Archives For Modern Fascism

Who Are The Real Fascists?

November 13, 2018 — 1 Comment

If the facts cannot be squeezed into a meme the level of attention those facts receive is reduced. Attention to detail is overlooked for what will best attract a view, a like, a follow or a share. Information is seen purely as a commodity.

The problem is that when information is seen purely as a commodity, truth is easily compromised.

We don’t need to look any further than the internet. It’s now common place to log on and find someone accusing someone else of being a Nazi or a racist. This may have reached the status of cliché, and as such is easily dismissed. Nevertheless real concern should be given to it. Especially, when we’re bombarded with celebrity endorsed outrage, and articles written by professionals, (often falsely) equating their opponents with the National Socialists of the 1930’s, without qualification.

For example: in August 2016, a lecturer from Sydney University,  compared fair-minded conservative opposition to same-sex marriage, with the Nazi treatment of homosexuals. In addition, a student was reported to have been disallowed from presenting a case, linking examples of how anti-Israel sentiment, is linked to anti-Semitism. [source]

Historical comparisons made between present and past, should be measured for accuracy. Responsible self-criticism leads us to ask ourselves whether or not our opponent has a point. However, measuring the accuracy of our opponents claim shouldn’t stop with us. For it to be completely fair, the enquiry must also include the consideration of whether or not our opponents, are themselves guilty of doing the very things they’re accusing others of doing.

One good practice, when being likened to the Nazis, is reading material from those who’ve studied the historical context; the history of and the history associated with Nazism. Read those who’ve engaged with the primary sources, and who understand not just what the Nazis did, but how, and why, they did it.

It’s here that Thomas Doherty’s insightful and well researched 2013 book, ‘Hollywood & Hitler‘ shines:

Page 9, citing a PCA[i] report on the prohibition of the movie ‘All Quiet on The Western Front‘, Dec, 18, 1930:
“There is no doubt that this wave of intense national prejudice, which is for now going on, will continue and that any pictures, particularly foreign pictures, which offend the sensibilities of the National Socialists will be a signal for riots and demonstrations.’ [i]
Page 21: ‘Even before Goebbels laid down the law, the Nazi rhetoric on race was being implemented by pumped-up S.A. thugs and zealous party bureaucrats. From Berlin radiating outward, the iron grip tightened over all aspects of film-related culture – artists and technicians, film content and style, trade periodicals and reviewer bylines, theatre ownership and ticket buyers.’ [ii]
Page 97: ‘The Nazis, said Prince Hubertus Lowenstein [an early critic of Nazism], had annihilated all that was good in German culture.”Everything that had made for the glory of Germany has been destroyed in the past three years. The best actors and artists have been expelled. Approximately 1100 scholars and scientists have had to leave, only because they believed in freedom of art, of thought, and of religion.” Jews were forbidden to buy milk for their children, and Catholics were jailed for keeping the faith. The jackboot crushing Jews and Catholics, he predicted, was but a preview of oppressions to come. All those speaking that night urged a united front against Hitler. “We must organise to fight the Nazi invasion before Americans lose their constitutional liberties”‘[iii]

Doherty helps to shine a light on where, and if, Nazism or fascists are active today. When matched against current events descriptions such as, “intense prejudice, the iron grip, that which offends the sensibilities is a signal for riots and demonstrations; rhetoric on race by pumped-up thugs and zealous party bureaucrats”, all show that those pointing their finger and crying wolf about Nazism and fascism, reflect it the most.

The radical Left is already becomes suspect when its adherents use its political platforms to denounce all opposition as Nazism, without any real qualification. It’s already suspect when those same adherents ignore questions, make false claims and turn all fair criticism into “hate speech”. It’s already suspect when this very same ideology backs policies that undermine the humanity of the unborn, democratic debate, diversity of thought, reasoned opinion, expression and faith.

