premise of John Carpenter’s film They Live (1988), in which two migrant workers discover that the world’s population is actually being controlled and exploited by aliens working in partnership with an oligarchic elite. All the while, the populace—blissfully unaware of the real agenda at work in their lives—has been lulled into complacency, indoctrinated into compliance, bombarded with media distractions, and hypnotized by subliminal messages beamed out of television and various electronic devices, billboards and the like.

It is only when homeless drifter John Nada (played to the hilt by the late Roddy Piper) discovers a pair of doctored sunglasses—Hoffman lenses—that Nada sees what lies beneath the elite’s fabricated reality: control and bondage.

When viewed through the lens of truth, the elite, who appear human until stripped of their disguises, are shown to be monsters who have enslaved the citizenry in order to prey on them. Likewise, billboards blare out hidden, authoritative messages: a bikini-clad woman in one ad is actually ordering viewers to “MARRY AND REPRODUCE.” Magazine racks scream “CONSUME” and “OBEY.” A wad of dollar bills in a vendor’s hand proclaims, “THIS IS YOUR GOD.”

When viewed through Nada’s Hoffman lenses, some of the other hidden messages being drummed into the people’s subconscious include: NO INDEPENDENT THOUGHT, CONFORM, SUBMIT, STAY ASLEEP, BUY, WATCH TV, NO IMAGINATION, and DO NOT QUESTION AUTHORITY.

This indoctrination campaign engineered by the elite in They Live is painfully familiar to anyone who has studied the decline of American culture. A citizenry that does not think for themselves, obeys without question, is submissive, does not challenge authority, does not think outside the box, and is content to sit back and be entertained is a citizenry that can be easily controlled.

In this way, the subtle message of They Live provides an apt analogy of our own distorted vision of life in the American police state, what philosopher Slavoj Žižek refers to as dictatorship in democracy, “the invisible order which sustains your apparent freedom.”

We’re being fed a series of carefully contrived fictions that bear no resemblance to reality. The powers-that-be want us to feel threatened by forces beyond our control (terrorists, shooters, bombers). They want us afraid and dependent on the government and its militarized armies for our safety and well-being. They want us distrustful of each other, divided by our prejudices, and at each other’s throats. Most of all, they want us to continue to march in lockstep with their dictates.

Tune out the government’s attempts to distract, divert and befuddle us and tune into what’s really going on in this country, and you’ll run headlong into an unmistakable, unpalatable truth: the moneyed elite who rule us view us as expendable resources to be used, abused and discarded.

In fact, a 2014 study conducted by Princeton and Northwestern University concluded that the U.S. government does not represent the majority of American citizens. Instead, the study found that the government is ruled by the rich and powerful, or the so-called “economic elite.” Moreover, the researchers concluded that policies enacted by this governmental elite nearly always favor special interests and lobbying groups.

In other words, we are being ruled by an oligarchy disguised as a democracy, and arguably on our way towards fascism—a form of government where private corporate interests rule, money calls the shots, and the people are seen as mere subjects to be controlled.

Consider this: it is estimated that the 2016 presidential election could cost as much as $5 billion, more than double what was spent getting Obama re-elected in 2012.

Not only do you have to be rich—or beholden to the rich—to get elected these days, but getting elected is also a surefire way to get rich. As CBS News reports, “Once in office, members of Congress enjoy access to connections and information they can use to increase their wealth, in ways that are unparalleled in the private sector. And once politicians leave office, their connections allow them to profit even further.”

In denouncing this blatant corruption of America’s political system, former president Jimmy Carter blasted the process of getting elected—to the White House, governor’s mansion, Congress or state legislatures—as “unlimited political bribery… a subversion of our political system as a payoff to major contributors, who want and expect, and sometimes get, favors for themselves after the election is over.”

