Posts Tagged ‘torture scandal’

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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

 

 

 

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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[Editor’s Note: See our extensive coverage of the Zero Dark Thirty torture scandal here.]

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The Great White Camel

by RANDY SHIELDS

Probably many people have read the informed and thoughtful commentary on the movie “Zero Dark Thirty” by Glenn Greenwald or Jane Mayeror Karen Greenberg.

But what you’re really wondering is: what does a scalawag, what does a completely unrepentant flame thrower and certified America-hater think about “Zero Dark Thirty”? Come, sit by me.

“Zero Dark Thirty,” like director Kathryn Bigelow’s “The Hurt Locker” (which I reviewed and contrasted with “Avatarhere), is about the trials and tribulations of American occupiers, torturers, death squads and empire builders — no Muslims need apply for any humanity, although they’re allowed to scream a lot and blow up shit. (In real life they scream a lot, too, because some party unknown to Bigelow keeps dropping bombs on them, day after day, year after year, decade after decade.)

First off, I think the critics of this movie are lost in minutia. They mistakenly credit Americans with a humanity which they don’t possess and assume that Americans will be unduly influenced by the movie’s depiction of torture when, in fact, more Americans support torture than are against it, according to this 2012 poll. More Americans support torture now than in 2007. Americans are a lost cause. Instead, let’s see the waterboard pitcher as half full and celebrate how the rest of the world might see this movie.

Two things stuck out for me about the movie, one at the very beginning and the other at the end. Watching the CIA torturers at work, waterboarding, beating, hanging a guy in stress positions, depriving him of sleep, confining him in a little box, the sexual humiliation, the blinding light and blaring music — all of it called to mind George Bernard Shaw’s observation on animal experimentation: that a race of people who would use something as barbarous as animal experiments to “save” themselves would be a race of people not worth saving. No matter what the CIA, director Kathryn Bigelow (don’t overlook that comma!) and screenwriter Mark Boales intended, that’s the real message (subliminal only if you’re an American) of “Zero Dark Thirty”: America isn’t worth saving. Creative artists don’t always know the forces and influences that they’re working under or the ultimate import and meaning of what they’re creating. History, someday even written by the working class, will judge the meaning of this film.

The definition of torture is “the infliction of pain to elicit information.” That’s why I’ve never had a problem calling animal experimenters torturers. Torture isn’t in the mind or the intent of the torturer, it’s what they do. They cause pain to get information. So the torturers in “Zero Dark Thirty” can go from being brutal to joking around in mere seconds. They aren’t foaming-at-the-mouth sadists 24/7 — they’re the war criminals standing behind us in the grocery line. It’s Hannah Arendt’s “banality of evil.”

If the experiments/torture didn’t actually start out this way, in the end it always becomes about the sick fuck craziness of the torturers/experimenters themselves, their desire to be obeyed and take absolute power and control over a helpless being’s life, not the search for truth or “cures” or “protecting the American people.” (It’s perfect symmetry that the “learned helplessness” experiments of University of Pennsylvania dog shocker Dr. Martin Seligman formed the “intellectual” basis of the Bush torture program.) “Zero Dark Thirty” shows American torturers in action, which is good. In fact, I think it would be dishonest of Bigelow and Boales to toss in the one or two FBI agents who objected to the systematic torture of one of hundreds (thousands?) of people and the torture trail that went all the way up to Yoo, Bybee, Addington, Cheney and Rumsfeld for their recommendations on torture techniques. This fucking movie should go down hard in the craw of the world — there was never any humanity or conscience or enough ”good Americans” involved to even be worth noting. I don’t recall those FBI agents making any arrests of the torturers or raising hell in the press at the time they witnessed the torture.

(An aside on waterboarding: as awful as waterboarding is in the movie, I think this written description — by a man who waterboarded himself — conveys the suffering better. In media interviews, director Bigelow never calls waterboarding torture — she always calls it ”enhanced interrogation.” People who don’t call waterboarding torture are either: 1) misinformed 2) diabolical servants of the American empire or 3) the New York Times. Waterboarding has been known as torture since at least the Spanish Inquisition and the Reagan Justice Department recognized it as such when it prosecuted Texas sheriff James Parker and three deputies for doing it to prisoners to obtain confessions back in 1983.)

The other thing that struck me about “Zero Dark Thirty” was no face to face confrontation with Osama bin Laden when the Navy SEALs are blowing up doors to his compound and proceeding up the different levels to his bedroom. Once there, everything gets even murkier, despite the night vision goggles worn by the SEALs. We don’t see the shot that fells bin Laden — we see him after he’s shot and laying on the floor as a SEAL pushes away two of his wives and then another SEAL pumps his supine body with a couple more bullets.

In a movie where plenty of dramatic license is taken, why no face to face confrontation with the great terrorist mastermind, with the Navy SEAL gunslinger at high midnight delivering vengeance for the smoking ashes of the twin towers? Why no look into bin Laden’s face as he realizes he is about to die in the “claws of the eagle” (America) as he said he probably would? Why no cathartic righteous justice? It doesn’t matter that maybe in “real life” it really was dark and difficult to see and that the one-to-one look in bin Laden’s eyes didn’t happen. These filmmakers don’t give a damn about “real life” and context when it comes to vilifying Muslims. Without fail, they care about drama and maximum emotional impact, from the real life September 11 911 callers which lead directly to the waterboarding to the CIA agent who bakes a cake for the man she thinks has been turned into an informant only to have him detonate a suicide vest and kill her and several other agents. This movie is all about drama but only within the confines of CIA propaganda.

