Power of Nightmares: Part 3

"For a society that values nothing, fear is the only agenda.”

This line, delivered at the end of the Nightmare series, says it all. The systematic fear that has been instilled into the American people has made TERROR the ultimate buzzword of this generation. A lot of elements of the third “Nightmare” installation hit me hard since I was alive and at a very impressionable age when 9/11 happened.

 It is clear that those with the darkest imaginations become the most powerful people in America. They are the ones who come up with the “Preventive Paradigm,” imprisoning people based purely on speculation, or the “Precautionary Principle,” claiming that action taken against a place or person without evidence of their wrongdoing is still justified.

The film pays homage to people who saw how problematic these principles were from the very start. They point out that following the 9/11 attacks, the U.S. government was hoping to find “Al Quaida” members in America and abroad before they even started looking. They had their conclusion before there was any proof that these people even existed. One expert in the film says that a, “Coherent, structured terrorist network with an organized capability led by Osama” was a completely fabricated myth meant to scare Americans and make them that much more willing to go along with U.S. military action. 

Once again, we were chasing after a phantom enemy, this Al Quaida NETWORK that did not exist! We were not willing to admit that perhaps the 19 hijackers on 9/11 were working on their own terms and for their own reasons, not based in a group that spanned across 60 countries, as Bush’s administration continually emphasized.

 Volume 3 of "Nightmares" is disturbing by the nature of its material. All along, there was a desire by the leaders in America to have terrorists, so they filled in the blanks and convinced everyone of this overwhelming threat. It turns out that most of it was rubbish. As the film points out, the last 30 years in politics have been a recovery from a time when they were actually meant to help people. At this stage in the game, they are simply a form of manipulation.

Power of Nightmares: Part 2

 All in all, I found “Power of Nightmares: Part 2” to be even more engaging than Part 1. It was loaded with information about the American neo-Conservatives and radical Islams, and because the material was more relevant to my age group, with explorations into Clinton’s presidency and so on, I found myself enjoying it more because I really understood it. It is very disturbing to learn about the neo-Conservatives’ agenda, as they continue to see themselves as revolutionaries setting out to change the world, because their tactics are so morally corrupt. What struck me in “Part 2” was that the neo-Conservatives did not even see Islams or Saddam Hussein as their real enemy. They were too busy tearing down the liberal party in America and putting up a front that the goal was just to spread democracy. The tactics are just so extreme. Lying, manipulation, a total overhaul of Clinton’s time in office to try to get him impeached. Watching these videos it is difficult to feel inspired about American politics at all. It seems like the only tool in our toolbox is deceit and mind games, always trying to get the upper hand, the power. 

 

In the Conservative party, the “harsh moralism” the film describes is not really about morals at all. The focus on religion seems to be more about condemning people for being bad than looking to a higher power for the purpose of self-improvement. The myth about religion leads into the huge myth in American discourse that American military prowess had anything to do with the fall of the Soviet Union. All these lies build the U.S. up as a country, but it’s a house of cards. It’s all things we tell ourselves, messages that are crafted especially for the public, to make it feel one way or the other about a given policy. This film shows the ins and outs of this manipulation, using Islams and neo-Conservatives as a backdrop.

Power of Nightmares Part 1

The cultural myths that last through decades in society are usually the ones that become known as “truth.”

 “Power of Nightmares Part 1” pointed out systematic fear, coupled with a colonial “good vs. evil” mantra, as arguably the most effective tactic for political leaders to use in controlling the masses. What is striking is that logically, a community mentality and group effort produce significantly more societal change than individualistic values. But starting in the middle of the 20^th century, leaders began to realize the power of channeling fear into the hearts and minds of its citizens. Especially in America, citizens were encouraged to believe that their nation had a unique destiny: to fight the evils of the world. The pride people felt for their country now stemmed from conquering evil, which in turn undermined a shared effort. The myth of fear and colonialism as means of fulfilling one’s civic duties was born. It still flourishes today.

This film had a lot of strong points in illustrating these messages, but it was also very puzzling. It was unclear as to why images from Egypt were being juxtaposed with images from America. The most effective sections of the film were the ones presented most clearly. Since I already have familiarity with American politics, especially Rumsfeld and his blatant lies, I found the footage and discussion of America most engaging. The parts about the Middle East and Egypt were bewildering. There was one scene in which the people of these countries were shown screaming and out of control. The narrator explained that people regressed into a “state of barbarous ignorance” when they were blindly being controlled, and the whole reference was confusing because the words did not exactly sync up with the images. 

