Louis Proyect: The Unrepentant Marxist

March 10, 2010

Fighting Fascism Both Outside and Within Parliament

Filed under: Fascism — louisproyect @ 5:49 pm

a guest post by Michael Barker

Last Friday was a momentous day for British plutocracy, it was the day when a fascist group of  street-fighting thugs marched on the Houses of Parliament. Fueled by the incessant racism in the mainstream media, and aided by wealthy elites, Britain is witnessing a dangerous and well-coordinated campaign by right-wing forces intent on profiting from media-driven scapegoating and fear mongering; a campaign that on Friday received the support of conservative parliamentarians, Baroness Cox and Lord Pearson. The visible result of this ongoing propaganda offensive is that in the past few years the British public has been increasingly drawn to support fascist political parties like the British National Party and their associated brownshirts, the English Defence League. (Fascist electoral progress owes much to the fact that they are pooling their resources in just a few constituencies and are temporarily toning down limited aspects of their propaganda for the medias benefit.)

Last Friday not coincidentally also marked a sad day for me and the other anti-fascists who attempted to block the English Defence League’s (EDL) officially sanctioned march to Parliament. This is because although some 300 people had gathered to stand in the path of the fascists, the police decided that they needed to violently disperse our protest to ensure that the EDL could unite in the streets with minimal public resistance.

Police defence of racism is of course far from unusual, but Friday was unusual for me as it was the first time I have ever been arrested. And although the manner of my “arrest” was relatively restrained compared to those around me and those regularly targeted by racial profiling, it was a painful experience nevertheless.[1] Anyway the short of it was that dozens of peaceful protesters were ferreted away (ten to each police van), to locations all over London. In my instance we were taken, along with another van full of protesters, on a two and a half hour journey to Sutton Police station, some 20 km from the protest, and then promptly de-arrested.

Returning to the action: now that the anti-fascist protest had been sufficiently weakened by police intimidation and arrests, “democracy” rolled on as the English Defence League’s march resumed. Here it is worth mentioning that while the blockade that I was a part of was surrounded by police for some hours prior to my arrest (in what is referred to as a kettle), the EDL’s police escort, by way of a contrast, let them retire to the comfort of the Tate Britain gallery to have a few pints of lager until our protest had been broken up. To their credit, even after the police had smashed a large part of the anti-fascist protest, the remaining protesters continued to vocally oppose the EDL, and it is now, once the action was over, that a few members of the mainstream media reluctantly began misreporting on the day’s events.[2]

At this point it is critical to acknowledge the primary reason why right-wing elites helped organize the English Defence League’s last minute march on Parliament. The reason being that they wished to support Baroness Cox and Lord Pearson’s decision to invite Dutch cypto-fascist MP Geert Wilders to the House of Lords to show his anti-Islamic propaganda spiel, Fitna, a film which focused on genocidal anti-Semitism in the Muslim world. Thus Zionists and fascists overcame their differences to combat the mainstream medias latest mythical enemy, the so-called Islamo-fascists. And yes you did hear me right, I said fascists (Nazi-inspired ones at that) and Zionists united, as evidenced by the fact that both Cox and Pearson play a leading role in an Israeli think-tank known as the Jerusalem Summit, a group which was formed to “guide and control US foreign policy, particularly towards the Middle East and to push the world towards a clash of civilization in the form of a global war between the USA and the Arab-Islamic world.”[3] (The most infamous member of the Jerusalem Summit is well-known Zionist neocon, Daniel Pipes.)

To sum up, the  English Defence League represents a clear and present threat to the British public, something that was more than evident by their recent rampage through the streets of Stoke. Their orgy of violence in Stoke was of course not reported on by the mainstream media, and as one might expect the police made little effort to stop their riot. Thus it is imperative that all people concerned with resisting racism oppose their next planned rally which is due to be held on Saturday 20 March in Bolton.


[1] While facing away from the police I was assaulted with what was either a punch or a knee to my thigh (I couldn’t tell which as I could not my police attackers), then I had my jeans ripped off my body, and a police officer applied a pressure point hold to my neck to prevent my passive resistance. (For more information on the routine use of police violence, click here.)

[2] This story was barely covered in the mainstream media, but one video report that strangely gives equal time to EDF and anti-fascists can be found on The Guardian’s Web site, see “When the English Defence League came to London” (March 5, 2010). Alternatively for useful commentary on the EDL and on the London protest, see Richard Seymour, “The Police, the Fascists, and the Antifascists,” Lenin’s Tomb, March 6, 2010; Viv Smith and Mark Thomas, “Anti-fascists confront the English Defence League in London,” Socialist Worker Online, March 6, 2010; Martin Smith, “The BNP and EDL,” Socialist Review, March 2010.

[3] Lord Pearson of Rannoch and Baroness Cox of Queensbury in addition to both being ardent Zionists supplement their conservative activism by serving on the board of trustees of a “humanitarian” venture known as the Humanitarian Aid Relief Trust (HART). Cox founded HART in 2003, and Pearson presently serves as the chair of their board of trustees. Other notable members of HART’s board include Anthony Peel who is a trustee of Christian Solidarity Worldwide (see below), and Nicholas Mellor who is the co-founder of Medical Emergency Relief International, a group whose board of trustees is chaired by Lord Jay of Ewelme, an individual who was Tony Blair’s personal representative to the G8 Summits in 2005 and 2006. (Baroness Cox used to serve as a trustee of Medical Emergency Relief International.)

Christian Solidarity Worldwide was formerly headed by Baroness Cox (who now acts as a patron of the organization), and it was formed in 1997 as the British branch of Christian Solidarity International. The  chairman and CEO of Christian Solidarity International (USA) since 1990,  John Eibner, acts as an expert for the neoconservative Zionist think tank, the Middle East Forum (which is headed by Daniel Pipes). For a detailed examination of the ties between Zionists and Christian human rights activists, see “The Project For A New American Humanitarianism: Olympian Ambitions from Darfur to Tibet and Beijing” (Swans Commentary, August 25, 2008).

The chairman of the Jerusalem Summit’s international advisory board is the long-serving right-wing activist, Gary Bauer. Here it is interesting to note that Gary’s wife, Carol Bauer, has been a board member of another conservative democracy-manipulating group called AmeriCares, an organization that I critiqued in detail in another article (published today).

March 9, 2010

NY Timesman speaks out

Filed under: journalism, media — louisproyect @ 2:18 am

John Swinton, former Chief of Staff of The New York Times, circa 1880, “On the Independent Press”:

There is no such thing in America as an independent press, unless it is  in the country towns.

