Archives For Thomas Doherty

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.

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.

On page 291, of his 2013 book, Hollywood and Hitler, Thomas Doherty makes a small, but note worthy statement about the song “God Bless America.”  Written by Irving Berlin from an earlier tune called “Yip!, Yak!, Yaphank!” , “God Bless America”  was to become an unofficial second national anthem.

 ‘as the wave of antisemetic violence [during what was penned by journalists as Krystallnacht], in [Nazi Germany], was subsiding, the singer Kate Smith had long planned to dedicate her variety show program to the 20th anniversary of Armistice Day, a solemn look back at the last war as the world stood on the brink of another. Smith asked Irving for a patriotic theme suitable for the occasion’[i]

Whilst it is right to describe “God Bless America” as a patriotic song, it’s not a stretch to say that it also fits well within the rubric of patriotic protest songs.

Cast in the light of his original intent, Berlin’s song is an anthem for peace. It rallies people of all races, around the banner of peace.

God Bless America” is perhaps also the most significant musical push-back against the onslaught of mid-20th century Nazism, to come out of America during that pre-WW2 era.

Post-1939, into, America’s 1942 involvement in the war; first in the Pacific, then in the North African, and European theatres, this prayer for peace, while still holding its integrity, extended its meaning towards a prayer for freedom.To call on God’s blessing is to call on His grace and victory.

And if prayer is, as Karl Barth asserted:

 ‘…the beginning of an uprising, [a revolt] against the disorder of the world’[ii]

Then “God Bless America” is a protest. It is an effective protest that draws people’s attention towards the great Other. Towards the God, who, in His Covenant with Israel, and it’s fulfilment in Jesus Christ, sets out to present Himself as the revolution against the disorder, that is set in play by false lords, false claims to authority, and all human versions of “ordering” the world, which takes place under those false claims, in total allegiance to those false lords*.

Irving’s lyrics join up with the voice of the Confessing Churches, who, in the 1934, Barmen declaration, led by Karl Barth, declared that any proposition that suggests, or asserts that salvation could come through Hitler, or any human, outside of or abstracted from God’s revelation in Jesus Christ, is false, and is therefore is to be utterly rejected. This is because:

‘Jesus is the one Word of God and the proper hearing of this Word takes place in trusting and obeying […] The one Word is the way upon which, and the door through which, God comes to us in his truth and in his life, comes as the light that overcomes the lie and as the resurrection that disempowers death’[iii]

There are no ways to God, there is only one way from God to us. Founded and expressed entirely through, and in Jesus the Christ. No man, woman, leader, idea or natural organism can lay claim to this revelation that lays claim to all of humanity, without usurping God. It’s not something that can be moulded, crafted and raised in the name of human triumphalism.

Irving Berlin’s song declares that before nations and governments, there is no other Lord, but God.

As problematic as ambiguity and nationalism[iv] that is attached to the song, can be; at its inception, “God Bless America” was conceived as an anthem for peace. It was written at a time when the majority of Americans understood God as the one who makes Himself known in history, as testified to in the Judeo-Christian Bible.

What “God Bless America” became was both a prayer and protest. It focuses, unites, humbles, and in combined song, rouses a challenge against all those who actively seek to do the opposite.

God Bless America” is a song of defiance in the face of an adverse and overwhelming enemy. As a prayer, it becomes the anthem for revolt. Not just against an oppressor from without, but also from within; against the sinful nature of the flesh that exists within each of us, to which God has answered, not by the way of man’s religion, and feeble attempts to save himself, by way of the Cross of Jesus Christ.