Rest assured that when and if fascism finally takes hold in America, the basic forms of government will remain. As I point out in my book Battlefield America: The War on the American People, fascism will appear to be friendly. The legislators will be in session. There will be elections, and the news media will continue to cover the entertainment and political trivia. Consent of the governed, however, will no longer apply. Actual control will have finally passed to the oligarchic elite controlling the government behind the scenes.

By creating the illusion that it preserves democratic traditions, fascism creeps slowly until it consumes the political system. And in times of “crisis,” expediency is upheld as the central principle—that is, in order to keep us safe and secure, the government must militarize the police, strip us of basic constitutional rights, criminalize virtually every form of behavior, and build enough private prisons to house all of us nonviolent criminals.

Clearly, we are now ruled by an oligarchic elite of governmental and corporate interests. We have moved into “corporatism” (favored by Benito Mussolini), which is a halfway point on the road to full-blown fascism.

Vast sectors of the economy, government and politics are managed by private business concerns, otherwise referred to as “privatization” by various government politicians. Just study modern government policies. “Every industry is regulated. Every profession is classified and organized,” writes economic analyst Jeffrey Tucker. “Every good or service is taxed. Endless debt accumulation is preserved. Immense doesn’t begin to describe the bureaucracy. Military preparedness never stops, and war with some evil foreign foe, remains a daily prospect.”

In other words, the government in America today does whatever it wants.

Corporatism is where the few moneyed interests—not elected by the citizenry—rule over the many. In this way, it is not a democracy or a republican form of government, which is what the American government was established to be. It is a top-down form of government and one which has a terrifying history typified by the developments that occurred in totalitarian regimes of the past: police states where everyone is watched and spied on, rounded up for minor infractions by government agents, placed under police control, and placed in detention (a.k.a. concentration) camps.

For the final hammer of fascism to fall, it will require the most crucial ingredient: the majority of the people will have to agree that it’s not only expedient but necessary. But why would a people agree to such an oppressive regime? The answer is the same in every age: fear.

Fear makes people stupid.

Fear is the method most often used by politicians to increase the power of government. And, as most social commentators recognize, an atmosphere of fear permeates modern America: fear of terrorism, fear of the police, fear of our neighbors and so on.

The propaganda of fear has been used quite effectively by those who want to gain control, and it is working on the American populace.

Despite the fact that we are 17,600 times more likely to die from heart disease than from a terrorist attack; 11,000 times more likely to die from an airplane accident than from a terrorist plot involving an airplane; 1,048 times more likely to die from a car accident than a terrorist attack, and 8 times more likely to be killed by a police officer than by a terrorist, we have handed over control of our lives to government officials who treat us as a means to an end—the source of money and power.

We have allowed ourselves to become fearful, controlled, pacified zombies.

In this regard, we’re not so different from the oppressed citizens in They Live. Most everyone keeps their heads down these days while staring zombie-like into an electronic screen, even when they’re crossing the street. Families sit in restaurants with their heads down, separated by their screen devices and unaware of what’s going on around them. Young people especially seem dominated by the devices they hold in their hands, oblivious to the fact that they can simply push a button, turn the thing off and walk away.

Indeed, there is no larger group activity than that connected with those who watch screens—that is, television, lap tops, personal computers, cell phones and so on. In fact, a Nielsen study reports that American screen viewing is at an all-time high. For example, the average American watches approximately 151 hours of television per month.

The question, of course, is what effect does such screen consumption have on one’s mind?

Psychologically it is similar to drug addiction. Researchers found that “almost immediately after turning on the TV, subjects reported feeling more relaxed, and because this occurs so quickly and the tension returns so rapidly after the TV is turned off, people are conditioned to associate TV viewing with a lack of tension.” Research also shows that regardless of the programming, viewers’ brain waves slow down, thus transforming them into a more passive, nonresistant state.

Historically, television has been used by those in authority to quiet discontent and pacify disruptive people. “Faced with severe overcrowding and limited budgets for rehabilitation and counseling, more and more prison officials are using TV to keep inmates quiet,” according to Newsweek.