You know it and I know it. There is not one of you who dares to write  his honest opinions, and if you did you know beforehand that it would never appear in print.

I am paid $150.00 a week for keeping my honest opinions out of the paper I am connected with – others of you are paid similar salaries for similar things – and any of you who would be so foolish as to write his honest opinions would be out on the streets looking for another job.

The business of the New York journalist is to destroy the truth, to lie outright, to pervert, to vilify, to fawn at the feet of Mammon, and to sell his race and his country for his daily bread.You know this and I know it, and what folly is this to be toasting an “Independent Press.”

We are the tools and vassals of rich men behind the scenes. We are the jumping-jacks; they pull the strings and we dance. Our talents, our possibilities and our lives are all the property of other men. We are intellectual prostitutes.

http://booksinternationale.pbworks.com/John+Swinton

March 8, 2010

Chushingura; Harakiri

Filed under: Film, Japan — louisproyect @ 11:10 pm

The figure of the ronin, or unemployed samurai, is a staple of Japanese movies that received its most celebrated treatment in Akira Kurosawa’s Yojimbo and The Seven Samurai. Recently I saw two movies made in 1962—both available from Netflix—that offered starkly contrasting views of their ronin heroes, suggesting as a corollary alternative takes on Japanese culture and values.

The first is Hiroshi Inagaki’s 206 minute Chushingura, a name given to literary accounts of the 1703 vendetta by 47 ronin of the house of Asano whose master was forced to commit seppoku (ritual disembowelment known as harikiri outside of Japan) after landing only glancing blows against Lord Kira in the Shogun’s castle in Edo. Not only has the incident inspired several movies, it is also the subject of Kabuki and Bunraku (puppet plays) as well as serving as a kind of national martyrdom mythos on a par with Joan of Arc for the French or the Battle of the Alamo for the Americans. There is no trailer unfortunately for the 1962 movie on Youtube or elsewhere but this Kabuki version might give you a flavor for what is in the film:

At the beginning of the movie, Lord Naganori Asano (Yûzô Kayama) is embroiled in conflicts with Lord Yoshinaga Kira (Chûsha Ichikawa), a much more powerful figure with far less scruples than Asano who he presses repeatedly for bribes. When Asano refuses to make payments, Kira refuses to turn over instructions from the Shogunate about his duties. Without the document, Asano will lose his place in the pecking order of a grotesquely feudal pecking order and all that goes with it. When he strikes Kira with his sword in a fit of rage, he still ends up losing everything—including his life.

The conflict between Kira and Asano takes up perhaps the first half-hour of the film. From that point on, it becomes the story of his retainers who are forced to vacate the clan’s castle and take jobs as common tradesmen. Eventually we discover that their leader, Asano’s second in command, has a vendetta planned to kill Kira and uphold Bushido, the Samurai’s ethos of loyalty and courage. For most of the film, up until the final 20 minutes or so that depicts the bloody battle between Asano’s 47 ronin and Kira’s bodyguards, the plot revolves around the quotidian existence of an unemployed Samurai.

The Kira camp is lulled into a false sense of security from the seeming withdrawal of the 47 ronin from vendetta. But unbeknownst to their enemies, Asano’s former retainers have a major assault on Kira’s mansion. It is as much of a surprise as the Corleone family’s attack on the Five Families at the end of Godfather Part I.

I can only recommend this film for those with a particular interest in Japanese culture since it is clearly made for the domestic market and more particularly for the segment of Japanese society that has a thing about traditional values. At its most benign, this amounts to a commitment to courage, loyalty and honesty. At its worst, it is manifested as the 1941 version of Chushingura that was meant to arouse the Japanese army to a blind sense of devotion to the imperial cause. Unlike the hackwork put out for the Nazis by Veidt Harlan, the 1941 version was directed by Kenji Mizoguchi, one of Japan’s greatest directors who would go on to make Ugetsu in 1953, regarded as one of the greatest movies of all time. Mizoguchi made Chushingura under duress and the end product was considered insufficiently martial in spirit.

Also made in 1962, Masaki Kobayashi’s Harakiri is everything that Chushingura is not. Closer in spirit to Yojii Yamada’s recent samurai trilogy, it is a passionate denunciation of feudal values and especially the ritual suicide of the film’s title. For both Kobayash and Yamada, the feudal overlords represent a brutal and unyielding system that victimizes the samurai even as it puts them on a pedestal.

As art, Harakiri is Japanese movie making at its very pinnacle and surely ranks with Kurosawa and Yamada for its narrative and dramatic power. Unlike Chushingura, there are no slack moments as the movie hurdles forward with the power of a diesel locomotive until its wrenching conclusion.

It stars Tatsuya Nakadai as the middle-aged ronin Hanshiro Tsugumo who has arrived at the Iyi palace in order to make a request that was frequently being heard in such quarters in the capital of Edo in 1630.

Without a job and any prospects in a period of general peace, the warrior decides to do the only thing that makes sense—to disembowel himself in the house of a powerful Lord with all the dignity that entails.

The lord of the house Kageyu Saito (Rentaro Mikuni) feels duty-bound to explain to Tatsuya that when another ronin named Motome Chijiiwa showed up a couple of months earlier with a similar request, they decided to force him to go through with harakiri even though it was likely that he was only seeking a handout to last him for a few days. Given the collapse of so many samurai clans in the recent past, there had to be some way to set an example for other such beggars. Tatsuya reassures the lord of the manor that he fully intends to kill himself.

Through a series of flashbacks Lord Kageyu describes how the much younger ronin Motome was trapped into taking his life. He was prevented from leaving the palace until the deed was done in full view of his retainers. Unfortunately for Motome, he had to make do with a bamboo sword, an inexplicable replacement for the usually highly tempered steel instrument. Instead of lasting a second or two with a steel blade, Motome’s death is painfully drawn out he stabs himself with .the dull bamboo blade. Watching the lord and his retinue take in this spectacle is enough to inoculate one against Bushido culture once and for all, which was the director and screenwriters’ (Shinobu Hashimoto, Yasuhiko Takiguchi) intention.

Before taking his life in the same manner as Motome, Tatsuya only has one request. He wants to tell the imperious lord Kageyu how he came to such a desperate state and also why Motome was in such a state himself, adding that he knew Motome quite well and understood his decision.

