送信日時 :2001年 11月 11日 日曜日 1:21 PM
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『亜空間通信』92号(2001/11/11)
【米政府ハリウッド宣伝戦協力求める見返りに「偽」イスラエル支持巻き返し懸念】
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転送、転載、引用、大歓迎！
昨日(2001.11.10) 、韋駄天掲示板に以下の記事が掲載された。
本日(2001.11.11) 、アメリカの歴史見直し論者のブラッドレイ教授が主宰するCODOHには、その後に紹介する英文記事、CNN電網宝庫へのリンクが貼られていた。
http://www.cnn.com/2001/SHOWBIZ/Movies/11/09/hollywood.war/index.html
ハリウッドは、アメリカの大手メディア全体に対する以上に強力な、ユダヤ人マフィア支配の場として著名である。
極右「偽」イスラエル首相を押さえ込んでアラブ諸国を敵に回さない様、矛盾だらけのメディア作戦に苦吟中の不良壮年、アラブ人の神経を逆撫でする「十字軍」などという言葉を使ってしまう国際情勢音痴のブッシュ2世君は、実に危ない賭けをしているのではないか。
米政府、ハリウッドに「宣伝戦」協力求める〔朝日新聞〕
[ ★阿修羅♪ 戦争・国際情勢４ ]
投稿者 FP親衛隊国家保安本部
日時 2001 年 11 月 10 日 16:20:57:アフガニスタン攻撃をめぐる「宣伝戦」に力を入れる米政府は、ハリウッドの娯楽産業にも協力を求める方針を固めた。世界の映像文化を席巻する米映画・テレビ界を利用し、テロ組織の「悪」を訴える狙いだ。
米政府によると、ブッシュ大統領の選挙戦で活躍した政治顧問カール・ローブ氏が１１日に西海岸のビバリーヒルズを訪れ、大手制作会社やスタジオ関係者４０人と面会。「忍耐、勇気、愛国心」を公共コマーシャル化することなどを求めるという。
映画などの物語にも対テロ戦の正当性を訴える筋立てを求めるかどうかについて、フライシャー大統領報道官は「何を協力するかはハリウッドが決めることだ」としつつ否定しなかった。
米政府は、アフガン国内にテロ組織を非難するビラをまく一方、政府系ラジオ「アメリカの声」（ＶＯＡ）で対米協力をアピール中。しかし逆に相次ぐ誤爆や難民の流出などもあってタリバーン側を支持する世論が現地で強まっている。
(16:09)
Uncle Sam wants Hollywood
November 9, 2001 Posted: 12:02 PM EST (1702 GMT)WASHINGTON (CNN) -- Attention screenwriters: It's time to polish that "Casablanca"-meets-"Die Hard" screenplay you've been hiding in the drawer for so many years. Hollywood might be able to use it soon.
President Bush is sending senior officials to Hollywood for a meeting with studio executives on Sunday. The president wants to see just how the film industry can help in the ongoing war on terrorism, and whether the industry is willing to provide patriotic escape during the war effort.
Is it propaganda?
Or patriotism?
Perhaps it's both. Jack Valenti, president of the Motion Picture Association of America, welcomed the meeting, but said he hoped the White House representatives weren't planning "to tell us what kind of movies to make."
It's not the first time moviemakers have been asked to aid the war effort. Hollywood's contribution to World War II marked the final years of the industry's two-decade Golden Age in the 1940s -- a time of rousing, uplifting films aiming to provide a needed entertainment escape while stoking a patriotic fire in the midst of world war.
The classic example is "Casablanca" (1942), written and produced as America descended into WWII. Humphrey Bogart starred as a cynical, heartbroken expatriate who ultimately chooses to back the allied war effort -- and give up a reunion with his lost love -- in the film's climax.
It wasn't the only war-time film. John Wayne took up the cause in films like "The Fighting Seabees" (1944). Future president Ronald Reagan starred in a string of WWII films with titles such as "The Rear Gunner" (1943), "Jap Zero" (1943), "For God and Country" (1943), and "Target Tokyo" (1945).
Frank Capra directed a "Why We Fight" U.S. government series; and cartoons like "Der Fueher's Face" (1943), featuring Donald Duck, and "Russian Rhapsody" (1944), featuring Bugs Bunny, brought patriotic content to that audience.
If they weren't making movies, some top stars were actually fighting -- Jimmy Stewart's and other stars' enlistments brought front-page newspaper reports. On the flip side, anti-war films such as "Let There Be Light" (1946), which detailed the plight of shell-shocked veterans, were kept from U.S. audiences. Since the late 1940s, the dramatic change in the American landscape -- television, war with less than clear objectives, scandal in high places -- helped fuel an equally dramatic change in motion pictures, already shaken by declining attendance and the break-up of the major studio system.
By the 1970s, inspiration was largely replaced by cynicism in movies, as seen in the Francis Ford Coppola classic "Apocalypse Now" (1979), which follows an Army captain's maddening mission into Vietnam to "terminate" a renegade Green Beret.
A string of anti-war/Vietnam movies followed in the 1980s. By the 1990s, the idea of war was replaced with the action-adventure form that increasingly exploited a seemingly insatiable hunger for violence among moviegoers. Politicians fretted.
"Are we sitting back like couch potatoes and watching the systemic elimination of all the lines that separate the acceptable and the unacceptable in our culture?"
Sen. Joe Lieberman asked in 1999. But September 11 changed that, dramatically restoring the lines in the eyes of Hollywood executives.
At least 45 films were canceled, their release dates changed or altered, after terrorists hijacked four airliners. Among those is the $80 million Arnold Schwarzenegger vehicle "Collateral Damage," in which the one-time "Terminator" avenges his family's murder by terrorists.
The movie's release has been delayed while the film is "retooled" after the September 11 attacks. With Sunday's meeting, Bush administration officials hope to cement what they called "a relationship of respect" between Bush and Hollywood and bring the movies full-swing into the campaign against terrorism. Senior White House adviser Karl Rove is expected to head the delegation.
A top concern for him: how a less-than-glowing movie image of the United States could damage support for the war, particularly internationally.
The MPAA's Valenti, despite his trepidation over government intrusion into film content, is looking forward to Sunday.
"Mr. Rove wanted to come out and have a meeting with the top executives of the studios, the television networks, theater owners, to see what ideas we have that would enable this war to be fought on every front," Valenti told CNN.
"The ideas will be lofted at this meeting on Sunday, and then I'll see to it, with my colleagues' help, that we transform these ideas into action."
A low-level meeting a few weeks earlier failed to generate much interest. Hollywood has already been involved in the so-called war on terrorism on another level.
According to Variety, the FBI, in reaction to the events of September 11, approached some of Hollywood's top writers to help them come up with possible terrorist attack scenarios, in order to aid in preparation of homeland security.