It’s already suspect when some of its most fervent adherents remain silent about the current events in Turkey, or Islamism in general, and yet continue to promote the BDS academic boycott movement against Israel. [source] The radical Left is more than worthy of our suspicions when we only hear the sound of crickets chirping to the tune of double standards, hypocrisy, selective outrage, suppression of faith and reason, political evasion, and propaganda.

As Theodore Kupfer asked, ‘Where are the Academic Boycotts of Turkey?’ It’s tragically ironic that anti-Israel protesters are loud and proud, yet they remain silent about Turkey:

“The response of Western academia has thus far been limited to expressions of grave concern for the fate of individual academics who have been subject to the purge [in Turkey].
No organised boycott effort has surfaced on any level. Mere proclamations of solidarity are supposed to suffice in the case of Turkey, while the same organisations agitate for nothing short of a blanket institutional boycott in the case of Israel.
Mind you, academic conditions in Israel are far superior to those in Turkey. Even attempts to portray Israel as hostile to academic freedom are evidence for this.” [iv]

The irony feeds suspicion of the radical Left. All that’s missing from the trajectory of this ideological radicalism is a figure-head with the power to influence enough people to fanatically fall in line behind them. With what’s happened in opposition to Donald Trump’s election in the United States, such suspicions should be weighed carefully.

Whether we like it or not, we’re being forced into categories by those who want to define us, determine what we think, and turn our freedoms into a carrot on a stick. The agenda isn’t about equality, it’s about dominance. The agenda isn’t about rights, it’s about power. The agenda isn’t about progress, it’s about pride.

It’s ironic that a people’s court stands ready to condemn those who don’t align, agree or pledge allegiance to the Left. The oppressor presents themselves as the oppressed, and no one is allowed to have an opposing view. It’s at this point that we’re not far from Gene Edward Veith, in his underrated 1993, book ‘Modern Fascism’, rightly suggested that there is a link between Heidegger’s revisionist/deconstructionism and fascism.

For example:

“What is the deconstructive basis for condemning Nazism? Would it not be in keeping with the in keeping with the logic of deconstruction, the deconstructive basis for condemning Nazism, reverses a claim like “the Nazis oppressed the Jews,” showing instead that the Jew cooked in a Nazi oven was really the Nazis’ oppressor.
The real-world endpoint of Heideggerian (and now Derridean and de Manian) deconstructionism [and its elimination of] the logocentric (Judeo-Christian) tradition is Auschwitz […]” [v]

This is why theology is important. As Timothy Gorringe states, ‘[Judeo-Christian] theology stands as a critique of ideology,’ [vi] but if it’s to remain authentic theology, it will have to navigate society’s obsession with the Left/Right metaphor. This is partly why I’m not big on the Right/Left metaphor in regards to describing factions within the State or the Church. Throughout history, the meaning has shifted. The metaphor is inadequate. We cannot rely on it entirely.

Another reason for why theology is important is because faith seeks understanding. To confess that Jesus Christ is Lord necessarily means to admit that Jesus Christ is no human pawn. Whether they be, deconstructionists, modernists, futuristic, archaic, primitive, progressive, communist, fascist, conservative, material or spiritual; Any Christian theology worthy of its name-sake, is and always will stand as a critique of all human centered strongholds that claim godlikeness; a challenge to all towers of Bable.

Genuine Christianity is, as Karl Barth duly noted, ‘the protest against all the high places which human beings build for themselves’ (Karl Barth C.D IV/II p.524).

To say that history is being repeated is not overstating the current zeitgeist. History is not, however, being repeated in the same way that the Left often sells it. Based on what is presented by Doherty, Kupfer, Vieth and Hirsch above, it’s those who recklessly cry wolf about Fascists, and subsequently point to the Right, who have more in common with the Nazis, than they do the victims of Nazism.

May we continue to be free, and well informed enough to differentiate between the real and the wrongly labelled.


