There's a New Fascism on the Rise, and the NSA Leaks Show Us What It Looks Like
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It is in popular culture that the fraudulent "ideal" of America as morally superior, a "leader of the free world", has been most effective. Yet, even during Hollywood’s most jingoistic periods there were exceptional films, like those of the exile Stanley Kubrick, and adventurous European films would have US distributors. These days, there is no Kubrick, no Strangelove, and the US market is almost closed to foreign films.
When I showed my own film, The War on Democracy, to a major, liberally-minded US distributor, I was handed a laundry list of changes required, to "ensure the movie is acceptable". His memorable sop to me was: "OK, maybe we could drop in Sean Penn as narrator. Would that satisfy you?" Lately, Katherine Bigelow’s torture-apologizing Zero Dark Thirty and Alex Gibney’s We Steal Secrets, a cinematic hatchet job on Julian Assange, were made with generous backing by Universal Studios, whose parent company until recently was General Electric. GE manufactures weapons, components for fighter aircraft and advance surveillance technology. The company also has lucrative interests in "liberated" Iraq.
The power of truth-tellers like Bradley Manning, Julian Assange, and Edward Snowden is that they dispel a whole mythology carefully constructed by the corporate cinema, the corporate academy and the corporate media. WikiLeaks is especially dangerous because it provides truth-tellers with a means to get the truth out. This was achieved by Collateral Damage, the cockpit video of an US Apache helicopter allegedly leaked by Bradley Manning. The impact of this one video marked Manning and Assange for state vengeance. Here were US airmen murdering journalists and maiming children in a Baghdad street, clearly enjoying it, and describing their atrocity as "nice". Yet, in one vital sense, they did not get away with it; we are witnesses now, and the rest is up to us.