December 14, 2012

The Awesome Glenn Greenwald Critically Breaks Down "The CIA's Film"

Zero Dark Thirty is the greatest product of the sick marriage between the CIA and Hollywood. 

 Should Zero Dark Thirty get an Oscar for Best Picture? Obaaama got a Nobel Prize for no reason, so why not?

Hollywood is pro-war now that a Democrat is in office. They want to kill Syrians and Libyans and Pakistanis, and blow the whole place up because they are so "humanitarian."

Michael Moore or any Hollywood leftist is not going to stand up on the Hollywood stage and declare Obaaama to be a warmonger for taking the nation to war. Times have changed. Blowing up people and lying about it is cool now. Obaaama is not a wild cowboy like the old Prez, because, black guys can't be cowboys. No, Obama is a mature, wise, and cool killer. So get with the program, truthers. It is cool to lie and kill. It is cool to torture innocent villagers. It is cool to go on a manhunt for a fucking ghost.

As Ron Paul said in May 2009, America is psychotic. It has "broken with reality." The making of Zero Dark Thirty and its wide acclaim is yet more proof that this is in fact the case..

Excerpts from Glenn Greenwald's article, "Zero Dark Thirty: CIA hagiography, pernicious propaganda":
Indeed, from start to finish, this is the CIA's film: its perspective, its morality, its side of the story, The Agency as the supreme heroes. (That there is ample evidence to suspect that the film's CIA heroine is, at least in composite part, based on the same female CIA agent responsible for the kidnapping, drugging and torture of Khalid El-Masri in 2003, an innocent man just awarded compensation this week by the European Court of Human Rights, just symbolizes the odious aspects of uncritically venerating the CIA in this manner).

It is a true sign of the times that Liberal Hollywood has produced the ultimate hagiography of the most secretive arm of America's National Security State, while liberal film critics lead the parade of praise and line up to bestow it with every imaginable accolade. Like the bin Laden killing itself, this is a film that tells Americans to feel good about themselves, to feel gratitude for the violence done in their name, to perceive the War-on-Terror-era CIA not as lawless criminals but as honorable heroes.

Nothing inspires loyalty and gratitude more than making people feel good about themselves. Few films accomplish that as effectively and powerfully as this one does. That's why critics of the film inspire anger almost as much as critics of the bin Laden killing itself: what is being maligned is a holy chapter in the Gospel of America's Goodness.
The very idea that this is some sort of apolitical work of art is ludicrous. The film is about the two most politicized events of the last decade: the 9/11 attack (which it starts with) and the killing of bin Laden (which it ends with). George Bush got re-elected running on the former, while Obama just got re-elected running on the latter. It was made with the close cooperation of the CIA, Pentagon and White House. Everything about this film - its subject, its claims, its mode of production, its implications - are political to its core. It does not have an apolitical bone in its body. Demanding that political considerations be excluded from how this film is judged is nonsensical; it's a political film from start to finish.