Without giving away too much of the plot, it turns out that Tatsuya is Motome’s father-in-law and is seeking vengeance against the aristocrat and samurai warriors who forced him to kill himself. The movie moves forward through a series of flashbacks and encounters between Tatsuya and Kageyu as each flashback ends.  At each point, Kageyu demands that the ronin get on with the hari-kiri, only to be told that the story is not finished. The climax of the movie, as you might expect, involves a choreographed fight between the ronin and Kageyu’s men. It is about as exciting a sequence as you will see in a Japanese samurai movie. It should be mentioned that the actor who plays Tatsuya was Toshiro Mifune’s replacement in Akira Kurosawa’s movies after their falling out. He is simply brilliant.

Harikiri is the first movie I have ever seen by Masaki Kobayashi who also directed The Human Condition, a trilogy on the effects of World War II on a Japanese pacifist and socialist. The wiki on Kobayashi states that he himself was a pacifist, who after being drafted into the Imperial Japanese Army during World War II, refused to fight and refused promotion to a rank higher than private. Those are the kinds of values the Japanese should be celebrating, not Bushido.

March 6, 2010

Perry Anderson’s Weberian turn

Filed under: China, ussr — louisproyect @ 8:31 pm

Perry Anderson

In a massive (15,308 words) article that appears in the current New Left Review, Perry Anderson addresses “Two Revolutions”, namely the Russian and the Chinese. My expectations were that Anderson would be interesting as well as wrong. He did not disappoint.

Mostly the article can be reduced to a kind of laboratory experiment where one rat is compared to another. The rat that has been fed a constant diet of Big Macs will look sickly while the one that eats wheat germ and yogurt will look great. That, in a nutshell, is how Anderson approaches Russia and China. China’s success story, we are told, has a lot to do with “communism”, a term that Anderson deploys much more in the terms of bourgeois social science than Marxism. This is to be expected from somebody who announced to the world in 2000 in a NLR article titled “Renewals” that:

By contrast, commanding the field of direct political constructions of the time, the Right has provided one fluent vision of where the world is going, or has stopped, after another—Fukuyama, Brzezinski, Huntington, Yergin, Luttwak, Friedman. These are writers that unite a single powerful thesis with a fluent popular style, designed not for an academic readership but a broad international public. This confident genre, of which America has so far a virtual monopoly, finds no equivalent on the Left.

Little did Anderson suspect that only a few years later Fukuyama would do a 180 degrees turn and disavow his “end of history” thesis under the impact of an imploding financial system. That being said, he still seems smitten by the prospects of being “fluent” and “powerful”. I for one place much more importance on being truthful and revolutionary.

Setting the tone for the rest of the article, Anderson invokes the authority of Max Weber in distinguishing between the healthy and the sick lab rats.

More than just the wholly different temporality of this experience separated it from the overturn in Russia. The way in which power was won was altogether distinct. If the state is defined, in Weber’s famous formula, by the exercise of a monopoly of legitimate violence over a given territory, a revolution always involves a breaking of that monopoly, and the emergence of what Lenin and Trotsky called a dual power. Logically, there are three ways in which this can arise, corresponding to the three terms of Weber’s formula. A revolution can break the monopoly of the state’s power by destroying the legitimacy of its rule, so that coercion cannot be exercised to repress the movement against it. The Iranian Revolution, in which there was no fighting, the royal army remaining paralysed as the monarchy fell, would be an example. Alternatively, a revolution can pit an insurgent violence against the coercive apparatus of the state, overwhelming it in a quick knock-out blow, without having secured any general legitimacy. This was the Russian pattern, possible only against a weak opponent.

I don’t quite know what to make of all this except to say that I find Karl Marx’s definition of the state much more useful since it is put forward in class terms. In the formula above, that criterion is entirely missing.

Using the Weberian yardstick, Anderson finds the essential difference between Russia and China to revolve around the ability of the state to mobilize the power of the masses in achieving its goals in the fashion of a quarterback relying on his linemen. We are led to understand that the Chinese had a much better team, something that was afforded to a large part by particular historical circumstances as Anderson explains:

The victory of the PLA, far from leaving economy and society ravaged, delivered recovery and stability. Inflation was mastered; corruption banished; supplies resumed. In the countryside, landlordism was abolished. In the cities, no sweeping expropriation was needed, since over two-thirds of industry was already state-owned under the GMD [Nationalists], and comprador capital had fled to Hong Kong or Taiwan. The middle class was so alienated by the last years of Nationalist rule that much of it greeted the arrival of Communism with relief rather than resistance; as production revived, workers returned to normal employment and received wages again. The People’s Republic, embodying patriotic ideals and social discipline, entered life enjoying a degree of popular assent that the Soviet Union never knew.

After a while it becomes clear that Anderson’s main interest is in establishing how successful Russia and China were in accomplishing a set of goals usually associated with development economics and modernization, the very stuff of graduate school seminars using the texts of Max Weber, Walt Rostow and Theda Skocpol for reading assignments. By this criterion, progress is measured less in terms of social equality than it is in GDP. Anderson writes that Russia had a more auspicious beginning:

Of the two states as they crossed the threshold of reform, the USSR enjoyed to all appearances much the better conditions, material and cultural, for success. Its GDP was four to five times higher than that of China. Its industrial base was far larger, employing over twice the relative labour force. It was richer in nearly every natural resource—fossil fuels, valuable minerals, abundant land. It was much more urbanized. Its population was better fed, with an average intake of calories half as much again as in China.

But China would eventually leapfrog Russia largely because it could rely on much better “grunts”, the sort of social muscle that could put the football over the goal-line:

Socially, too, China had one huge, critical advantage over the USSR. The peasantry was not a listless, sullen rump of the class it had once been, as in Russia. It was neither tired nor disaffected, but full of potential energy, waiting to be released, as events would show. Historically, it had never possessed collective institutions comparable to the MIR. Rural society, long atomized in the North and shaken loose by the Taiping upheaval in the South, could recover after the Great Leap Forward with centuries of market impulses behind it. The absence of deep agrarian alienation was not, moreover, simply a difference between the two countrysides. Making up the overwhelming majority of the population, the Chinese peasantry was the central pediment of the nation. Its nearest equivalent in the USSR, even if not so proportionately large a part of society, would have been the industrial working class. But it too, though not so demoralized as the kolkhozniki, was by the 80s thoroughly disabused as a social force, deeply cynical about the regime, inured to make-work and low productivity, in compensation for the vast gap between its nominal role as the leading class in the state and its actual position in the hierarchy of privilege.