References:

[i]  Doherty,T. 2013 Hollywood & Hitler: 1933-1939 Columbia University Press

[ii] ibid, 2013

[iii] ibid, 2013

[iv] Kupfer, T. 2016 Where Are the Academic Boycotts of Turkey? sourced 24th August 2016 from nationalreview.com

[v] Hirsch, D. 1991. The Deconstruction of Literature: Criticism after Auschwitz (p.87) Cited by Gene E. Veith, Modern Fascism, 1993. Concordia Publishing House.

[vi] Gorringe, T.J 1999 Karl Barth: Against Hegemony Christian theology in context Oxford University Press New York

[Updated and edited from an article posted in August, 2016, called, The Usurping of Things To Come?’ Also published at The Caldron Pool, 13th November, 2018 under the heading, ‘Who are the real fascists?’]

Photo credit:  Taton Moïse on Unsplash

©Rod Lampard, 2018.

78 year old, actorvist, James Cromwell, has predicted that “if we don’t stop Trump now, there will be blood in the streets.”

The actor and activist, most famous for his role as farmer, Arthur Hoggett in the 1995 movie ‘Babe’ (et.al), inferred that Trump was a fascist dictator, and that America was dangerously close to losing its democracy.

Variety reported that Cromwell made the “candid comments” during a quick Q & A, while walking up the red carpet. He was attending an award ceremony where he was also “honored for his work as a character actor.

According to Variety, Cromwell said,

“This is nascent fascism. We always had a turnkey, totalitarian state — all we needed was an excuse, and all the institutions were in place to turn this into pure fascism […] If we don’t stop [President Trump] now, then we will have a revolution for real. Then there will be blood in the streets.”
“We’re living in very curious times, and something is coming up which is desperately important to this country and to this planet, and that is an election, in which hopefully in some measure we are going to take back our democracy.
We will have a government that represents us and not the donor class. We will cut through the corruption, [and] we won’t have to do what comes next, which is either a non-violent revolution or a violent one, because this has got to end.”

If Cromwell is right, and America is heading for totalitarian rule, it’s difficult to see how Cromwell was able to freely speak his mind in public. Let alone be free to give a speech. All while moving without hindrance into an award ceremony where he was honoured for his work. This was all achieved without a special security detail to ward off any potential harassment from the alleged fascist dictator and his totalitarian minions.

Cromwell gave his speech in relative safety, was celebrated by his peers, and spoke his mind in public without fear of harassment; inferring that a bloody revolution needs to take place, in order to restore America to democracy.

It’s a pity that the same cannot be said for Conservatives like Ben Shapiro, who, when giving a speech at UC Berkley in 2017, saw the “Campus pay an approximate $600,000 for security, in order to anticipate violent protests” from the allegedly anti-Fascist, Leftist movement, Antifa.

If we add onto this, examples of people being assaulted for wearing MAGA hats, public personalities advocating for the assassination of Donald Trump, or the calls for people to harass Trump supporters and Trump administration officials, perhaps Cromwell is looking in the wrong direction.

If the fires of fascism are being stocked, Trump isn’t stoking the fire.

Exhibit A): 15 Stars Who Imagined Violence Against Donald Trump.

Exhibit B): 12,000 Assasination tweets: Trump’s Social Media Presence is a new challenge for the Secret Service

Exhibit C): Two Years of Democrats Calling for Assassinations & Hate

And who can forget the September 13, 2016, Washington Post article by Shalom Auslander, headlined:

‘Don’t Compare Donald Trump to Adolf Hitler. It belittles Hitler.’

Or more recently, Democrat, Maxine Waters calling for the public harassment of men and women in the Trump administration:

“Tell them they’re not welcome.”

If James Cromwell is right, the “nascent fascism” isn’t coming from opponents of the Left, it’s coming from those on the Left.


Originally published, 1st November, 2018 on The Caldron Pool, under ‘Hollywood actor-vist warns: “There will be blood on the streets” if Democrats lose.’ 

