Posts Tagged ‘Kathryn Bigelow’

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Declassified Memo Shows ‘Zero Dark Thirty’ Filmmakers Played Role of Willing Propagandists for CIA
Newly Declassified Memo Shows CIA Shaped Zero Dark Thirty’s Narrative

Torture is:

  1. Felony crime under US Law, 20 year penalty and death penalty if victim dies
  2. International War Crime
  3. A conspiracy to torture when multiple parties engage in it
  4. Conspiracy extends to those covering up these felonies and war crimes … do the math.

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Zero Dark Thirty Scandal Files

 

 

 

Argo: Time to Grow Up and Get Angry?

by Kieran Kelley

 

The truth will set you free, but first it will piss you off” – Gloria Steinem.

There have been a number of critical condemnations of the film Argo. The most thoroughgoing that I have read is this one. What seems to me to be missing is any critique that successfully conveys the utter ludicrousness of expecting something other than lying propaganda to come out of a Hollywood film about the CIA in 1979. It is like expecting the Soviets to have made an accurate and unbiased account of KGB activities during the Prague Spring. I saw the preview before the film’s release, and after about 5 or 10 seconds of suspense it became apparent that it was a load of crap – the usual Orientalist stuff, straight out of the Reel Bad Arabs playbook, except with Persians instead of Arabs. The film mirrors the preview – at first it seems possible that one might be about to see a balanced and thoughtful movie, and then… not. Decidedly not.

Let me begin with some historical context. The CIA’s first coup in Iran, considered at the time “its greatest single triumph”,1 brought the Shah Mohammed Reza Pahlevi to a position of supreme power. The CIA “wove itself into Iran’s political culture”.2 They created SAVAK, a notorious “intelligence” agency, trained in torture by the CIA3 and supported by the CIA and DIA in a domestic and international dissident assassination programme.4 Repression was at its peak between 1970 and 1976 resulting in 10,000 deaths.5 By 1976 Amnesty International’s secretary general commented that Iran had “the highest rate of death penalties in the world, no valid system of civilian courts and a history of torture that is beyond belief. No country in the world has a worse record of human rights than Iran.”6

Nafeez Ahmed cites the Federation of American Scientists (FAS) who detail an extensive police state of intense surveillance and informant networks and torture “passed on to it” by US, UK and Israeli intelligence. Ahmed quotes the FAS on methods including “electric shock, whipping, beating, inserting broken glass and pouring boiling water into the rectum, tying weights to the testicles, and the extraction of teeth and nails.”7 Racism allows commentators such as Tim Weiner to blithely exculpate the CIA of fundamental guilt: “The CIA wanted SAVAK to serve as its eyes and ears against the Soviets. The shah wanted a secret police to protect his power.”8 After all, what could civilised Westerners teach Orientals about torture? But something of the real US attitude to such repression can be seen in the official reaction to the unrest developing in the late 1970s. Aside from US officials consistently urging and praising military responses to protest action, including inevitable massacres,9 the US ambassador objected strongly to a reduction in repression. In June 1978 he reported his finding that, “the Shah’s new directives to his security forces, such as instructions to desist from torture… are disorienting.”10 The funny thing about this was that it occurred after the US had forced the Shah into the liberalisation that set loose the forces that were to rip his régime apart.11 This may seem puzzling, but it made more sense for the US to push Iran into the easily vilified “enemy” hands of an Islamic theocracy than to try to maintain control over a Shah who, however repressive, was determined to develop his populous oil-rich country independently.

That is the key point that you will almost never hear about: the US was sick of the Shah. He had become too nationalistic and developmentally inclined, and they didn’t want him any more. They may not have really wanted a revolution in Iran, but they weren’t going to shed tears over the Shah’s departure. Their main fear was the strength of the secular revolutionary left, which had more popular power than the Islamists (despite SAVAK’s repression) so the US helped nurture the Islamist factions.

