re posted from GLOBAL RESEARCH
Forget Oscar: Give The White Helmets the Leni Riefenstahl Award for Best War Propaganda Film
Helene Bertha Amalie ”Leni” Riefenstahl was a German film director and propagandist for the Nazis. In the 1930s, she directed Triumph des Willens (“Triumph of the Will”) and Olympia, resulting in worldwide attention and acclaim. Both movies are widely considered two of the most effective, and technically innovative, propaganda films ever made. (Wikipedia)
In your average lifetime, everyone will get their share of war propaganda films. In America, it’s a kind of sacred tradition, where Hollywood does the job of revisionism, paving over an otherwise uncomfortable history with a new coat of stain. It’s necessary – not just to make us feel better about ourselves, but also to cover-up any inconvenient truths and high crimes of the state.
The fact that a documentary about The White Helmets received an Oscar Award simply confirms what a glorious bubble the entertainment industry resides in, and how easy it is these days for a documentary film to used for the purposes of propaganda and made to reinforce a mainly US-UK foreign policy project.
To Hollywood, it’s a feel good documentary, designed to make us feel good about a dirty war in Syria. But this is a level of distortion and spin that would make even Joseph Goebbels’ head spin.
In his essay published at Global Research, Dr. T.P. Wilkinson explains the liberal obsession with cosmetic revisionism:
“The “wrong war” thesis is elemental to what Carroll Quigley called “liberal imperialism” in his history of the Anglo-American establishment. Liberal imperialists, to which the faux gauche (the descendants of Fabianism) also belong, do not oppose empire. They simply want it to be more aesthetically appealing, and lost wars are most un-aesthetic. So what is the liberal imperialist’s answer to unappetizing military defeats? It is cosmetic surgery.”
Expensive war propaganda in Hollywood is nothing new. High profile films like Zero Dark Thirty, American Sniper and Argo were all released to much fanfare. Each of them fulfilled a role in forming a more perfect American narrative, and in some cases completely rewrote history altogether. But these were meant to be theatrical releases so naturally there’s a generous dose of artistic license taken by the director. Nothing unusual there. It’s what Hollywood does. These films also had some distance between the present day and wars which had already lapsed.
A veneer of integrity is always important. Hollywood still purports to put a lot of currency in the truth. During this year’s Oscars, The New York Times ran a TV ad (above) for the first time since 2010 entitled, “The truth is. . .”
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