©Rod Lampard, 2018

Photo by Hasan Almasi on Unsplash

Thomas Doherty’s 2013 book, ‘Hollywood and Hitler: 1933-1939’, is a 373 page look into the past ideological make-up of Hollywood.

The book is well referenced, including both footnotes and a lengthy bibliography. The text flows chronologically and stands as essential reading for anyone studying, or wanting to know more about, both Hollywood’s reaction, and involvement, in Europe and America during the 1930’s.

Doherty paints a picture of the Hollywood scene, beginning with a basic introduction to the context and zeitgeist. What emerges is an insight into the things which divided and unified Hollywood. Avoiding a dreary run down of politics and economics, Doherty writes about a vibrant and diverse group of people, who, though continents apart and ideologically separated, forged an ardent opposition to Nazism and Fascism.

One of the main pillars of his book is Doherty’s exposition of the pro-active steps taken in order to counter the rise of anti-Semitism and Fascism. Opposition to Nazism from within the American film industry was an up-and-coming movement, which matured quickly after Hitler’s 1933 election to the Chancellery.

The movement wasn’t free of factionalism and fickle alliances. According to Doherty, shifting loyalties were brought about because of concerns raised with regards to the reach of Nazi propaganda and communism’s covert takeover of the Hollywood entertainment complex. Communists were involved in the Hollywood anti-Nazi League (HANL) movement. Consequently, some individuals within the movement became as much about quietly promoting Communism, as they did resisting Nazism. This narrowed diversity, as new factions split off and other groups, such as traditional Christians, were slowly purged from their place in the HANL movement. As Doherty shows, the biggest challenge for Communists was in maintaining a push towards Communist influence whilst keeping up the movement’s anti-Nazi; anti-Fascist agenda.

Doherty writes:

‘The Hollywood Anti-Nazi League’s rise, dominion and fall offer a case study in the merging of media and politics, celebrity status and social activism, and the ultimately irreconcilable marriage between starry-eyed liberalism and hard-nosed communism in the 1930s’ (p.100)

Hollywood & Hitler’ unpacks this subtle Communist overthrow of the Hollywood Anti-Nazi league. The primary factor for the ousting of Catholics and non-communists was the Spanish Civil war. As Doherty explains, the Spanish Civil had a complex political context. By proxy, Nazi Germany, Italy, and the Soviets were warring against each other.

The Spanish Civil war is a key feature under Doherty’s microscope. This is because it was the first conflict to be filmed, and shown to the public, close enough to real-time. Images flowed from the battlefront and were spilled out onto audiences through cinemas. The skills, process, procedure and art developed during these times, pioneered the way for film makers during World War Two.

Two compromises appear. First was the compromise of neutrality. Hollywood had a strong economic reason for working with the Germans and therefore a majority was against any boycotts of German goods[1]. Hollywood had to maintain neutrality wherever possible, in order to keep from directly enraging the Germans. Subsequently, Hollywood practiced a selective self-censorship of anything which displayed blatant opposition to the Nazis or Nazi ideology.

Second was a compromise of values and unity. One radical splinter of HANL, The Hollywood Popular Front, considered ‘neutrality the moral equivalent of lending aid and comfort to the enemy’ (p.161), such an extreme view alienated balanced reporters and compromised integrity. This was fueled further by a war between propaganda and ‘cinematic neutrality’ (p.171) over how the Spanish Civil war should be reported and retold[2].

Hollywood’s neutrality and its selective self-censorship[3] came under attack. Censorship and propaganda became the battlegrounds. Countering Nazi propaganda in films was an opportunity for the Popular Front to slip in Pro-Communist agitprop.  Simplifying the great length Doherty goes to in order to unpack this: there was an obvious tension between those who desired to push back against the evils of Nazism and those who wanted to do so by pushing the “virtues” of Communism. Not every member of NAHL was as starry-eyed about Communism as the Communists would have liked.