The CIA were far from unaware of the impending fall of the Shah’s régime, here is a quote in the film which is an instance of absolute barefaced deception: “Iran is 100% not in a pre-revolutionary state. CIA brief, November first, 1979.” Let’s not be stupid here – it is one thing to claim not to know of an impending revolution, but the film is claiming that the CIA were unaware of a revolution that had already happened. Of course some people in the CIA knew that revolution was brewing and the actual CIA brief was from August 1978 and was plainly dishonest even then. By that stage even the State Department was planning for a post-Shah Iran.12 The revolution had actually happened nearly a year before Argo claims that the CIA believed it wasn’t going to happen (the Shah fled Iran in January, Khomeini returned from exile on February 1). But Argo makers really, really, really want you to “know” that the CIA were caught flat-footed and are willing to go to considerable lengths to make you believe this lie.

There is another deception in the film which indicates a conscious systematic attempt to indoctrinate the audience. Some describe Argo as “well-intentioned but fatally flawed”, but these “good intentions” cannot possibly be reconciled with the disgusting propaganda treatment of the issue of the shredded documents put together by Iran. The documents seized by radicals in the embassy takeover were the Wikileaks of their time. Most seized documents were not shredded and they exposed massive systematic illegality and wrongdoing by US personnel, especially the CIA. They were extremely historically significant. Iran spent years piecing together the shreds and the reconstruction was a major intelligence and propaganda coup. In the film, however, we see a very different narrative played out, and we are shown a set of very different images.

In the film, for some inexplicable reason, there were xeroxed photographic images of the staff who had escaped from the embassy when it was seized by radicals. Could this simply be a cinematic plot device for generating suspense? Not really. Any number of other devices might have been used – such as a dragnet, or informants, or surveillance (mobile or static), signals interception and cryptography. You name it, if you are willing to make stuff up, then there is quite a lot you could make up that would be potentially more suspenseful and, unlike this particular conceit, wouldn’t run such a risk of the audience losing their suspension of disbelief because of such an obvious unrealism.

“Realism”, I should add, is a very import aspect of this film. It is not done in a documentary style, but is presented as a dramatisation of historical events. Let me illustrate with a quote at length from Wide Asleep in America:

[Salon’s Andrew] O’Hehir perfectly articulates the film’s true crime, its deliberate exploitation of “its basis in history and its mode of detailed realism to create something that is entirely mythological.” Not only is it “a trite cavalcade of action-movie clichés and expository dialogue,” but “[i]t’s also a propaganda movie in the truest sense, one that claims to be innocent of all ideology.”

Such an assessment is confirmed by Ben Affleck’s own comments about the film. In describing “Argo” to Bill O’Reilly, Affleck boasted, “You know, it was such a great story. For one thing, it’s a thriller. It’s actually comedy with the Hollywood satire. It’s a complicated CIA movie, it’s a political movie. And it’s all true.” He told Rolling Stone that, when conceiving his directorial approach, he knew he “absolutely had to preserve the central integrity and truth of the story.”

“It’s OK to embellish, it’s OK to compress, as long as you don’t fundamentally change the nature of the story and of what happened,” Affleck has remarked, even going so far as to tell reporters at Argo’s BFI London Film Festival premier, “This movie is about this story that took place, and it’s true, and I go to pains to contextualize it and to try to be even-handed in a way that just means we’re taking a cold, hard look at the facts.”

In an interview with The Huffington Post, Affleck went so far as to say, “I tried to make a movie that is absolutely just factual. And that’s another reason why I tried to be as true to the story as possible — because I didn’t want it to be used by either side. I didn’t want it to be politicized internationally or domestically in a partisan way. I just wanted to tell a story that was about the facts as I understood them.”

To emphasise this point, the initial part of the end credits juxtaposes images from the film with real documentary images. They show how much the actors look like the people they portray. The show how they had faithfully recreated scenes from the revolution. And they show the teeny tiny hands a the poor slave children forced to piece together shredded CIA documents. Wait a second though… don’t the hands in the real photo, despite severe cropping, look more like a woman’s hands? And why would young children be used to piece together valuable and vulnerable documents written in a language that they could not possibly understand?

