The 1930s was marked by a devastating crisis of the world capitalist system and the rise of the movement of the working class and oppressed nations and the establishment of socialism in one sixth of the globe in the former Soviet Union. Big or finance capital turned to fascism to strengthen the “democratic” state, suppress resistance and enrich themselves. The Hitlerite Nazis and their allies, the Italian fascists and Japanese militarists, the reactionary tool of the ruling circles, were successful. The Western powers initially collaborated and colluded with Nazi Germany with the hopes that it would wipe out the Soviet Union, while they also wanted to crush Germany, because it threatened their economic and political interests. The German Nazis wanted to crush everyone, especially the Soviet Union and, even as World War II progressed, they hoped for Western assistance to do so. After WWII, the U.S. imperialists took up the mantle of the Nazis, including the Nazi plan to rule the world, by implementing their own holocausts in Greece, Korea, Guatemala, Indonesia, Viet Nam, Cambodia, Chile, El Salvador, Nicaragua, Argentina, Iraq, Yugoslavia, Afghanistan, Libya and so many other countries. Aggression in the field of culture, propaganda and ideology has been and is today an integral instrument of these broad plans.
In devastating detail, an excerpt from a controversial new book published in the Hollywood Reporter reveals the nefarious actions of the U.S. ruling circles during the 1930s in the sphere of culture and propaganda – how the big American Hollywood studios, desperate to protect German business and U.S. interests, let Nazis covertly censor film scripts, promote fascist Aryan themes, remove credits from Jews, suppress anti-fascist scripts, and get movies stopped. The excerpt is reproduced below.
Cultural aggression did not end with the defeat of the Nazis. After WWII, the U.S. state centralized this ideological and cultural offensive under the control of its intelligence services to which it devoted unlimited financial resources. This was thoroughly documented by Frances Stonor Saunders in her book, Who Paid the Piper: The CIA and the Cultural Cold War (Granta, 1999), exposing the creation of a massive apparatus of cultural propaganda (e.g., Congress of Cultural Freedom, Ford Foundation, institutes, magazines, perpetrated by seemingly disparate “dissidents” and “socialists” composing a “democratic left” or a “non Communist left,” etc.), one of whose main purposes “was to advance the claim that it did not exist.” The issue is especially relevant for all Canadians, for our country has always had a “privileged” position when it comes to these matters. Cultural aggression did not cease with the end of the Cold War. Not only does it still exist, but it has steadily increased. Not only has it steadily increased, it is no longer exclusively clandestine and covert but open and shamelessly public. The infamous memorialization by the Harper government of the defeated Nazis and fascist collaborators in the Baltics and the Ukraine and its brazen villification of the anti-fascist communists evidences this reaction. – Tony Seed (Published August 6, slightly revised August 8)
Hollywood Reporter – THE 1930s are celebrated as one of Hollywood’s golden ages, but in an exclusive excerpt from his controversial new book, The Collaboration: Hollywood’s Pact with Hitler (Harvard University Press, on sale September 9), Harvard post-doctoral fellow Ben Urwand uncovers a darker side to Hollywood’s past. Continue reading