Art and Cinema

Have you noticed that the oligarchy today is populated by individuals who seem more retarded than Juan Carlos. At least, the imbecility of the Hapsburgs can be understood as the result of inbreeding over generations but the current crop of leadership at all levels of government in North America seems remarkably retarded, unobservant, deceitful and as leadership goes, with few socially redeeming qualities like tolerance and compassion.

I’ve noticed a correlation between the banality of U.S. media, the irrelevance of academia in the U.S. and the phenomenal stupidity of U.S. leadership; representing a high-water mark in the metaphorical toilet bowl of thoughtless, destructive social organizations–throughout known history.

The U.S. film industry has achieved the epitome of banality and lost touch completely with the Art at the heart of the invention of cinema and this has happened since the end of WWII (the war itself was the product of a period of previously unparalleled thoughtless xenophobia and greed). In retrospect, the Nazis lost their war in Europe but they won it here and if you believe this is a frivolous assertion, read up on the international financing of the 3rd Reich–you will find it was funded preponderantly by people we associate with the “Allies” during the war (as opposed to the “Axis”), men like Ford and Rockefeller and their corporate facades.

I assert that It is not commercialism or television that castrates U.S. cinema, consigning it’s output to ever more irrelevant, Disneyesque kitsch, it was the successful efforts of the minions of the reactionary right wing in America who appeal to mentalities here that resemble the German lower middle class whose leader was Adolph Hitler. Led in this nation by Senator Joseph McCarthy and Richard Nixon and others in congress, they were known for awhile as the House UnAmerican Activities Committee and though their repugnant behavior was staunched, they were able to cause the purge called, the Hollywood Blacklist that drove out of the film industry and broadcasting and eventually from the shores of this nation, all effective artists who regarded cinema as an art form, and in fact, those who weren’t purged, in Soviet fashion, agreed to sign their allegiance to self-censorship, hence, in New York and Hollywood, art itself became the enemy of the state and despite Jane Fonda, remains so.

If you were not here to see it, during Reagan’s reign, people with this same reactionary ideology took over the public and private universities as well as the mainstream press and media and during the latter part of the 20th century, bought up almost all local newspapers and broadcasters. The elimination of the corner store was not caused by Walmart. Walmart merely followed in the footsteps of Costco (neé Fedco) in facilitating the demise of Main Street.

The cost of this transformation, as well as the understanding of it is not popularly appreciated since the media characterizes the problems as if they were not related to each other. As if drug addiction, poverty, increases in cancers and pesticides are all unrelated episodes from unrelated causes. They are by definition related to the leadership of the social organization in which they have occurred and we have only to look no farther than the Senate’s recent cynical actions and at the end results in the redistribution of wealth during the past 30 years to see.

The most xenophobic of German Nazis during the Reich appear intelligent in comparison to Perry, Buchanan, Gingrich or most civic leaders, while the liberal/progressive leadership, represented by ciphers like Obama, Gore and Clinton are more exactly representative of the impotence reflected in their counterparts in Europe during the early 1930s. And, just as it came to be in Nazi Germany and Italy, this political frame of mind is seen in the leadership of every city, state and small town across North America and no one can miss the comparison between the militarization of policing in Nazi Germany and in present day America. And the pepper spray at UC Davis shows this pervades academia here just as it did during the Reich.

In fact, the only major difference between prewar Germany with it’s “fatherland” and contemporary America with it’s “homeland” is the lack of a lucrative scape goat–there is no “Jewish Problem” and the Latin Americans aren’t a good target because they have no gold teeth and they pretty much control the production of our food since they’re the ones who plant and harvest it. And our Lily Reifenstahls are creating grand illusions to numb the lower middle class on TV during halftime and in countless “action adventure” films and “games”.

The nexus between the nightmare that our national government has become and the banality our cinema has become is clear but complex. What happens to a population that is deprived of the benefits of literacy that is conferred on literacy only by art? Essentially, the population goes back to medieval superstition and xenophobia that is typical of tribes but in the context of huge social organizations that looks like the 3rd Reich and what we got here. And that is why it is important to understand that kitsch is not art and that art is political or it is not art. Through our neglect and misunderstanding, we have allowed our cinema industry to become artless and to see the cost of it, look at the last ten years, since 2011–watch George W. Bush stumble over his tongue trying to remember two syllable words, watch the Republican “debates”.

The difference between kitsch and art is that art is political.

 

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