For some reason the film makers took it upon themselves to invent a whole bunch of “sweatshop kids” putting together these documents. There is no conceivable reason to do so that does not involve conscious deceptive propaganda. In this case, the intent is to make deliberate emotive subliminal association. What do I mean by subliminal? As Joe Giambrone explains:

The father of modern propaganda, Edward Bernays, wrote in the late 1920s:

The American motion picture is the greatest unconscious carrier of propaganda in the world to-day. It is a great distributor for ideas and opinions. The motion picture can standardize the ideas and habits of a nation.” (Bernays 1928)

Bernays noted the “unconscious” character of much film propaganda. It was not necessary to directly state messages, but to let the scenarios and the story world carry the messages in the background. Once immersed in the foreground story — whatever it was — the “unconscious” background elements were passed to the audience without critical interference and often without the viewer’s knowledge.

This subliminal quality is praised by Bernays as a positive thing, in his view. This is hardly surprising as Bernays’ concept of propaganda is broad in scope encompassing every medium and method of communication that exists. Bernays’ seminal book Propaganda begins:

The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in democratic society. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country. We are governed, our minds are molded, our tastes formed, our ideas suggested, largely by men we have never heard of. This is a logical result of the way in which our democratic society is organized.” (Bernays 1928)”

Subliminality doesn’t mean that images are flashed too quickly to be noticed, rather that associations are made without conscious thought. It is true that you can find a great number of deliberately concealed images in advertising, but the claim that this is all that constitutes subliminal advertising is itself a deception. Advertising, in particular television advertising, is dominated by subliminal messaging, and it is not about tricky concealment. It uses repetition more than anything else, to make associations between advertised products and services with other desires – particularly, but not exclusively, sexual. If you want to sell a car, you don’t generally use brake horsepower or fuel consumption statistics. You associate it with a lifestyle, with attractive people, with status, with sex, with success, with normalcy, with excitement, with fine wine and food, and so forth. That is subliminal.

Obviously when film makers are unconsciously disseminating their own internalised propaganda they convey such messages subliminally. Subliminal means below the threshold, meaning, in this case, below the threshold of consciousness. This is a very, very significant manner in which an orthodox ideology, such as chauvinist US exceptionalism, is deepened and perpetuated. However the deliberate use of techniques designed to manipulate people by subliminal means can be far more powerful still. As an apposite example, let us examine Michelle Obama’s Oscar night appearance. Some have pointed out that Obama being flanked by military personnel as “props” suggests a desire to subliminally associate the First Lady and the presidency with military virtues. That may well be the case, but think how common it is to see faces arrayed behind political speakers in our times. Every time it is possible to do so nowadays, major US politicians will have a bunch of people in uniform behind them when they speak. But it is not strictly about the association with uniforms. Press conferences often pose colleagues behind the speaker – including military briefings almost as a matter of course – and when politicians speak to political rallies or party conferences, they are framed by a sea of supporters’ faces behind them.

You see, we automatically respond to other people’s facial expressions. In fact eliciting an emotional response is as much a component of facial expression as conveying emotion is, and this occurs subliminally. Now think again of Giambrone’s description: “… the ‘unconscious’ background elements were passed to the audience without critical interference and often without the viewer’s knowledge….” The people behind the speaker are being used as a way of evoking an emotional reaction like some science fiction mind control ray. Fortunately, people are fickle creatures and often their reaction to watching the back of a speaker’s head, no matter how eloquent, is to look bored or embarrassed. But clearly the technique is being perfected, and the people chosen are those who can be relied upon to convey the right emotions, hence the predilection for military personnel and partisan enthusiasts.

