Normally we think of documentaries as films that are supposed to speak truth to power, but this film does the opposite. It reinforces an Anglo-American establishment power structure responsible for one of the most violent, dirty wars in modern history. It reinforces a collection of lies placed on heavy rotation by the political and media establishments since the conflict began.
reposted from 21st Century Wire
by Patrick Henningsen
March 2, 2017
This has to be historic low for Hollywood and the Academy of Motion Picture Arts and Sciences.
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.
To be honest, when I first heard about this film being promoted by Netflix, I wasn’t surprised at all because ever since the Syria conflict began in 2011, the establishment media has gone out of its way to falsely promote it as a “civil war”, and have used the NGO known as the White Helmets which calls itself the ‘Syria Civil Defense’, as its primary media protagonist in furthering that narrative.
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. . .”
This campaign is meant to decry fake news and its ugly cousin ‘alternative facts’ to show what high standards the mainstream media has – which demonstrates the delusional world the in which the establishment exists. Earlier this month, I wrote an exposé showing exactly how the New York Times has been America’s perennial leader in running fake news for the purposes of advancing a war agenda. It’s ironic that this advertisement would run on a night when an Oscar would be given to one of the most egregious propaganda films of all time.
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