By ann summers
Will Trump turn the election into a snuff film — his bread is in the form of debt, but regardless, the GOP will be toast after the election.
One might very well surrender if Trump wins, considering the valorizing and monetizing of GWOT mercenaries,
… privatizing all paramilitary activity as the Trumpian apocalypse approaches. When they come for us perhaps there will be resistance, however futile against a PIC and MIC ready to grab everyone’s crotch.
This election cycle, not without its media mavens, is one of Spectacle and the Spectacular: or how Blockbustertm is not quite a Blockbuster, even if they do share a propensity for duds whether corporado bankruptcy or munitions failure.
13 Hours has become for so many Benghazi-gate aficionados, the Kolberg for RWNJs. It is a last stand for a partisan Congress more interested in obstruction than legislation. OTOH San Antonio might have more taco trucks than Berlin, even in WWII.
If nothing else, expect international challenges for the new administration, even if the White House isn’t turned into a casino, and we won’t lose Trump in “…the Bunker Scene” like in the Blazing Saddles canteen.
“I, for one, welcome our new insect overlords” is a memorable quote from the 1977 film adaptation of H.G. Wells’ short story Empire of the Ants
This Benghazi film, 13 Hours is a cipher for a film on the Fallujah Ambush (2004) that has yet to be made although it is hinted at in Clint Eastwood’s American Sniper. Libya allows the RWNJs to avoid their culpability for Daesh’s origins.
It is another in a line of RW narratives that now signal the sad failure of media industry narratives meant for partisan political goals going back to Young Mr. Lincoln (as 1939’s GOP anti-FDR discourse) There are so many platforms for cinematic nutloggery and we’ll see some doozies after 2017.
The ambush of contractors led to the First Battle of Fallujah, a U.S.-led operation to retake control of the city. However, the battle was halted mid-way for political reasons, an outcome which commentators have described as either a stalemate or an insurgent victory. Seven months later, in November 2004, a second attempt at capturing the city, the Second Battle of Fallujah, proved successful.
Privatizing meaning is a feature, not a bug in the 2016 campaign and its most cynical use has been this small media event in January that ultimately distorts the bravery of the regular military and the problem of making actual heroic, military means serve crony capitalist ends.
The RWNJs are all about “purposeful imaging” and seem to be immune to “ruthless criticism”, since Donald Trump and Steve Bannon do fancy themselves as media stars and erstwhile media producers. Today’s latest is Trump son-in-law Kushner trying to finance the post-election Trump media empire.
(January 2016) Donald Trump has rented space at an Urbandale movie theater and will give Iowans free tickets to a showing of the Benghazi movie that critics of Hillary Clinton have been eagerly awaiting.
“Mr. Trump would like all Americans to know the truth about what happened at Benghazi,” the GOP presidential candidate’s Iowa co-chair Tana Goertz said Thursday night.
Trump will pay for the showing of “13 Hours: The Secret Soldiers of Benghazi” at 6 p.m. Friday at the Carmike Cobblestone 9 Theatre at 86th Street and Hickman Road, Goertz said.
“The theater is paid for. The tickets are paid for. You just have to RSVP,” she said.
The movie depicts the terrorist raid on the U.S. diplomatic compound in Benghazi, Libya on Sept. 11, 2012. It reportedly makes no mention of Clinton, then the U.S. Secretary of State, but has again raised the topic of the Democratic presidential candidate’s role in the tragedy, three months after Republicans grilled her on her response to the attacks during an 11-hour congressional hearing in October.
Trump has said he’s willing to spend a billion dollars to win the GOP nomination. “I make $400 million a year so what difference does it make?” he told reporters in Iowa in August.
The film Kolberg (1945) is based on the autobiography of Joachim Nettelbeck, mayor of Kolberg in western Pomerania, and on a play drawn from the book by Paul Heyse. It tells the story of the defence of the besieged fortress town of Kolberg against French troops between April and July 1807, during the Napoleonic Wars. In reality, the city’s defense, led by then-Lieutenant Colonel August von Gneisenau, held out until the war was ended by the Treaty of Tilsit. In the film, the French abandon the siege…
Kolberg entered production in 1943, and was made in Agfacolor with high production values. At a cost of more than eight million marks, it was the most expensive German film of World War II, with the actual cost suppressed to avoid public reaction. At a time when the war was turning against Germany, thousands of soldiers were used in the film.…
The film’s extra cast was a massive 187,000 people out of whom about 50,000 were soldiers. The film has the second highest cast strength after Gandhi (1982).
Nazism created an elaborate system of propaganda, which made use of the new technologies of the 20th century, including cinema. Nazism courted the masses by the means of slogans that were aimed directly at the instincts and emotions of the people. The Nazis valued film as a propaganda instrument of enormous power. The interest that Adolf Hitler and his propaganda minister Joseph Goebbels took in film was not only the result of a personal fascination. The use of film for propaganda had been planned by the National Socialist German Workers Party as early as 1930, when the party first established a film department…
For conceiving a Nazi film theory Goebbels suggested as formative material the Hamburg Dramaturgy and Laokoon, or the Limitations of Poetry by Gotthold Ephraim Lessing, and also demanded “realistic characters” pointing to Shakespeare. Goebbels emphasized Lessing’s idea that “not only imagining per se but purposeful imagining would prove the creative mind”....
To subdue film to the goals of propaganda (Gleichschaltung), the Nazi Party subordinated the entire film industry and administration under Joseph Goebbels’ Ministry of Propaganda, and gradually nationalized film production and distribution. A state-run professional school for politically reliable film-makers (Deutsche Filmakademie Babelsberg) was founded, and membership of an official professional organization (Reichsfilmkammer) was made mandatory for all actors, film-makers, distributors etc. The censorship that had already been established during World War I and the Weimar Republic was increased, with a National Film Dramaturgist (Reichsfilmdramaturg) pre-censoring all manuscripts and screenplays at the very first stages of production. Film criticism was prohibited and a national film award established.