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The filmmakers would no doubt consider showing bin Laden’s face to be “glorifying” him. If bin Laden was shown to be afraid, he might draw some sympathy as an unarmed man executed in his bedroom by a death squad. If he was defiant, this might rev up his followers. So there must not be anything recognizably human about him. Code-named “Geronimo” by the American government, bin Laden must die like every indigenous person at the hands of cowboys and soldiers in American movies: just fall down dead like a cardboard cutout, incapable of expression, meaning or emotion. Only the White Man’s struggles are of any interest. Paradoxically, bin Laden remains a boogeyman who still holds so much power that even his death in a movie can’t be shown. Moby bin Laden’s dead and America, through Ahab Bigelow, is still afraid of him, a kind of Great White Camel, an obsession, a fiend who played a very useful role for American warmongers, from terror alerts always sounded near key political and legislative moments to being the supposed inspiration for every zealot with a Kalashnikov that America must spend a fortune exterminating — not a mere criminal who could have been easily been captured alive and tried in court.

America’s pursuit of the Great White Camel told us much more about ourselves than it did about him: we killed over one million Iraqis and wrecked their country which is still going on to this day, every day. We’ve now killed more Afghan civilians than Americans were killed on 9/11, and our drone strikes in Pakistan are making it a close second. The pursuit of the Great White Camel let the world see through a mirage: America isn’t a model to be emulated, it’s not a soaring eagle but a Chicken Little who scares easily and rushed to throw away every civil liberty and legal protection it had via the Patriot Act, the Military Commissions Act and the National Defense Authorization Act. A deluded cowardly and bullying country that will mainly fight you from 10,000 miles away and 20,000 feet above. A country whose dumb ass personality-cult liberals believe it’s a big improvement going from Bush capturing and torturing alleged “terrorists” to Barackus Obombus Caesar who captures no one and simply kills whoever he wants wherever he wants whenever he wants. It’s no coincidence that the CIA works with an Oscar-winning director on a film depicting torture now that its preferred modus operandi is extrajudicial assassination.

So why is this movie good for the world? Because it shows the ugly beast of America out of control, it comes to you bloody and crazed, so detached from reality that it believes its vices are virtues. It congratulates itself on its military prowess while the rest of the world sees sadistic torture, innocent people killed, nations’ sovereignty violated with impunity, international law and the Geneva Conventions jettisoned, lumbering death squads coming in the night from thousands of miles away to wreck your world, terrifying women and children and sometimes killing them. This movie’s message is: America makes the whole world insecure — therefore: arm yourselves to the teeth, preferably with nuclear weapons.

“Zero Dark Thirty” shows America swaggering and bragging, torturing and killing and proud of it. Americans love this shit because they have no empathy — they never imagine themselves on the receiving end of it. And they’re so damnably stupid and easy to manipulate that even when they are on the receiving end of it, as on 9/11, they don’t learn anything from it. Forget about any self-reflection as to why so many people in the world hate America. It was so easy for the ruling class to channel Americans’  bigotry onto Muslims and deflect away the normal healthy reaction of what should have been tremendous anger at the US government for not preventing 9/11 after all the trillions of dollars spent on “defense” and “security.” (Ralph Nader suggested four decades ago that cockpit doors on planes should be strengthened and locked. But what does he know compared to “bottom line” airline executives — he only gave us seat belts.) Almost three thousand people dead, a nation shellshocked and yet no one in our vast political/intelligence/military/surveillance state lost a day’s pay or got a reprimand. No one on top pays for anything in America whether it’s torture, financial fraud, illegal eavesdropping or negligent homicide. “Zero Dark Thirty” shows the incredible resources available to kill and destroy while Americans live in cardboard boxes in New York City and tents next to off-ramps in San Diego. A country whose infrastructure is so dilapidated that it’s not even safe for people to live under its bridges. A moral and social wasteland where more of its “true believers,” its trumpeted soldiers, kill themselves each year than are killed by its enemies. A country so fucked up, from its rotting Obama drone-head on down, that an increasing number of alienated citizens make their final statement the mass killing of total strangers, especially children. One great day it will be unanimous: three hundred million Americans will hate America.

Now wasn’t this a better movie review than some reverent cinephile talking about camera angles and lighting and references to other movies that weren’t worth seeing in the first place? The only way that I could be wrong about all of this, and the S & M America-lovers could have the last laugh, is if the goal of the American government, through propaganda vehicles like “Zero Dark Thirty,” is to cause as much hatred and blowback to America as possible in order to justify ever more “defense” and “security” spending, as if the whole reason for the being of America was the wildly successful business of plunder and murder. I flame. You decide. Have it your way at Vegan King.

Randy Shields can be reached at music2hi4thehumanear@gmail.com. His writings and art are collected at innagoddadadamdavegan.blogspot.com.