But most of all, China could rely on its superior leadership, who by comparison to the Soviet leaders were virtual Bart Starrs:

Yet, at the gateway to their reforms, perhaps the most decisive of all the differences between Russia and China lay in the character of their political leadership. In command of the PRC was not an isolated, inexperienced functionary, surrounded by aides and publicists infused with a naive Schwärmerei for all that was Western, but battle-hardened veterans of the original Revolution, leaders who had been Mao’s colleagues, and had suffered under him, but had lost none of their strategic skills or self-confidence.

Well, it is always good to have strategic skill and self-confidence especially when it comes to selling real estate or corporate bonds but I wonder how much this has to do with “communism”. Once again, Anderson is demonstrating a keen interest in everything about Russia and China except what once distinguished him as a Marxist a lifetime ago: the interests of the working class. For Anderson, the term “Leninist” does not mean what it once did. It is not what made Fidel Castro an exceptional politician but the kind of gift that will  help you climb the corporate ladder at a place like Microsoft:

In confronting the situation of the country as Mao had left it, this leadership, with Deng at its head, remained the revolutionaries they had always been. Their temper was Leninist: radical, disciplined, imaginative—capable at once of tactical patience and prudent experimentation, and of the boldest initiatives and most dramatic switches of direction.

Much of the rest of the article is devoted to breathless invocations to the special gifts of the Chinese rulers that can be found in Andre Gunder Frank’s “Reorient”, Martin Jacques’s latest book or in any of a dozen book-of-the-month club selections hailing the “Chinese century”:

The task of making good the lag between communism in China and capitalism in East Asia was a formidable agenda for any programme of reforms. But the Immortals were not daunted. They tackled it with a vigour born not just from the momentum, still active, of the Revolution they had made, but from a millennial self-confidence, battered for a century, but ultimately unbroken, of the oldest continuous civilization in the world. Mao’s dynamism, for better or worse, had been one expression of the recovery of that confidence. The Reform Era propelled by Deng would be another. In this historical self-assurance lay a fundamental difference between Russia and China.

Anderson seems to be as mesmerized by China as the editors of Monthly Review are by Iran. In neither country are workers permitted to challenge the bosses who invoke socialism or Islam in laying down the law. It is a sign of the times that these two august publications have succumbed to the siren call of the powerful state rather than the possibility of socialist transformation.

In Anderson’s 2000 article, he virtually washed his hands of the socialist project:

Ideologically, the novelty of the present situation stands out in historical view. It can be put like this. For the first time since the Reformation, there are no longer any significant oppositions—that is, systematic rival outlooks—within the thought-world of the West; and scarcely any on a world scale either, if we discount religious doctrines as largely inoperative archaisms, as the experiences of Poland or Iran indicate we may. Whatever limitations persist to its practice, neo-liberalism as a set of principles rules undivided across the globe: the most successful ideology in world history. What this means for a journal like NLR is a radical discontinuity in the culture of the Left, as it—or if it—renews itself generationally. Nowhere is the contrast with the originating context of the review sharper than in this respect. Virtually the entire horizon of reference in which the generation of the sixties grew up has been wiped away—the landmarks of reformist and revolutionary socialism in equal measure. For most students, the roster of Bebel, Bernstein, Luxemburg, Kautsky, Jaurès, Lukács, Lenin, Trotsky, Gramsci have become names as remote as a list of Arian bishops. How to reweave threads of significance between the last century and this would be one of the most delicate and difficult tasks before any journal that took the term ‘left’ seriously. There seem to be few guide-posts for it.

When Perry Anderson was in his twenties, he wrote two books that challenged exactly such moods that had turned an earlier generation of Marxists into pessimists. “Considerations on Western Marxism” and “In the Tracks of Historical Materialism” rebuked those who retreated into the academy and turned Marxism into the stuff of graduate seminars rather than the barricades.

The combined impact of a general retreat of the mass movement and his own donnish pursuits have led Perry Anderson into exactly what disgusted him as a young man. Some of us remain unrepentant Marxists while others find ways to become penitents. Of course, it would be a lot better if they simply dropped the pretensions to Marxism for the sake of clarity.

Back in March of 1999 Edward Sidelsky wrote a rather devastating profile of Perry Anderson in the New Statesman that is worth reproducing in its entirety. I will conclude on this sad note:

The New Statesman Profile – Perry Anderson; He is one of Britain’s great Marxist intellectuals, yet now he seems a strangely conservative figure.

By Edward Skidelsky

Perry Anderson exemplifies a type that has almost vanished: the unaffiliated intellectual. The leading British Trotskyite, he has never belonged to a political party. An eminent historian, he has never held a full-time post at a British university. His writing belongs to none of the various categories of academic literature; it attempts, at its most ambitious, to comprehend them all in a total synthesis. His thought owes allegiance to no national tradition; it belongs to the floating corpus of western Marxism. It is fitting, if ironic, that this revolutionary free-booter should finally settle at the University of California at Los Angeles. Repressive tolerance has triumphed over one of its fiercest adversaries. Anderson is notoriously elusive. No interviews, no broadcasts – and even the London School of Economics, where he is a visiting lecturer, did not have a photograph to contribute to the illustration of this profile. Yet for all his elusiveness, his influence on British intellectual life has been enormous. The conduit of this influence was the New Left Review, the socialist bi-monthly which he edited from 1962 to 1982. Anderson’s goal was the introduction into Britain of a new kind of socialist culture, alternative to both the official Marxism of the Communist Party and the stolid reformism of the Labour Party. His followers saw themselves as a revolutionary vanguard. Inspired by Gramsci, they aimed to establish a socialist hegemony in the realm of ideas from which, they hoped, a revolutionary movement would follow. The leading lights of Continental Marxism – Lucacs, Gramsci, Benjamin, Adorno, Marcuse and Althusser – were published and discussed, often for the first time in Britain. Non-Marxist structuralists such as Lacan and Levi-Strauss were also introduced. High theory was interspersed with the other amour of the era: Latin American terrorism.

Anderson’s cosmopolitanism is partly a product of biography. He was born in 1940 into a wealthy Anglo-Irish family; his father was an official in the Chinese Maritime Customs. Eton and the stuffy Oxford of the 1950s no doubt exacerbated Anderson’s distaste for ’spiritual patriotism’. Marxism offered the alternative of a truly international ideology, and Trotskyism, with its tradition of ‘revolution in more than one country’, was the most internationalist variant of Marxism. Anderson cites, as precedent for his own attitude, ‘the scorn of Marx and Engels for German provinciality and philistinism, of Lenin and Trotsky for Russian religiosity and Oblomovism, of Gramsci for Italian operatics and sentimentalism’. The cosmopolitanism of Marxist theory was, one suspects, a stronger source of appeal for Anderson than its promise of social justice. His is a socialism of the head, not the heart.