Doherty suggests that the ‘best explanation for the affinity of motion picture artists-actors and screenwriters [“Champaign communists”] especially-to an ideology counter to their economic self-interest [capitalism] was the respectful hearing according to them by the Communist Party of the USA. In Leninist doctrine[4], the artist stood among the vanguard elite, a cadre whose shining example would lead the benighted proletariat into the dawn of revolutionary enlightenment…the artist was the antenna of the revolutionary race-so much the better if he or she was a magnet for publicity and a donor with deep pockets.’ (p.114)

Doherty also points out the inconsistency of Hollywood’s Communists and their anti-Nazism. For example, the Soviet Molotov-Ribbentrop-pact with the Nazis caused the Communists in Hollywood to double-down on their anti-Nazi rhetoric. This dilemma didn’t just reveal the façade that hid Communism, but how (with a few exceptions) self-serving their loyalty to the anti-Nazi cause was.

For better or worse, the Hollywood anti-Nazi movement, birthed (the now common) political celebrity[5]. The success of pushing support for ideas and consumer products through well-known and trusted, voices and faces, became common practice. Even if the celebrity didn’t know much about what they were selling, the opportunity to do so was as risky as it was potentially lucrative[6].

In Doherty’s words, HANL resorted to reaching the masses using ‘the same “hypodermic needle” theory of mass communications propounded by Joseph Goebbels: Inject the message into a mass consciousness through repetition, simplicity, and raw emotion.’ (2013, p.106)

The process this followed was to ‘first, gain the individual’s sympathy for what he is about to learn and second, present the material in a way which reaches his or her personal interest and at the same time supplies the necessary facts to sustain the first emotional reaction.’ (ibid)

It wasn’t until later on that Hollywood gained enough room to move on to directly producing films that had an anti-Nazi theme. Worth noting is Doherty’s point on how far Hollywood has shifted since the 1930s. The industry reluctant to criticize Nazism, has built a thriving business[7] on Nazis as the arch-nemesis of all that is good, (and for good reason!).

The Nazis, in the moral universe of Hollywood are the equivalent of pure evil, ‘the Nazi-centric documentary and narrative feature film is cultural currency –rarely dropping in value, always a good investment’ (2013, p.371).

It’s curious, however, that Nazism’s not so distant cousin, Communism, moving freely behind the anti-Nazi platform[8], has largely been given a free ride.

Perhaps this is why Doherty concludes that,

‘The American Communists had never thought of the movie capital as a party mint, but Otto Katz (a communist agent) corrected the oversight. Theodore Draper, the historian of American communism who observed Katz work his magic, described him as “the international Communist huckster par excellence”…Katz sold communism to the wealthy Hollywood magnates by working on their bad social consciences until they were cringing with contrition. The complete religious and metaphysical desert in the mind of many in the motion picture colony made Katz’s game easier’ (pp.103-104).

Hollywood & Hitler’ is balanced and tactful. Doherty draws from a depth of well researched information, and has taken pains to avoid any statements that would lead to the charge of McCarthyism. While Doherty addresses the positive points surrounding the anti-Nazi/anti-fascist movement in Hollywood, he doesn’t gloss over the negatives. ‘Hollywood & Hitler’ is well written, surprising in its relevance and enjoyable to read.

With the increasing visibility of celebrity activists, voicing opinion after opinion against things that Hollywood dislikes and distances itself from, the facts presented by Doherty, prompt the reader to question whether Hollywood has become what it once took a firm stand against. Jim Carry’s recent supportive statements in favour of Socialism, and every Hollywood award ceremony since 2016 being saturated in irrational, venomous hatred for one of their own, American President, Donald Trump, (et.al) force the question: has the institution, which once valiantly fought the dragon, become one?