Given that the majority of what Americans watch on television is provided through channels controlled by six mega corporations, what we watch is now controlled by a corporate elite and, if that elite needs to foster a particular viewpoint or pacify its viewers, it can do so on a large scale.

If we’re watching, we’re not doing.

The powers-that-be understand this. As television journalist Edward R. Murrow warned in a 1958 speech:

We are currently wealthy, fat, comfortable and complacent. We have currently a built-in allergy to unpleasant or disturbing information. Our mass media reflect this. But unless we get up off our fat surpluses and recognize that television in the main is being used to distract, delude, amuse, and insulate us, then television and those who finance it, those who look at it, and those who work at it, may see a totally different picture too late.

This brings me back to They Live, in which the real zombies are not the aliens calling the shots but the populace who are content to remain controlled.

When all is said and done, the world of They Live is not so different from our own. As one of the characters points out, “The poor and the underclass are growing. Racial justice and human rights are nonexistent. They have created a repressive society and we are their unwitting accomplices. Their intention to rule rests with the annihilation of consciousness. We have been lulled into a trance. They have made us indifferent to ourselves, to others. We are focused only on our own gain.”

We, too, are focused only on our own pleasures, prejudices and gains. Our poor and underclasses are also growing. Racial injustice is growing. Human rights is nearly nonexistent. We too have been lulled into a trance, indifferent to others.

Oblivious to what lies ahead, we’ve been manipulated into believing that if we continue to consume, obey, and have faith, things will work out. But that’s never been true of emerging regimes. And by the time we feel the hammer coming down upon us, it will be too late.

Saturday Matinee: Chicago 10

chicago_10_movie_image

“Chicago 10” (2007) is a lively retelling of the Chicago 8 case in which Bobby Seale, Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, and Lee Weiner were charged with conspiracy to riot at the 1968 Democratic National Convention (the Chicago 10 of the title includes defense lawyers William Kunstler and Leonard Weinglass). The film’s colorful and fluid animation highlight the surreal and absurd aspects of the trial while interspersed live-action archival footage and a script based on transcripts and rediscovered audio recordings give it a documentary feel. Added realism is given by the excellent voice acting from Hank Azaria, Dylan Baker, Mark Ruffalo, Roy Scheider, Liev Schreiber and Jeffery Wright among others.

Saturday Matinee: Mr. Robot

tumblr_np8gx9qfmA1u9q43oo2_500

“Mr. Robot” is one of the rare shows to make it to mainstream cable television with a perspective which may worry corporate sponsors of cable television. It incorporates elements of hacker and anarchist subcultures within its narrative centering on a network security programmer who moonlights as a cyber-vigilante and hacktivist ringleader. Series such as this are all too rare but much needed for their ability to introduce and/or spread important information through the collective imagination. It’s also one of the first television shows to speak to and reflect segments of contemporary countercultures.

Given the nature of its format, an episodic series on the USA Network (though it is the network that produced Night Flight), it’s vulnerable to censorship and cooptation. However, as it stands now it’s a refreshingly subversive voice in the basic cable wilderness.

(Hulu requires Adobe Flash Player 11.1 to view)
http://www.hulu.com/watch/814104

Pilot episode can also be viewed here.

Saturday Matinee: Funky Forest

158820971_af1e3d

Plot synopsis by VIZ Media:

Meet the Harunos, a rather unconventional, but happy and loving family nonetheless. They live in a small town in the mountains just out of Tokyo where life is good and quiet – but that doesn’t mean they don’t have their own little problems.

As 8-year old Sachiko (Maya Banno) tries to get rid of a giant version of herself who seems to pop up everywhere, her older brother Hajime (Takahiro Sato), privately wrestles with his love-struck heart. Meanwhile, their mother Yoshiko (Satomi Tezuka) is working hard, coming out of retirement as an animator, as her husband and professional hypnotist Nobuo (Tomokazu Miura) watches on with slight apprehension. Yoshiko’s brother, Ayano (Tadanobu Asano) is just visiting his hometown and staying with the family, but also has a hidden agenda; he needs to come to terms with a romance that ended years ago. Even Nobuo’s brother and successful manga artist Todoroki has his problems. It’s his birthday soon and he wants to give himself something special. And lastly there’s Grandpa, the most bizarre and perhaps the most perceptive of all, who continues to search for a better way to live life to the full.