In “God Bless America” both the Sh’ma Yisrael and The Lord’s Prayer are heard. If we lean in close enough, we’ll hear Irving, Kate, Barth, Roosevelt and the many others, who, in fox holes, camps and gas chambers, ‘prayed both'[v], we may hear them “whisper their legacy”[vi] to American and non-American alike. I should point out that I’m not an American, but that doesn’t mean I’m exempt from joining in and singing the same kind of prayer and following the same kind of protest. For:

‘Even the “devils believe and tremble,” and I really believe they are more afraid of the Americans’ prayers than of their swords’
(Abigail Adams, 1775, Letters #55)


References:

[i]  Doherty, T. 2013 Hollywood & Hitler: 1933-1939, Columbia University Press, p.291

[ii]  Barth, K. CD Fragments IV:4

[iii]  Busch, E. 2010 The Barmen theses then and now: the 2004 Warfield lectures at Princeton Theological Seminary, Wm.B Eerdmans Publishing Company Grand Rapids Michigan, U.S.A. pp.23 & 37

[iv] For more on this see Sheryl Kaskowitz’s article ‘How “God Bless America” became a conservative anthem’

[v] Victor Frankl: we watched and witnessed some of our comrades behave like swine while others behaved like saints. Man has both potentialities within himself; which one is actualized depends on decisions but not on conditions. Our generation is realistic, for we have come to know man as he really is. After all, man is that being who invented the gas chambers of Auschwitz; however, he is also that being who entered those gas chambers upright, with the Lord’s Prayer or the Shema Yisrael on his lips.’ Man’s Search for Meaning, Beacon Press. p. 134.

[vi] Robin Williams, 1989. The Dead Poets Society.

*According to an unverified source, the Klu Klux Klan, only with Pro-American Nazi’s are said to have boycotted the song. The only source I could find, so far, which mentions this, is parade.com:  6 Things You Didn’t Know About the Song ‘God Bless America’ 

Original image credit: Photo by Jake Ingle on Unsplash

Hidden Emissaries

October 27, 2016 — Leave a comment

.

Hidden emissaries

Fifth columns*, called to rise

Gracefully disguised

.

gerbrand-van-eeckout_1664-cornelius

“Let brotherly love continue. Do not neglect to show hospitality to strangers, for thereby some have entertained angels unawares.”

– (Hebrews 13:1-2, ESV)


Notes:

*According to Thomas Doherty, in Hollywood and Hitler, 2013, Fifth column is a reference that came out of the Spanish Civil War. It is a comment ‘attributed to Rebel commander Emilio Mola during the battle for Madrid in 1936. Mola claimed to have four columns of troops surrounding the city and a fifth column within the city ready to join the offensive.’ (Columbia University Press, p.151)

**Artwork credit:  Gerbrand van den Eeckhout, 1664 ‘Cornielius‘. Inspired by Acts. 10

***Haiku: RL2016

RadarIf 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 accusations from celebrities, and articles written by professionals, 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 antisemitism. [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. 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 books like 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’s descriptions of Nazis behaviour and policy helps to shine a light on where 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.

We have to ask: is there any real difference between what we know as the radical Left and what we know as the extreme Right?

The radical Left is already suspect, when the 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 organized boycott effort has surfaced on any level. Mere proclamations of solidarity are supposed to suffice in the case of Turkey, while the same organizations 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 the upcoming election in the United States, such considerations 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. Victims who are, as a result branded as Nazis, without trial or just cause.

I’m not big on the Right/Left political metaphors in politics because throughout history, they’ve shifted. The metaphor is inadequate. We cannot rely on it entirely. I’m even more suspicious of this metaphor when its applied to theology.

Theology, if it is to remain authentic theology, as Timothy Gorringe states, ‘stands as a critique of ideology.’ [v] To confess that Jesus Christ is Lord necessarily means to admit that Jesus Christ is no human pawn. Christian theology is and always will stand as a critique of all human centred strongholds that claim godlikeness; a challenge to all towers of Babylon. Whether they be, modern, futuristic, ancient, primitive, progressive, conservative, material or spiritual.

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

Just as bandwagon support for hashtag movements or one’s Facebook activity isn’t the ultimate determiner of the legitimacy of one’s Christianity. Allegiance to an ideology cannot justify or earn a place before the throne of God’s grace.

While it may be too early to say for certain that history is being repeated. Given the growing list of facts, it’s not an overstatement to suggest that history is being repeated, but not according to the story we’re being sold. In this case, those in the West who claim to be victims of fascism, who are chasing “Nazis”, and pushing for safe spaces, have more in common with the Nazis, than they do the victims of Nazism.

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

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