Notes & References

[1] This was because, ‘American Jews in the motion picture business warned that any boycott of German imports would only rebound to the grief of their kinsmen overseas.’ (p.179)

[2] ‘Like the rest of the Spanish Civil war documentaries, it was less a recruiting device for new converts than a ritual; exhibition for true believers’ (p.171) #greatquote

[3] From both Catholic and Jewish sections of the Entertainment community, see footnote #2 and Doherty’s discussion on the National League of Decency, pp.154 & 155: ‘the watchful eye of the Legion fell increasingly on any glimmer of communist influence in Hollywood Cinema.’

[4] The same is with Nazism. Doherty: ‘Unlike  the American government, whose policy toward creative expression was mainly benign neglect, the Nazis honored intellectuals and artists as avatars of Aryan culture…Talented filmmakers of good stock and reliable opinion were pampered; the rest were persecuted.’ (p.197)

[5] ‘In casting actors as activists, HANL was a farsighted pioneer.’ (p.113)

[6] This may be backfiring on Hollywood, where people, in a technological age start to see through the veneers and question why, who is selling what to whom.

[7] ‘In the digital age, the collection and repackaging of images of the Nazis remains a growth industry, sustaining documentary features, action films, and cable channels.’ (p.371)

[8] The Communist beachhead in Hollywood caused a split it, which created the far-left’s Popular Front, and the Catholic, National League of Decency (formed in 1934).

Doherty, T. 2013 Hollywood & Hitler: 1933-1939 Columbia University Press

Image credit: Columbia University Press

©Rod Lampard, 2018

Disclaimer: I received no remuneration of any kind for providing this review.

‘There is no safety if we venture an inch over the boundary line; indeed, little allowances are more dangerous than greater compliances, since conscience does not receive a wound. Yet we are undone, and fall little by little.’
– (Charles H. Spurgeon, 1883) [i]

Slippery Slope

 

 


Source:

[i]Spurgeon, C.H. 1883, ‘Flowers from  Puritan’s Garden:Augustine’s Story’ p.68

Image credit: Photo is mine. It is of a river walk nearby.

Gen. Dwight Eisenhower, 1944:

Your task is not an easy one. Your enemy is well trained, well equipped and battle-hardened. He will fight savagely.…I have full confidence in your courage, devotion to duty and skill in battle.Let us beseech the blessing of Almighty God upon this great and noble undertaking.

Right.Left.Up.Down. Most people today have an opinion.

If only we were to only look over our shoulder. Not too far back & not for too long mind you, but if we do, perhaps we might remember the cost. Not only the cost, but also the place where fanaticism, paranoia, hysteria, misinformation, manipulation and propaganda lands a society. Lands the world.

Context determines meaning, we were told, in every class during my university studies. Finding context requires effort, but we live in perilous times. These days form defines the content, or at best, form determines interest in the content.

For example: opinions are moulded solely on the basis of memes, rumour, sensationalism and a tendency to read a news headline or watch a thirty-second video and decide that its content is all there is to know. However, acknowledgement does not always lead to knowledge. This is because all of the above involve, in one way or another, not just an exchange of information, but a surrender and realignment of the heart and mind, with the swaying utilitarian consensus of social media.

Often resulting in a large portion of the public who have become mindless and misinformed. For instance: the growing confusion between what it means to be a free citizen or an indentured subject. Or the growing transaction of faith in God with an absolute faith in an ideology. Blurred distinctions arise when an ideology no longer serves, but is served.

In order to defeat an ideological war machine, the ‘United Nations’ had to become one. The very real questions we face today are how much of that legacy thrives, unseen, in the Western parts of our world today, and what kind of a counter-response does it demand?

‘The defeat of Hitler and the Axis powers in World War II meant the military defeat of fascism, but an ideology cannot be defeated by military power alone. Ideas linger. The intellectual heritage of fascism has never been repudiated.’

– Gene E. Veith, 1993 ‘Modern Fascism’ Kindle ed. Loc. 181, 2695-2696

 

Lest we forget.

 

Australian War Memorial June 6 1944 70 years on_editedborder

Source: Australian War Memorial, June 6 1944.