Similarly, subliminal messaging in advertising and film is often also aimed at a gut level. They are not conveying particular ideas, but emotions. The victim (I mean viewer) can rationalise these emotions any way they might later choose, and the brilliance of the system is that it enlists every victim’s own inventiveness tailored in response to each specific circumstance that might challenge or belie the conditioned sentimental sense of reality. So where does this leave us with regards to Argo‘s mythical “sweatshop kids”? We have precisely four references to them. The first is in our hero’s initial briefing: “The bastards are using these [pause and do gesture to indicate need to
convey novel concept] mmm sweatshop kids.” Nearly an hour later, we are shown about 5 seconds of the “sweatshop”. It actually looks very stupid if you pay attention to it, but it is over too quickly to register (more subliminality similar to that used in The Hurt Locker). What it actually shows, when the camera pulls back to reveal the scene for around one second, is dozens of children aged about five to eight sitting amidst piles of paper shreds. There is an unnatural hush, redolent with a sense of fear. Half of them are just staring into space, and there is no conceivable way that any of them could actually be doing any useful work. Accompanying the scene is one of the 16 tracks on the official soundtrack. It is called “Sweatshop” and here it is:

Note the image chosen for the album cover.

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All-American Babe Who Didn’t Torture Anybody Wins OscarJennifer_Lawrence_35972

 

One more waterboarding for Bigelow and Boal. Glenn Greenwald, who always keeps his razor sharp, gives a needed fuck you to the bootlicking film critics who ignore morality, ethics and propaganda, even when it’s right in their faces.

Zero Dark Thirty, the CIA and film critics have a very bad evening

The stigma attached to the pro-torture CIA propaganda vehicle, beloved by film critics, results in Oscar humiliation

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By Dennis Loo 

During Jack Nicholson’s announcing the Best Picture Oscar last night he brought in direct from the White House First Lady Michelle Obama as his co-presenter to announce the winner. Flanked by men and women in full military dress complete with awards regalia, Michelle congratulated Hollywood for its work.

Behind Michelle we don’t see a group of actors, creative types, children, regular Americans or even distinguished civilian Americans. This isn’t a Veteran’s Day broadcast either. This is the Academy Awards, the principle awards show for films.

In helping to introduce the 2013 Best Picture, the First Lady looks like she’s about to announce the Medal of Honor or the Distinguished Cross.

This tableau isn’t so inappropriate after all, for when she opens the envelope, the winner is (drum roll please): Argo! A film that depicts the Iranian Revolution through the eyes of the CIA, the people who brought the tyrant Shah to power in Iran through a coup in 1953, overthrowing the extremely popular Mossadegh who tried to nationalize the oil fields (which sealed his doom from the perspective of Big Oil and the U.S. Empire). The CIA provided torture instruction and equipment to the Shah for decades so that he could torture and kill his opponents in Iran (his opponents being the vast majority of the people). The 1979 Iranian Revolution drove him and the U.S. and the CIA out. As one of the film’s producers, Grant Heslov, says in a half an hour “The Making of Argo” piece: he’s proud of the film because it humanizes the CIA and makes us proud of them.

So Michelle Obama’s chosen backdrop of a military entourage does make sense after all in this season of all things military and secret agents/special ops. It’s just jarring to see it if you’re not completely seduced by the Military Security State.

***

I was very pleased to see that Zero Dark Thirty, despite being touted heavily by major movie critics upon its release a few months ago as the best film of the year which they said would sweep multiple awards at the Oscars, including Best Picture, was shunned by Hollywood, garnering only one Oscar, a tie for sound editing with the James Bond flick “Skyfall.”

A funny thing happened on the way to the podium for the makers of ZDT: people smelled a rat and wrote about it. This was something that took some time to build because as late as the Golden Globes, the biggest pre-Academy Awards show whose winners frequently predict the Oscar winners, Jessica Chastain (who played Maya the CIA torturer/killer in ZDT) won the Golden Globes’ Best Actress.

The shunning of this film that revels in torture came about clearly because of the stinging criticism and protests against it by a number of writers and activists, including notably actors such as David Clennon and Ed Asner, columnist Glenn Greenwald, director Alex Gibney, Jane Mayer, and others including myself, and World Can’t Wait which, among other things, staged a sarcastic first annual Leni Riefenstahl Award by the Committee for Sanitizing Crimes Against Humanity in Film outside of the Oscars yesterday, which I was pleased to join as, playing against type, John Yoo, to give out the First Annual Leni. Actor David Clennon, whose work in breaking ranks in Hollywood publicly condemning the film for its immoral endorsement of torture, played a signal role, joined and helped to make this counter-awards’ event.

