Title : "Joseph Goebbels didn’t die. He just got a job at Hallmark."
link : "Joseph Goebbels didn’t die. He just got a job at Hallmark."
"Joseph Goebbels didn’t die. He just got a job at Hallmark."
Joseph Goebbels didn’t die. He just got a job at Hallmark. https://t.co/oKKOyYxXa6— Titania McGrath (@TitaniaMcGrath) December 26, 2019
ADDED: The linked article at Salon is "Hallmark movies are fascist propaganda/Forget 'Triumph of the Will' — the most insidious authoritarian propaganda comes in the form of schmaltz" by Amanda Marcotte. Isn't this like what Jonah Goldberg did — from the right — in his book "Liberal Fascism"? Goldberg wrote:
For generations our primary vision of a dystopian future has been that of Orwell’s 1984. This was a fundamentally “masculine” nightmare of fascist brutality. But with the demise of the Soviet Union and the vanishing memory of the great twentieth-century fascist and communist dictatorships, the nightmare vision of 1984 is slowly fading away. In its place, Aldous Huxley’s Brave New World is emerging as the more prophetic book. As we unravel the human genome and master the ability to make people happy with televised entertainment and psychoactive drugs, politics is increasingly a vehicle for delivering prepackaged joy....Make people happy with televised entertainment... sounds like the Hallmark channel. So let's read the Amanda Marcotte thing, published jollily on Christmas at Salon:
When most of us think about fascistically propagandistic movies, we think of the grotesque grandeur of Leni Riefenstahl's films celebrating the Third Reich... even in Nazi Germany, the majority of movies approved by the Nazi minister of propaganda, Joseph Goebbels, were escapist and feather-light, with a Hallmark movie-style emphasis on the importance of "normality."Both Marcotte and Goldberg are afraid of oppressive government and think cheap televised entertainment is softening the people up to accept it.
There's plenty of reason that empty-headed kitsch fits neatly in the authoritarian worldview. It's storytelling that imitates the gestures of emotion without actually engaging with real feeling... Hallmark movies, with their emphasis on returning home and the pleasures of the small, domestic life, also send a not-at-all subtle signal of disdain for cosmopolitanism and curiosity about the larger world, which is exactly the sort of attitude that helps breed the kind of defensive white nationalism that we see growing in strength in the Donald Trump era.
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