Written, directed and edited by Katsuhito ISHII, The Taste of Tea is a unique and gentle family portrait tackling the universal themes of time, people and their lives.

 

Saturday Matinee: Sky High

hqdefault

“Sky High” (2003) is a supernatural action thriller directed by Ryuhei Kitamura (“Versus” and “Godzilla: Final Wars”). It’s a prequel film for a television series of the same name in which the spirit of murder victim Mina must help her detective fiance catch her killer in order to find peace in the afterlife. It’s an interesting mash-up of genres elevated by above-average cinematography, acting and action set pieces.

Saturday Matinee: Mr. Freedom

tumblr_l0uzlsUIuW1qaw1oyo1_500

“Mr. Freedom” (1969) is a surreal polemic directed by William Klein skewering patriotism, imperialism and cold war scare-mongering by chronicling the idiotic exploits of an all-American superhero. What it lacks in plot and subtle acting it makes up for in audacious visuals and sadly still relevant yet deserving political jabs. The film is also notable for it’s soundtrack and cameo appearance by the great Serge Gainsbourg.

http://www.dailymotion.com/video/xq8l5g_mr-freedom_shortfilms

The Movie Every Screwed Millennial Should Watch

514460241_640

By Arthur Chu

Source: Alternet

Jennifer Phang’s indie science fiction film “Advantageous,” a darling of 2015’s Sundance, came to Netflix Instant Streaming earlier this week. If you’re a millennial, you have Netflix. If you’re an un- or underemployed millennial, you have time. Every un- or underemployed millennial needs to see this movie.

We live in a renaissance of science fiction film and TV and “geek” culture in general — the accelerating pace of technological change thanks to Moore’s Law makes it hard to deny we’re living in “the future,” we’re all part-machine-part-human for practical purposes now, no one can guess what element of science fiction is next to become science fact, blah blah blah.

You’ve heard that song and dance before. They use it to sell everything from splashy popcorn blockbusters with robot villains to artsy thinky indie dramas with robot antiheroes.

But “Advantageous” is the first science fiction film I’ve seen that really grasps something I think is core to the experience of us young people who are on the bleeding edge of the troubling trend of Machines Taking Our Jobs Away.

And the core theme of the film that makes it so important is also the one that I worry will scare a lot of its audience away. Because this is a science fiction film but not an action film — there’s no violence, no gunplay. There’s no heroes or villains, precious little of good-vs-evil conflict. There’s no pulsing electronic backbeat and even though there’s smartphones and holograms, there’s not that much visible technology, no one tapping madly at keyboards while incomprehensible lines of green text scroll down the monitor.

Which makes sense, actually. These are all things we imagined would happen in “the future” of the 2010s back in the 1980s. The fears that defined the genre we call “cyberpunk” that set the tone for dark, dystopian futures for a generation were 1980s fears — fears of street gang violence, fears of nuclear war, fears of the drug trade. An adult in the 1980s, imagining a member of my generation, imagined someone doing designer drugs at raves, casually gunning people down in the street and hacking into the mainframe to trick China into launching their ICBMs.

We don’t do a lot of that. In fact, the least fortunate of our Lost Generation of millennials don’t do a lot of anything.

What “Advantageous” is that other science fiction films aren’t is quiet.

That’s my experience of being an unemployed millennial in the 2000s. Long stretches of unnerving silence. Being one of a handful of unlucky young people walking aimlessly around in the middle of the day when civilized people are at work. Failing to make eye contact with each other or speak because we’ve forgotten how to have in-person conversations. Turning to social media or aimless Web surfing to fill the long stretches of emptiness, of boredom.