We had trouble finding a place to do our performance piece, however, as a wide swath of the areas around the Hollywood and Highland area where the Oscars were happening were closed down to traffic and the foot traffic severely restricted by the police, another example of the Military Security State exercising its muscle to make sure that the spectacle occurred without the public having more than a glancing opportunity to be physically present or even very proximal physically.

Bigelow and her co-writer Marc Boal did not help their cause when criticisms of their docu – propaganda (docu-ganda?) piece were aired. Bigelow and Boal purposefully mischaracterized their critics as attempting to censor their film and mischaracterized what was in their film, as if people couldn’t recognize these misstatements after seeing the films for themselves. In this case it wasn’t Hollywood itself that pressed the attack on ZDT but mostly political writers. Hollywood, however, responded to that and it’s a good thing.

In a related matter, The New York Times is reporting today in its top story that the Afghan government has banned U.S. forces from operating in Maidan Wardak Province. Maidan Wardak is southwest of Kabul and is “the American military’s main source of offensive firepower from the area.” It is also a staging area for Taliban attacks. The reason for the ban from the Karzai government, a puppet of the U.S.? Fury among Afghans for the U.S. Special Forces torturing and killing villagers.

Our Special Forces? Our military? The kind of people that First Lady Michelle Obama surrounded herself with during the Academy Awards announcing the Best Picture?

By announcing the ban, the government signaled its willingness to take a far harder line against abuses linked to foreign troops than it has in the past. The action also reflected a deep distrust of international forces that is now widespread in Afghanistan, and the view held by many Afghans, President Hamid Karzai among them, that the coalition shares responsibility with the Taliban for the violence that continues to afflict the country.

Afghan officials said the measure was taken as a last resort. They said they had tried for weeks to get the coalition to cooperate with an investigation into claims that civilians had been killed, abducted or tortured by Afghans working for American Special Operations forces in Maidan Wardak. But the coalition was not responsive, they said.

The provincial government in Maidan Wardak expressed support for the ban. “There have been lots of complaints from the local people about misconduct, mistreatment, beating, taking away, torturing and killing of civilians by Special Forces and their Afghan associates,” said Attaullah Khogyani, a spokesman for the provincial government.

He cited a raid on a village on Feb. 13, when American troops and Afghans working with them detained a veterinary student. “His dead body was found three days later in the area under a bridge,” Mr. Khogyani said, prompting protests against foreigners.

Mr. Faizi said that villagers in Maidan Wardak had reported a number of similar episodes in recent months, including the disappearance of nine men in a single raid. “People from the province, elders from villages, have come to Kabul so many times, and they have brought photographs and videos of their family members who have been tortured,” he said.

So while Hollywood both rejects and accepts the CIA’s preferred view of itself, the fact of U.S. military and CIA activities are emblazoned on the front pages of The New York Times again. Efforts to combat falsified history and the promotion of crimes as heroism and patriotism made and make a difference, as evidenced by Hollywood’s shunning of the pre-Academy Awards favorite in ZDT. Much more, however, must be done.

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Alternative Oscars happening today at 3pn.

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I actually addressed the Leni Riefenstahl / Kathryn Bigelow comparison here.

 

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The Unacknowledged “Master”: director Paul Thomas Anderson
& a film that’s not about Scientology

Jennifer A Epps

Paul Thomas Anderson is my favorite film director who isn’t Scorsese. And even then, it’s getting very close. When I ambled out into the light after the L.A. native’s sixth feature, the psychological period epic The Master, I felt like I had just seen one of the greatest American films in a couple of decades. If you haven’t heard much about it, however, that’s because it isn’t nominated for any Oscars in the Best Picture, Best Director, Best Original Screenplay, Best Cinematography, Best Production Design, or Best Score categories – in all of which cases it was robbed, in my humble opinion. It did still, nonetheless, receive 3 Oscar nominations for the work of each of its principal actors (Joaquin Phoenix, Philip Seymour Hoffman, and Amy Adams). The acting was so rich and full it was impossible not to notice, but the Academy has treated the success of The Master’s cast as some kind of fluke, as if they could all just give spectacular performances without the words, story, and characters P.T. Anderson supplied them with in the first place, or the nuanced direction he gave them to guide them through some challenging and unusually-paced material.

