Hollywood’s Mission: To Make The Empire (and its Crimes) Entertaining

Argo’s Oscar Win — Hollywood’s ‘Coming Out’

By Soraya Sepahpour-Ulrich

26 February, 2013
Countercurrents.org

michele-obama-oscar-iran

Foreign policy observers have long known that Hollywood reflects and promotes U.S. policies (in turn, is determined by Israel 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.Hollywood has a long history of promoting US policies. In 1917, when the United States entered World War I, President Woodrow Wilson’s Committee on Public Information (CPI) enlisted the aid of America’s film industry to make training films and features supporting the ‘cause’. George Creel, Chairman of the CPI believed that the movies had a role in “carrying the gospel of Americanism to every corner of the globe.”

The pact grew stronger during World War II, when, as historian Thomas Doherty writes, “[T]he liaison between Hollywood and Washington was a distinctly American and democratic arrangement, a mesh of public policy and private initiative, state need and business enterprise.” Hollywood’s contribution was to provide propaganda. After the war, Washington reciprocated by using subsidies, special provisions in the Marshall Plan, and general clout to pry open resistant European film markets[i].

Hollywood has often borrowed its story ideas from the U.S. foreign policy agenda, at times reinforcing them. One of the film industry’s blockbuster film loans in the last two decades has been modern international terrorism. Hollywood rarely touched the topic of terrorism in the late 1960s and 1970s when the phenomenon was not high on the U.S. foreign policy agenda, in news headlines or in the American public consciousness. In the 1980s, in the footsteps of the Reagan administration’s policies, the commercial film industry brought ‘terrorist’ villains to the big screen (following the US Embassy takeover in Tehran – topic of “Argo”) making terrorism a blockbuster film product in the 1990s. Continue reading