I’ve joked, darkly, that the worst thing about being unemployed isn’t not having any money but not having anything to do.

And to a large extent that’s what “Advantageous” is about. Yes, the eerily empty streets our characters walk through might be a result of the film’s limited budget — but it also makes sense within the film’s setting. All the buildings are empty; all the stores are closed. Homeless people wander the parks and sleep in the bushes and stare numbly into the distance. (At one point the characters try to walk into a restaurant only to find that it’s been boarded up and the owner, sitting inside, ignores them. They treat this as a normal, everyday occurrence.)

We’re told that the world is in the grip of a tech-driven economic recession. There’s no jobs for anyone — anything the small elite of wealthy customers need done, they can get a machine to do for them better than any human can. Our protagonist, Gwen, is a spokesmodel for a cosmetics — essentially an eye-candy job.

Even though she mentions having gone to grad school and hoping to go into teaching, there’s no jobs out there for teachers now that people can get any information they want from machines. The only job out there for a flesh-and-blood human who’s not already rich is a job that involves looking pretty and smiling at rich people to try to sway their opinions, and it’s a job she’s lucky to get and devastated to lose.

(Every college-educated millennial who’s ended up taking a position in sales because it was the only thing on offer ought to be feeling a familiar twinge right now.)

The film gets a lot of mileage out of taking all-too-familiar scenes from the 2009 recession and exaggerating them just enough to make them fully dystopian. Anyone who’s dealt with the infuriating process of being forced to apply for jobs through poorly-designed automated Web forms will feel Gwen’s pain as she argues with a recruiter telling her her résumé has been “red flagged” and she slowly realizes, as the recruiter’s voice on the phone devolves into ELIZA-like nonsense responses, that she can’t get a job because she’s talking to a poorly-programmed machine that’s taken someone else’s job.

Anyone who’s felt the intense pressure of the college-application arms race will sigh at Gwen’s daughter, Jules — who appears to be 11 or 12 but talks, reads and writes at the college level — calmly telling her mother about a journal article she read describing how her generation’s high-pressure lifestyle means she’s likely to become infertile by her 20s.

Jules needs a $10,000 deposit to get into an exclusive summer camp in order to get into an exclusive prep school. Without those credentials, she’s unlikely to get a job — any job — at all. Her genius-level abilities are barely enough to get her foot in the door, and without connections and credentials and money, she’ll never be able to walk through it.

It sounds like an exaggeration, if you personally haven’t witnessed a Facebook feed filled with top-ranked students from top-ranked schools with thousands of dollars of student loan debt clawing and trampling each other to get minimum-wage call center work.

And Gwen’s response to the impossible situation of trying to secure a future for her daughter when she doesn’t even have an income anymore isn’t to pick up a gun and start shooting anyone. The long scenes of her sitting in brooding silence while racking her brains for a solution are, in fact, punctuated by explosions going off in the far distance, part of a hopeless war against the government by unnamed “rebel forces” — but those explosions are oddly silent, oddly peaceful, and they never feel completely real.

It feels like the warlike shouting and chanting from Zuccotti Park that most of us sat at home and watched on TV — a revolution I now feel happened mainly because our generation felt the essential frustration, the essential wrongness of the actual soundtrack of the recession, an eerie passive silence, and some of us tried to force some noise into the silence just to fill it up.

But it didn’t work, because there was no victory condition, no enemy to defeat, no Death Star to blow up. In retrospect the protests feel as futile as the quiet clouds of smoke in the “Advantageous” skyline. You can’t blow up an entire world, an entire economic system; you can’t beg it for mercy or shout moral imprecations at it either. Break things, throw things, scream things — at the end of the day you still don’t have a job.

I think on some level we’ve always understood this. I think on some level we’re silent because the damage done to us was done through silence — no one beat us up or assaulted us or stole anything from us. All that happened was the phone didn’t ring, the email never came, the poorly designed Web form spat out an automated “You will be contacted shortly” that was a lie.