One hears a lot about Kathryn Bigelow being snubbed by the Academy this year, and the question of whether this was in reaction to how she depicted torture in Zero Dark Thirty. One also hears about Ben Affleck, Quentin Tarantino, and Tom Hooper being left out of the Best Director category while their films were all nominated for Best Picture (though obviously when there are only 5 directors nominated yet 9 Best Picture nominees, there have to be some exclusions). What’s given little attention, however, is how severely Anderson and The Master were overlooked by the Academy (and the Hollywood Foreign Press Association) in the top categories. In fact, Anderson was not even part of the “directors’ roundtables” assembled by various news agencies early in the awards season. The reason for this perhaps is that Anderson’s work is so stubbornly idiosyncratic. The Master is even more uncompromising than There Will Be Blood; both of these surprising films exist in alternate universes of filmmaking with scant interest in building a story along familiar lines, cutting where audiences expect a cut, or scoring a scene in a way that sounds like other movies.

This weekend, there’s a chance for the British Academy to take a stand for originality at the BAFTAs, as The Master is nominated (once again) for awards for all three of its principal actors, as well as for Original Screenplay. And next weekend, the Writers’ Guild could recognize Anderson’s screenplay at the WGA Awards. However, I’m not sure anyone is holding their breath at this point, since there’s a little thing called “momentum”, and The Master seems to have lost that, while other, more commercial fare, has surged ahead.

But it is important to note that the title of this review is not strictly accurate. The Master, and Anderson’s impossibly fertile talent, is not completely ‘unacknowledged.’ For one thing, Anderson took home the second highest award at the Venice Film Festival, the Silver Lion, for Best Director. The Venice jury also awarded the Volpi Cup for Best Actor to both Philip Seymour Hoffman and Joaquin Phoenix. And apparently, the jury also wanted to award The Master the top prize at Venice, the Golden Lion, for Best Film, but new rules limited the jury to no more than two awards per film, no matter how exceptional the film. (The third award The Master picked up at the City of Canals was from the critics, the FIPRESCI award for the best film in competition.)

The Master has been a critical darling at home, too. Early in the awards season, it picked up a boat-load of trophies from critics’ associations across the U.S. Its wins are noted in the table below. That won’t help anyone in their Oscar pools, but it shows how far apart the critics and the Academy are. And it is worth keeping in mind when The Master is released on DVD on Feb. 26th, two days after the Oscars.
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Imperial Propaganda: Our Highest Achievement

Joe Giambrone

Hollywood likes to pretend that things aren’t political when they are.  It’s that bi-partisan nationalist myth that if both corporate parties agree to cheer for the empire, then everyone cheers for the empire.  It’s gotten so bad now that races like the Oscars and the Writer’s Guild screenwriting award are tight contests between one CIA propaganda film and another CIA propaganda film.  The first one helps to demonize Iranians and set up the next World War scenario, while the second film fraudulently promotes the effectiveness of state-sanctioned torture crimes.

If there ever was a time for loud disgust and rejection of the Hollywood / Military-Industrial-Complex, this would seem to be it (contact@oscars.org).  Naomi Wolf made a comparison of Zero Dark Thirtys creators Bigelow and Boal to Nazi filmmaker Leni Riefenstahl (Triumph of the Will).  That, to me, seems inappropriately offensive to Leni Riefenstahl.  The good German filmmaker never promoted torture through deception.  Nor was Triumph a call to war.  The film was simply an expression of German patriotism and strength, rebirth from the ashes of World War I.  The current insidious crop of propaganda, as in the CIA’s leaking of fictional scenes about locating Osama Bin Laden through torture extraction, are arguably more damaging and less defensible than Riefenstahl’s upfront and blatant homage to Hitler’s leadership.