The agenda of the New Left Review was set out by Anderson in a couple of fierce polemics: ‘Components of the National Culture’ (1968) and ‘Origins of the Present Crisis’ (1964). They are the most scintillating essays he has written. The mediocrity of postwar intellectual life in Britain is the subject of the former. Written with a young man’s scorn, the essay surveys and dismisses British contributions to history, philosophy, political theory, psychology and aesthetics. These local failings are the consequence of a more fundamental vacuum: the absence, at the centre of British intellectual life, of any general theory of society that might unify the disparate branches of inquiry. Sociology, in Anderson’s view, is the queen of the sciences. In its absence, intellectual life fragments; a process dignified by the English totems of ‘empiricism’ and ‘piecemeal research’. This failure is not innocent; nothing is innocent for a Marxist. The absence of social theory serves to perpetuate the bourgeois social order; that which cannot be conceived cannot, a fortiori, be attacked.

‘Origins of the Present Crisis’ was one of a series of articles by Anderson and Tom Nairn offering a historical explanation for the predicament analysed in ‘Components of the National Culture’. The failure of the English bourgeoisie to develop a coherent world-view was, they argued, a consequence of its failure to draw a clear line of opposition between itself and the aristocracy. The revolution of 1640 was aborted: the reform of 1832 half-hearted. A corrupt bargain was struck between nobility and capital, in which the former lent dignity to the latter in return for the preservation of its constitutional privileges. The timidity of the bourgeoisie in the face of the aristocracy was later paralleled by the timidity of the proletariat in face of the bourgeoisie. ‘A supine bourgeoisie produced a subordinate proletariat.’ The proletariat accepted from the bourgeoisie the ‘timid and dreary’ philosophy of Fabian gradualism. The result was ‘Labourism, most stolid and mundane of political movements’. This denigration of British history provoked a passionate reply from E P Thompson, a Marxist of very different lineage. Anderson responded, and their exchange is as interesting and as revealing as the better-remembered ‘Two Cultures’ debate between F R Leavis and C P Snow.

Anderson’s argument was put forward as an explanation not only of Britain’s cultural conservatism, but also of her relative economic decline. It addressed a widespread mood of the 1960s, in which anti-establishment attitudes were mingled with anxiety about falling growth. The image of the ‘clean break’ seemed to answer both problems at once. It quickly became part of the lexicon of Wilsonism; its echoes are still audible today in Blair’s rhetoric of ‘modernisation’.

The influence of the New Left Review increased steadily under Anderson’s editorship, its circulation rising from 2,000 to 8,000. Its impact was particularly strong in the new universities and polytechnics, where it contributed to the formation of that leviathan called critical theory. But as the New Left Review entered the 1980s, it became increasingly clear that the revolution it had initiated would not spread beyond the academy. And even there, its influence was confined to certain sub-disciplines in the humanities. All it had achieved, in fact, was the replacement of one kind of intellectual provincialism with another. It could hardly have been otherwise, given the collapse of socialist politics in this period.

The movement away from practical politics towards questions of culture and ideology is characteristic of western Marxism as a whole. The failure of Marx’s political and economic predictions left his disciples with only one remaining role – that of Kulturkritiker. As Anderson himself points out, ‘the hidden hallmark of western Marxism . . . is that it is the product of defeat’. His attitude towards it is ambivalent. Admiring its sophistication, he reproaches it with ‘culturalism’ and contrasts it unfavourably with the classical tradition of Trotsky. Even Gramsci, the most politically minded of the great western Marxists, is accused of shifting the burden of revolutionary struggle on to the cultural sphere and neglecting the mechanics of state power.

Anderson is too intelligent and honest to deny the intellectual and political triumph of the right in the past decade, and yet he has never formally renounced his revolutionary convictions. They have just sunk quietly into the background, becoming a kind of coda to what is now his main occupation – the exposition of other people’s ideas. In this he is masterly. Yet intellect and political loyalties still occasionally conflict, producing confusion. A good example of this is his essay on Francis Fukayama’s The End of History. Fukayama’s grand narrative of historical progress – even though it culminates in the triumph of bourgeois liberal democracy – is of precisely the kind to win Anderson’s admiration. Anderson defends it against its detractors, claiming, on impeccably Marxist grounds, that their various refutations of Fukayama’s hypothesis amount to nothing more than local difficulties, and do not constitute a genuine contradiction. But then – as if suddenly realising what he has admitted – he amasses a whole set of difficulties of his own, ranging from environmental problems to feminism. But these are no more a fundamental contradiction than the difficulties he has previously dismissed. All are manageable within the confines of the present world-system. Fukayama has beaten Anderson at his own game.

Defeated on the political plane, Anderson has at last succumbed to the ’siren voices of idealism’. His latest essay, The Origins of Postmodernity, is a work of cultural criticism in the classic tradition of Benjamin and Adorno. It is essentially a defence and an elaboration of Frederic Jameson’s thesis that postmodernism constitutes ‘the cultural logic of late capitalism’.

Postmodernism is a natural target of attack for a Marxist. What it signifies is the final disappearance of any critical perspective on the capitalist order. The Soviet Union, for all its imperfections, provided such a perspective, and its existence sustained the avant-garde throughout Europe and America. Now there is nothing but capitalism. Any revolt is immediately assimilated and commodified. Art, realising this, has abandoned its haughty intransigence and entered into alliance with the market. The tone of the essay is one of sorrowful resignation. Anderson can diagnose the malady, but he has no cure.

There is something strangely conservative about Anderson’s denunciation of a world in which, to quote Jameson, ‘we are henceforth so far removed from the realities of production and work that we inhabit a dream world of artificial stimuli and televised experience’. All that remains of Marxism, now that the political illusions have been shattered, is nostalgia for a lost seriousness. It can hardly be a coincidence that the fiercest critics of postmodernism, the most intransigent defenders of the eternal verities, have all been Marxists: Alex Callinicos, David Harvey and Terry Eagleton. At first glance this appears an ironic reversal, but on reflection it could hardly have been otherwise. Marxism cannot be other than conservative, because the one truly revolutionary ideology of the modern world – under whose sign ‘everything solid melts into air’ – is capitalism.