“Advantageous” is a quiet film, and a pretty one. The city Gwen and Jules’ cramped apartment exists in is gorgeous and clean. When we do hear music, it’s not pulsing techno or anarchic punk but a street musician plying his trade, playing beautiful classical pieces on the violin — perhaps he got a degree from Juilliard only to end up as destitute as Gwen.

The gritty slums of the cyberpunk milieu purported to be about a world where technology was grinding down humanity but what they really showed was a world where humans could still strike back at things — could graffiti the walls, shatter the windows, shoot pockmarks into billboards, and the property owners couldn’t keep up with the damage. Vandalism is, at the very least, a sign of human activity — a sign that someone out there is still doing something.

The eerie Disney cleanness of Gwen’s city’s streets — the way the damage caused by the rebel bombings causes no one any concern and is seemingly fully repaired overnight — is a sign of a world where the things have won and the people have given up.

That, for me, was the worst thing about the recession — seeing shiny storefronts and clean-swept streets and all the trappings of a thriving economy — but none of us participating in it. The recovery from our recession was a so-called “jobless recovery” — still plenty of stuff being made, still plenty of money, in the hands of increasingly few people, to buy things with. The economy of things is doing fine, and always has been. It’s only the economy of people that collapsed.

The anger that comes from feeling oppressed, exploited, used — that’s one thing. The weary, quiet frustration from feeling ignored, forgotten, useless — that’s something different.

There are other themes in “Advantageous.” It’s mentioned that women have borne the brunt of this recession because, a suited executive bluntly tells Gwen, people fear the social disruptions frustrated men might cause more than they fear frustrated women —something that rings eerily true in the past few years, where a handful of men who feel left behind by the modern world are increasingly willing to channel their grievances into extremist ideologies and trying to puncture our generation’s silence with escalating acts of violence.

Gwen, a highly intelligent woman who’s been reduced to making a living solely off her looks, is being replaced by her employer because they want a younger and more “universal” look for their brand. Gwen is portrayed by Jacqueline Kim, an Asian-American actress who turned 50 this year and who co-wrote the script for “Advantageous” — it’s hard not to see this plot point as reflecting Kim’s real career.

And then there’s the climactic decision Gwen must make, whether to take advantage of a “cosmetic procedure” that involves uploading her mind into a more youthful, racially-ambiguous body. While it’s far from a unique conceit, in the context of this film the idea of reducing people, especially women, into commodities, where technology makes our identity mutable and economics makes it negotiable, takes on extra resonance.

We live in a world where cheap and plentiful technology has made us cheap — the market for human labor is glutted. There’s too many of us out there, we’re too easily replaceable, almost none of us are specifically needed for anything. As a result, just to survive — just to avoid being irrelevant — we give away more of ourselves than we have in generations, selling our timeour privacyour rights just for a chance not to be left behind.

How much further will it go, “Advantageous” asks. How much less needed can people get, as the things get smarter and shinier and more efficient? How much more will you have to give away, if they ask you to — your body? Your mind? Your soul?

The film doesn’t give any easy answers. But that’s the question we all need to be asking.

Arthur Chu is an actor, comedian and blogger.

Saturday Matinee: King of Devil’s Island

King_of_Devil's_Island

“King of Devil’s Island” (2010) is a Norwegian drama directed by Marius Holst based on a true story. Benjamin Helstad stars as Erling, a new arrival at Bastøy youth prison who befriends Olav (Trond Nilssen). When Olav witnesses a horrible crime committed by the Housefather against a fellow prisoner the friends must struggle against overwhelming odds for justice. The film combines elements of classic prison/student rebellion films and “Lord of the Flies” and features a memorably atmospheric soundtrack by Johan Söderqvist and Sigur Rós.

(Note: May not work on some portable devices.)

http://www.hulu.com/watch/412440