"apolitical art" " the political story of Zero Dark Thirty

 Another Great Glenn Greenwald article. And he has seen the film he so tellingly and darkly zeroes in on.

Zero Dark Thirty and the utility and glory of torture

I'll explain why this is so in a moment (and if you don't want "spoilers", don't read this), but first, I want to explain why this point matters so much. In US political culture, there is no event in the last decade that has inspired as much collective pride and pervasive consensus as the killing of Osama bin Laden.

This event has obtained sacred status in American political lore. Nobody can speak ill of it, or even question it, without immediately prompting an avalanche of anger and resentment. The news of his death triggered an outburst of patriotic street chanting and nationalistic glee that continued unabated two years later into the Democratic National Convention. As Wired's Pentagon reporter Spencer Ackerman put it in his defense of the film, the killing of bin Laden makes him (and most others) "very, very proud to be American." Very, very proud.

CIA propaganda beyond torture

As it turns out, the most pernicious propagandistic aspect of this film is not its pro-torture message. It is its overarching, suffocating jingoism. This film has only one perspective of the world - the CIA's - and it uncritically presents it for its entire 2 1/2 hour duration.

All agents of the US government - especially in its intelligence and military agencies - are heroic, noble, self-sacrificing crusaders devoted to stopping The Terrorists; their only sin is all-consuming, sometimes excessive devotion to this task. Almost every Muslim and Arab in the film is a villainous, one-dimensional cartoon figure: dark, seedy, violent, shadowy, menacing, and part of a Terrorist network (the sole exception being a high-level Muslim CIA official, who takes a break from praying to authorize the use of funds to bribe a Kuwaiti official for information; the only good Muslim is found at the CIA).

But the idea that Zero Dark Thirty should be regarded purely as an apolitical "work of art" and not be held accountable for its political implications is, in my view, pretentious, pseudo-intellectual, and ultimately amoral claptrap. 

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 agentresponsible 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

Ultimately, I really want to know whether the critics who defend this film on the grounds of "art" really believe the principles they are espousing. I raised the Leni Reifenstahl debate in my first piece not to compare Zero Dark Thirty to Triumph of the Will - or to compare Bigelow to the German director - but because this is the debate that has long been at the heart of the controversy over her career.

Do the defenders of this film believe Riefenstahl has also gotten a bad rap on the ground that she was making art, and political objections (ie, her films glorified Nazism) thus have no place in discussions of her films? I've actually always been ambivalent about that debate because, unlike Zero Dark Thirty, Riefenstahl's films only depicted real events and did not rely on fabrications.

But I always perceived myself in the minority on that question due to that ambivalence. It always seemed to me there was a consensus in the west that Riefenstahl was culpable and her defense of "I was just an artist" unacceptable.

Do defenders of Zero Dark Thirty view Riefenstahl critics as overly ideological heathens who demand that art adhere to their ideology? If the KKK next year produces a superbly executed film devoted to touting the virtues of white supremacy, would it be wrong

http://www.commondreams.org/view/2012/12/14-9