March 5, 2010

Student sing in protest

Filed under: financial crisis — louisproyect @ 4:23 pm

March 4, 2010

Protest IDF Fundraiser in NYC on March 9

Filed under: middle east — louisproyect @ 11:24 pm

2009 James Agee Cinema Circle awards

Filed under: Film — louisproyect @ 2:57 pm

(I am a member and obviously disagree with some of these decisions, especially the award to Precious and the trashing of Inglourious Basterds.)

FOR IMMEDIATE RELEASE

Contact: Ed Rampell, Los Angeles
Phone: (626)810-0153
Cell: (626)429-7343
Email: erampell@gmail.com
Website: http://politicalfilmcritics.blogspot.com/

2009 PROGIE AWARDS FOR BEST PROGRESSIVE FILMS & ARTISTS

The Awards Honor Outstanding Movies and Artists of Conscience and Consciousness

Los Angeles, March 1, 2010 – The James Agee Cinema Circle is announcing the third annual “Progie” Awards for Best Progressive Films and Filmmakers of 2009.

The James Agee Cinema Circle is a new international, independent umbrella group of lefty film critics, reviewers, scholars and historians dedicated to raising public awareness about films dealing with political, social and cultural issues such as: Human rights, workers’ struggles, women’s rights, environmentalism, ethnic rights, free speech, gay rights, civil liberties, immigrant rights, people’s activism and peace. The JACC annually presents the Progies to the year’s Best Progressive studio features, indies, documentaries and artists. The Progies are the “un-Oscar”, the “people’s alternative Academy Awards,” honoring movies and talents of conscience and consciousness.

The 2009 Progie Award winners include: Michael Moore’s anti-corporate documentary Capitalism, A Love Story; the Palestinian immigrant drama Amreeka; the German urban guerrilla feature The Baader-Meinhoff Complex; the psychic military unit satire The Men Who Stare At Goats and British director Ken Loach, all completely overlooked by this year’s Oscars. The pro-gay, anti-abuse inner city drama Precious and James Cameron’s pro-indigenous, anti-colonial sci fi epic Avatar are also among the Progie Award winners.

Each Progie is awarded in a category named after a great cinema artist or film that made a contribution to movies that enlighten, as well as entertain audiences. The Elia Kazan Hall of Shame category has multiple entries submitted by J.A.C.C. voters.

Ed Rampell, author of Progressive Hollywood, A People’s Film History of the United States, and other members of the James Agee Cinema Circle are available for comment and interviews.

2009 PROGIE AWARDS FOR BEST PROGRESSIVE FILMS & ARTISTS

1. THE TRUMBO: The Progie Award for BEST PROGRESSIVE PICTURE is named after Oscar-winning screenwriter Dalton Trumbo, a member of the Hollywood Ten, who was imprisoned for his beliefs and refusing to inform. Trumbo helped break the Blacklist when he received screen credit for “Spartacus” and “Exodus” in 1960.

Avatar

2. THE GARFIELD: The Progie Award for BEST ACTOR in a progressive picture is named after John Garfield, who rose from the proletarian theatre to star in progressive pictures such as “Gentleman’s Agreement” and “Force of Evil,” only to run afoul of the Hollywood Blacklist.

Colin Firth, A Single Man

3. KAREN MORLEY AWARD: The Progie Award for BEST ACTRESS in a progressive picture is named for Karen Morley, co-star of 1932’s “Scarface” and 1934’s “Our Daily Bread.”

Gabourey Sidibe, Precious

4. THE RENOIR: The Progie Award for BEST ANTI-WAR FILM is named after the great French filmmaker Jean Renoir, who directed the 1937 anti-militarism masterpiece “Grand Illusion.”

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5. THE GILLO: The Progie Award for BEST PROGRESSIVE FOREIGN FILM is named after the Italian director Gillo Pontecorvo, who lensed the 1960s classics “The Battle of Algiers” and “Burn!”

The Baader-Meinhoff Complex

6. THE DZIGA: The Progie Award for BEST PROGRESSIVE DOCUMENTARY is named after the Soviet filmmaker Dziga Vertov, who directed 1920s nonfiction films such as the “Kino Pravda” (“Film Truth”) series and “The Man With the Movie Camera.”

The Cove

7. LA PASSIONARA AWARD: The Progie Award for MOST POSITIVE FEMALE SCREEN IMAGE is named after Dolores Ibarruri, the fiery leader of the Spanish Republic who appeared in documentaries such as Joris Ivens’ “The Spanish Earth.”

Amreeka

8. OUR DAILY BREAD AWARD: The Progie Award for the MOST POSITIVE AND INSPIRING WORKING CLASS SCREEN IMAGE.

A three way tie:

Capitalism, A Love Story

Amreeka

Sunshine Cleaning

9. THE ROBESON: The Progie Award for the BEST PORTRAYAL OF PEOPLE OF COLOR that shatters cinema stereotypes, in light of their historically demeaning depictions onscreen. It is named after courageous performing legend, Paul Robeson, who starred in 1936’s “Song of Freedom” and 1940’s “The Proud Valley,” and narrated 1942’s “Native Land.”

Precious

10. THE SERGEI: The Progie Award for LIFETIME PROGRESSIVE ACHIEVEMENT ON- OR OFFSCREEN is named after Sergei Eisenstein, the Soviet director of masterpieces such as “Potemkin” and “10 Days That Shook the World.”

Ken Loach

11. THE TOMAS GUTIERREZ ALEA AWARD: The Progie Award for BEST DEPICTION OF A MASS POPULAR UPRISING OR REVOLUTIONARY TRANSFORMATION is named after the legendary Cuban filmmaker who directed 1968’s “Memories of Underdevelopment” and 1994’s “Strawberry and Chocolate.”

Avatar

12. THE BUNUEL: The Progie Award for the MOST SLYLY SUBVERSIVE SATIRICAL CINEMATIC FILM in terms of form, style and content is named after Luis Bunuel, the Spanish surrealist who directed 1929’s “The Andalusian Dog,” 1967’s “Belle de Jour” and 1972’s “The Discreet Charm of the Bourgeoisie.”

The Men Who Stare At Goats

13. THE PASOLINI: The Progie Award for BEST PRO-GAY RIGHTS film is named after Italian director Pier Paolo Pasolini, who directed 1964’s “The Gospel According to St. Matthew” and “The Decameron” and “The Canterbury Tales” in the 1970s.

A Single Man

14. THE LAWSON: The Progie Award for BEST ANTI-FASCIST FILM is named after John Howard Lawson, screenwriter of 1938’s anti-Franco “Blockade” and the 1940s anti-Nazi films “Four Sons,” “Action in the North Atlantic,” “Sahara” and “Counter-Attack,” and one of the Hollywood Ten.