Near the end of the film, Neo-conservatives came on to discuss how they feel their role has shifted to now act as “Democratic Revolutionists.” This part of the film summed up some major points, because the men truly believed that their calling in life was to conquer evils of the world, as Americans know best and need to spread the message of freedom. It showed that the myth that Strauss first presented to the political world long ago, centered around a sort of fantasy land in which one must assume that they are going to be attacked, still thrives. More chilling, it is believed.

Hip-Hop: Beyond Beats & Rhymes

What controversial cultural norms are manifested and accepted while we listen to contemporary hip-hop music? 

This is a question I thought about even before exploring the hot topic in an educational setting. As a child of the 90’s and 00’s, music from rappers like Snoop Dog and 50 Cent was  prevalent and the controversial subject matter coursed through the speakers. I remember watching music videos on MTV for hours at a time, when the “M” actually stood for music. I loved the beat of the songs and how the mood of the whole room would change when a bass-ridden Nelly song started playing at a middle school dance. However, I knew deep down that the potential for serious cultural damage was always there. Lyrics centered on violence, misogyny, and homophobia existed in almost every popular hip-hop song. Why was everyone okay with this?

Rather than simply accepting these lyrics and images as “the way it is,” “Hip-Hop: Beyond Beats and Rhymes” delves into the heart of the issues of hip-hop music today. Byron Hurt does a great job pinpointing the major cultural issues of the musical genre, from blatant gun violence to more subtle tones of homo-erotica. 

The high point of the film is its authenticity. 

Because Hurt is a self-proclaimed lover of hip-hop, his criticisms come from a place of genuine concern. When he interviews rappers like Busta Rhymes and Jadakiss, he does not attack them or back them up against the wall. Part of the quest for ratification in the hip-hop world comes from examining the major players in it. Hurt knows this better than anyone, so he asks the tough questions and the resulting interviews come across brilliantly to the viewer. The rappers are candid in their answers because they relate to Hurt and see him as their equal. Would their answers alter if the interviewer were white or female? Absolutely.

One critique I have of the film is its lack of suggestion for viewer activism. Chuck D talks about the importance of accountability in terms of being a man in the music industry, but what about the masses of white suburban kids buying all these hip-hop albums? Where do they fit in to the equation? More exploration into this element would have strengthened the film's message even more.

Edward Said on Orientalism

Edward Said on Orientalism is a relevant and informative film that hits home with many issues of Otherism and difference that exist today. I went into watching the film without understanding what the term “Orientalism” meant, but now I feel more educated on the topic. It is essentially the way in which other countries view Arabs and the Islam world and the discourse that surrounds these constructions. Film creators do a good job implementing Said’s interviews to strengthen certain points. Because Said is Arab himself, his insight on stereotypes from that part of the world are really valuable. A high point of the film is hearing Said’s responses to such horrific events as the Oklahoma City Bombing and news reports that vilify his entire culture. Said’s intellect and calm nature seem to drive the movie’s pace and he looks at the statements made about Arabs as a cultural phenomenon rather than a personal jab. He isn’t saying there is something fundamentally wrong with Americans for having the views they do about the Middle East. It is a construct that has been building up over time which is a huge take-away from this film.

The demonization of Islam in the popular culture is something many Americans are aware of, but the birthplace of such intensely negative generalizations is not often clear. Images of the sensual gypsy woman and the mysterious, secretive Arab world actually began showing up in artwork, as Said points out. The homogeneous and repetitive information the West received about Islam through literature and art barely changed over time, which helps to explain why the ideas we have about the Middle East are so engrained in our culture and so difficult to change. Arabs are portrayed as “villains and fanatics” as the movie puts it, or as a race that needs to be exterminated completely And because many Middle Eastern countries are dependent and subordinate to the U.S., they let these horrible stereotypes persist. Edward Said on Orientalism was made in 1998 but even today in 2012 the movie Acts of Valor shows different races as barbaric and inhumane.

Terror and violence surround the Arab image, while the mistreatment of Islam people are tolerated and sanctioned more than any other race in America. This film does a great job at explaining why. When difference is “respected and understood without coercion,” as Said says, we will really be making some progress. This quote was a great choice for a final send-off.