The Zero Dark Thirty scandal should be common knowledge by now, but here is what the Senate Select Committee on Intelligence wrote to Sony Pictures about it:

“We believe the film is grossly inaccurate and misleading in its suggestion that torture resulted in information that led to the location of Usama bin Laden…  Instead, the CIA learned of the existence of the courier, his true name and location through means unrelated to the CIA detention and interrogation program.”

The filmmakers had every opportunity to explore the issue more fully, instead of relying on the “firsthand accounts” of the torturers themselves, and/or their allies within the Central Intelligence Agency.  Notably, torturers are felons and war criminals.  Those who know about their crimes and help cover them up are guilty of conspiracy to torture.  Thus, these self-serving fairy tales that illegal torture led to the desired results (bin Laden) are tangled up with the motivation to protect war criminals from prosecution.  Not only does this claim of successful torture help insulate the guilty from legal prosecution, it also helps to promote further criminal acts of torture in the future.

Once this red flag issue was raised by the Senate, the filmmakers could have taken a second look at what they had put up on screens and reassessed the veracity of their material and the way it was being sold to the world.  Instead they doubled down.  Bigelow and Boal want it both ways, extraordinary access to CIA storytellers for a documentary-like “factual” telling of the bin Laden execution, but they also want license to claim that it’s just a movie and can therefore take all the liberties they please.

Jessica Chastain, who plays a state-employed torturer/murderer, who also allegedly located Osama bin Laden, said:

“I’m afraid to get called in front of a Senate committee… In my opinion, this is a very accurate film… I think it’s important to note the film is not a documentary.”

In a nutshell, that’s the Zero Dark Thirty defense.  It’s a highly sourced “very accurate film,” but we can take all the liberties we like because it’s not a documentary, and so if we made up a case for torture based on the lies of professional liars in the CIA, then oops.

Mark Boal went so far as to mock the Senate Intelligence Committee, at the NY Film Critic’s Circle:

“In case anyone is asking, we stand by the film… Apparently, the French government will be investigating Les Mis.”

Any controversy over the picture seems to help its box office, as more uninformed people hear about it.  The filmmakers themselves suffer no penalty as a result of misleading a large number of people on torture, to accept torture, to accept a secretive criminal state that tortures with impunity.

Kathryn Bigelow’s wrapped-in-the-flag defense of the film:

“Bin Laden… was defeated by ordinary Americans who fought bravely even as they sometimes crossed moral lines, who labored greatly and intently, who gave all of themselves in both victory and defeat, in life and in death, for the defense of this nation.” (emphasis in original)

Nice propaganda trick at the end equating those who “gave all of themselves” and “death” with the individuals who “sometimes crossed moral lines.”  Everyone’s dirty; you see.  All heroes are torturers; so it’s okay.

Bigelow’s half-assed response to getting called out by the Senate for putting false torture results into her film, is to say:

“Torture was, however, as we all know, employed in the early years of the hunt. That doesn’t mean it was the key to finding Bin Laden. It means it is a part of the story we couldn’t ignore. War, obviously, isn’t pretty, and we were not interested in portraying this military action as free of moral consequences.” (emphasis added)

Ignore?  By her reasoning, because the Central Intelligence Agency tortured people, she was required to fit it into the plot somehow, whether it was relevant to the investigation or not.  That’s her excuse.  No matter that the scenes are fabrications, and the actual clues about bin Laden’s courier came from elsewhere (electronic surveillance, human intelligence, foreign services).

Bigelow told Charlie Rose, when asked the same question about the torture: “Well I think it’s important to tell a true story.”  Unfortunately, when confronted with the Senate investigation, truth quickly takes a back seat.

The truth Bigelow now clings to is that, “Experts disagree sharply on the facts and particulars of the intelligence hunt, and doubtlessly that debate will continue.”  To Kathryn Bigelow, the fact that the so-called “experts” she has sided with are torturer criminals with a vested interest in her portrayal of their crimes never occurs to her.  She can dismiss the entire matter as a “debate.”  Perhaps she no longer finds it “important to tell a true story?”

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