White Ribbon

ELIA KAZAN HALL OF SHAME 2009: Citations for the worst anti-working class and right wing movies of the year is named after director Elia Kazan, who was Hollywood’s “King Rat.” Kazan not only informed on alleged radicals to the House Un-American Activities Committee, he took out a New York Times ad justifying his self-serving treachery. J.A.C.C. voters submitted these entries:

Jon Voight for participating in Tea Bagger anti-healthcare reform rallies. He should return his Oscar for Coming Home!

Sherlock Holmes for what appears to be disgraceful anti-Semitism and ripping off the brand name previously created by Sir Arthur Conan Doyle.

Quentin Tarantino, Inglorious Basterds – Turning the Holocaust into an obscene ahistoric movie-geek action film, with his testosterone-driven murderous Jews.

Precious
The Hurt Locker
Antichrist

Up in the Air

Precious
Blind Side
The Hurt Locker
Sherlock Holmes

Andrew Breibart and James O’Keefe.

###

March 3, 2010

Some thoughts on the Leveretts in Iran

Filed under: Iran — louisproyect @ 3:51 pm

Flynt and Hillary Mann Leverett: useful idiots?

(A guest post by Mina Khanlarzadeh)

Flynt Leverett and Hillary Mann Leverett traveled to Iran and some other countries in the Middle East. They visited Tehran University and talked to the students there to find out about the political atmosphere of the country. They didn’t see any of the imprisoned students, obviously because they are held in the prisons. They didn’t see any of the escapee students, obviously because they are hiding out of view. They didn’t see thousands of imprisoned people, obviously because they are in jail. They didn’t get to see the journalists, human rights and women’s rights activists because they are either forced into exile, held in the prisons or fleeing from one town to another to avoid arrest. Did they talk to Sohrab Erabi’s mother? Did they talk to any members of the Mourning Mothers? Did they talk to Zhila Baniyaghoub, a women’s rights activist and journalist, who was imprisoned after the election? How about Jila’s husband Bahman Ahadi Amoee, an economic journalist, imprisoned from June 2009? Did they ask Jila what she thinks of the political situation of the country that has kept her beloved one in jail from June 2009 despite his health condition? Did they talk to one of the students in this video who were beaten up and arrested three nights after the 2009 June election in a dormitory of Tehran University? Did they see any of the workers who have been unpaid for a considerable number of months? Did they see the family of the imprisoned Mansoor Osanloo, the one who only wanted an independent union for him and his fellow workmates with wages about the poverty level (his income was less than a third the poverty level)? How about Farzad Kamangar the teacher who is imprisoned for his union activism?

Did the Leveretts speak to these students?

I didn’t see any mention of the people above in the first travel report of the Leveretts. They have promised us to write more about their trip in the next weeks but I highly doubt they had met with the people I mentioned.

The Leveretts did not see any soldiers in the streets of Tehran. This caused them to conclude that there is no evidence for the militarization of the politics in Iran. Did they notice to which organization the very airport they entered Iran belongs? (Hint: the Revolutionary Guard.) I don’t think so. Have they read the political statements, tantamount to military intervention, of the Revolutionary Guard’s head members during the last few years? Have they read about the Revolutionary Guard becoming a dominant economic force in the markets of oil, gas, nuclear power, petrochemicals, etc? Iranian people are worried that the Revolutionary Guard’s control will continue to expand to areas like telecommunications, where they will have more access to people’s private communications. These worries make more sense when you learn that the phone lines of imprisoned Ahmad Karimi and Hamed Rouhaninejad were disconnected after their families gave interviews with media out of Iran. Similarly, Nasrin Sotoodeh, the lawyer of Arash Rahmanipour who was executed, had her phone line disconnected after giving an interview to media out of Iran. Do Ms. and Mr. Leverett worry, as do the oppressed people of Iran, about the escalating militarization of the economy and politics? Have they bothered to talk with the people who were forced to surrender their email accounts so that they can be criminalized by their interrogators.

The Revolutionary Guard’s politico-economic control benefited enormously from economic sanctions and the Iran-Iraq war that was encouraged and supported by Euro-American countries. The militarization of the politics and economy in Iran would be impossible without the Euro-American countries’ intervention into Iran’s domestic affairs in the form of economic sanctions, the threats of war and actual war between Iran and Iraq for eight years. The economic sanctions have given room to an underground economy which is mostly conducted by the Revolutionary Guard. The economic sanctions have helped the government to distribute its oil revenue to the “loyal” forces. In times of war and threats of war the combat economy and criminal economy intensify, thus strengthening the military forces in Iran. The economic hardship caused by the economic sanctions or the threats of war pushes civilians to engage in survival economy that enervates the political struggle. People engaged in survival economy can barely afford to put bread and butter on their tables and are more likely to engage in an apolitical economic struggle that brings results (bread) immediately to their tables than in a more fundamental struggle that undermines the establishment that causes their suffering. (For more discussion about the combat, criminal and survival economy, consult V. Spike Peterson’s Women and War in the Middle East: Transnational Perspectives.) People risk arrest, imprisonment and unemployment when they revolt against the establishment. Thus people involved in survival economy avoid serious political activism for socio-political justice since that might bring their imprisonment and consequently absolute poverty for their families.

One doesn’t need to prettify the savagery committed by the Iranian government in order to fight imperialism. One doesn’t need to sweep the blood of innocent defenseless Iranian citizens under the rug to denounce the economic sanctions that cause great suffering for Iranians. One doesn’t need to deny the existence or the tragic losses of the Mourning Mothers of Ashkan Sohrabi, Sohrab Erabi, Neda Agha Soltan, etc., to denounce the economic sanctions that have caused many airplanes to crash in Iran and have consequently killed hundreds of Iranian passengers. One doesn’t need to deny the danger of (even more) militarization of the politics and economy of Iran but in fact should target sources facilitating this militarization: the economic sanctions and the threats of military action against Iran.

The report of Ms. and Mr. Leverett is rather funny; it’s too bad that the suffering of our brothers and sisters in Iran is so painful, for otherwise we could laugh very loudly. I am not sure what intentions Ms. and Mr. Leverett had for their Iran’s travel report. But I am sure that silencing people’s voices is not intended to help a brutalized population of journalists, student activists, human rights and women’s rights activists, The Mourning Mothers, teachers, bus drivers, underemployed workers, and unionists. Supporting Iranian people is only understandable though helping them in their struggle to achieve better life conditions. Better life conditions will be easier to achieve for Iranians if we could simultaneously (a) amplify throughout the world, not silence, the voices of those who are oppressed in Iran, and (b) denounce the meddling of Euro-American powers who advocate economic sanctions and war against Iran.

