Foreign policy observers have long known that
Hollywood reflects and promotes U.S. policies (in turn, is determined by and its supporters). This fact was made public when Michel Obama announced an Oscar win for “Argo” – a highly propagandist, anti-Iran film. Amidst the glitter and excitement, Hollywood and White House reveal their pact and send out their message in time for the upcoming talks surrounding Iran’s nuclear program due to be held tomorrow - February 26th. Israel
The pact grew stronger during World War II, when, as historian Thomas Doherty writes, “[T]he liaison between
Hollywood and was a distinctly American and democratic arrangement, a mesh of public policy and private initiative, state need and business enterprise.” Washington ’s contribution was to provide propaganda. After the war, Hollywood Washington reciprocated by using subsidies, special provisions in the Plan, and general clout to pry open resistant European film markets[i]. Marshall
Today, whetherIn sharp contrast to its past,
Hollywood follows policy or whether it sets it, is up for discussion. But it is abundantly clear that US is dominated by Israelis and their supporters who previously concealed their identity. According to a 2012 Haaretz article “from the 1930s until the mid-1950s, Hanukkah never appeared on screen. This was because the Jewish studio heads preferred to hide their ethnic and religious heritage in attempting to widen the appeal of their products[emphasis added]. Jews were thus typically portrayed as participants in an American civil religion, whose members may attend the synagogue of their choice, but are not otherwise marked by great differences of appearance, speech, custom, or behaviour from the vast majority of American”. This is no longer the case. Hollywood
It is important to understand Hollywood not only in the context of a multi-billion dollar industry, but the propaganda aspect of it and as one of the most powerful and universal methods of spreading ideas through visual propaganda. “Propaganda is defined as a certain type of messaging that serves a particular purpose of spreading or implanting a particular culture, philosophy, point of view or even a particular slogan”. With this capability,Atzmon writes: “History is commonly regarded as an attempt to produce a structured account of the past. It proclaims to tell us what really happened, but in most cases it fails to do that. Instead it is set to conceal our shame, to hide those various elements, events, incidents and occurrences in our past which we cannot cope with. History, therefore, can be regarded as a system of concealment. Accordingly, the role of the true historian is similar to that of the psychoanalyst: both aim to unveil the repressed. For the psychoanalyst, it is the unconscious mind. For the historian, it is our collective shame.”
owns the world of ideas on a scale too large and too dangerous to ignore - see this excellent example by Gilad Atzmon - Hollywood and the Past. Hollywood
As it stands, the purpose of the movie and its backers was to push the extraordinary revelations to the background while sending a visual message to the unsuspecting audience – to lay the blame of the potential (and likely) failure of the upcoming negotiations over Iran’s nuclear program on the Iranians -- the gun-wielding, bearded Iranians of “Argo” who deserve America’s collective punishment and the crippling, deathly sanctions.
Soraya Sepahpour-Ulrich is a Public Diplomacy Scholar, independent researcher and writer with a focus on
foreign policy and the role of lobby group. U.S.
[i] Martha Bayles, Wilson Quarterly, Summer 2005
[ii] U.S. Central Intelligence Agency (CIA),
Israel: Foreign Intelligence and Security Services, , March 1979, p. 9 (typescript). The report classified SECRET, was released to the world by Iranian students who occupied the Washington, D.C. U.S. embassy in in 1979. Cited by Duncan L. Clarke, “ Tehran Israel's Economic Espionage in the ” (1998). United States