The situation in Iran and the reaction from MRzine and Leveretts can be understood through an analogy.  Imagine an abused wife (the Iranian people) that gets beaten by her husband (the government of Iran).  Now imagine that that the husband’s money is stolen by some bullies (Euro-American imperialist powers). The bullies may lie that their motivation is to help the wife by disempowering the husband financially. The reality is that the entire family suffers from the bullies’ actions. The wife suffers most of all, as she loses her power to change the situation with her husband. Now imagine that there are new characters (MRZine and the Leveretts) who claim to fight with the bullies for the rights of the family. These characters visit the family to observe the situation for themselves, but never actually witness the domestic violence: to avoid seeing the situation, they put their hands in front of their eyes. These characters leave the family and claim that the woman is treated well by her husband and is doing fine. Even putting aside questions of morality, how is this report supposed to help the brutalized woman? Doesn’t the denial of the woman’s suffering endanger her life?  There is a more complex and sophisticated approach which is addressing and linking the brutalization of the husband and the suffering of the abused woman to the bullies’ actions while trying to empower the woman –by amplifying her voice — to defend herself and stand up for her rights. It obviously seems that MRZine and Ms. and Mr. Leverett have chosen to put their hands in front of their eyes and say we don’t see any one suffering in Iran from the government’s brutal actions. It’s extremely hard to believe that their motive is to help Iranian people.

(Hamid Dabashi comments on the Leveretts at http://weekly.ahram.org.eg/2010/982/op8.htm)

March 2, 2010

My favorite rock-and-roll band

Filed under: music — louisproyect @ 11:30 pm

Harlan: In the Shadow of Jew Suss

Filed under: Fascism, Film — louisproyect @ 7:15 pm

Just yesterday I learned about a documentary called The Ritchie Boys that amounts to a real-life version of Inglourious Basterds. It tells the story of Jewish paratroopers who fought behind Nazi lines during WWII. As a companion piece is the astonishing documentary on Veit Harlan, Nazi Germany’s most famous film propagandist next to Leni Riefenstahl opening at the Film Forum in N.Y. tomorrow. Titled Harlan—In the Shadow of Jew Süss, it is directed by Felix Moeller, the son of renowned director Margarethe von Trotta who has a movie on Rosa Luxemburg to her credit. Moeller, who earned a doctorate in history from the Free University in Berlin in 1994, interviews the children, grandchildren, nieces and nephews of the man widely regarded as Goebbels’s favorite. Indeed, Harlan’s 1945 epic Kolberg was the basis for the Inglorious Basterds film-within-a-film Stolz Der Nation.

Jew Süss, made in 1940, is set in the 18th century and is based on historical events involving a Jewish financier Joseph Süss Oppenheimer, who was one of the Duke of Württemberg “court Jews” and despised by the masses who found him a convenient scapegoat for the Duke’s misrule. In Harlan’s movie, Süss becomes a grotesque arch-villain. So effective he was in turning the character into a stereotypical receptacle of hatred that Heinrich Himmler laid down the law that all cops and SS members had to see the movie.

Interestingly enough, I read a novel about 10 years ago based on this character by a German-Jewish novelist named Lion Feuchtwanger who was militantly anti-fascist. The novel was recommended to me by Michael Smith, a comrade from my Trotskyist youth, who said that it had references to tax farming, a function carried out by Süss that went back to the middle ages. I have been interested in tax farming ever since I learned that my last name Proyect meant “counting house of a tax farmer” in Yiddish. (Feuchtwanger also wrote a play based on the novel that can be read here.)

Veit Harlan always defended himself as being forced to make such movies, even when he was charged with war crimes. We learn from one of his children that the judge who ruled in his favor was the same one who during WWII sentenced a Ukrainian woman to beheading because of a petty crime.

His oldest son was a staunch Hitler Youth and initially collaborated on screenplays with his father before turning radically against him, even setting fire to movie theaters that showed Veit Harlan’s postwar films as the press notes for the documentary relates. It adds:

In the early years of the Federal Republic, he fought former Nazis in high positions. In 1948 Thomas moved to Paris, later becoming a Nazi-hunter in Poland who delivered documents for thousands of war-crime proceedings. Himself a director of several powerfully political films, he was also an anarchist and Communist revolutionary in Portugal and Chile, the darling of Rome’s glitterati and a close friend of actor Klaus Kinski. He remembers many pleasant moments with his father; but Jew Süss he calls a “murder instrument.”

Veit Harlan always insisted that he had nothing against Jews. Believe it or not, he said that some of his best friends were Jews and that he even had a Jewish doctor. But of most interest in deciphering his eventual transformation into arch-Nazi propagandist, his first wife Dora Gershon was a Jew who left him for a Jewish man. She died in Auschwitz in 1943. One of his daughters explains his anti-Semitism as being personally grounded in this affront that he took bitterly.

Ironically—or not so ironically—all of his daughters eventually ended up marrying Jews. One said that she did it out of a sense of obligation to Hitler’s victims but adds laughingly that the marriage was a disaster and ended soon.

But the most interesting Jewish connection was from his niece Christiane Harlan who married Stanley Kubrick after playing the lone female role in Paths of Glory. Kubrick became so fascinated by Veit Harlan that he wanted to make a film about the anti-Semite director even though he was Jewish himself. Notes for the project still exist apparently. Christiane Harlan remembers introducing Kubrick to her uncle. The great American director fortified himself with a large glass of vodka for the occasion.

It is hard to imagine anybody a better job of weaving family drama, art and politics than Felix Moeller. The movie is not only a triumph of story-telling about a haunted family; it is also very much a portrait of German society that is still trying to purge its Nazi past. The very fact that Harlan’s younger relatives have all repudiated his values should indicate that the Goldhagen thesis about evil Germans should be put to rest once and for all.

Indeed, it is not too hard to see Veit Harlan’s sins as those of opportunism rather than ideological commitment. He put his career above everything just like the average commercial Hollywood director. It would not be that hard to imagine any of a number of American directors making a deal with the devil as the contradictions of capitalism continue to drive the nation increasingly insane. With people like Glenn Beck ruling the airwaves, we can certainly conceive of American directors turning out fascist propaganda especially if the price is right.

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