Despite anti-American, anti-Bush, anti-War on Terror films tanking at the box office here in America (even when Bush’s popularity was in the toilet), Hollywood continues to churn them out. The reasons are because there is an overseas market for such tripe and as Michael Medved has written, “Liberals in Hollywood make movies in order to win awards from each other”. The Hurt Locker won Best Picture for 2009 and although not an anti-American film I would hardly have called it a patriotic one. It now seems apparent that the terrorist who killed two U.S. Airmen in Germany was inspired by the worst of the anti-American films “Redacted” which was directed by the mediocre (and Alfred Hitchcock ripping off) Director, Brian De Palma.

by Daniel Greenfield

Hollywood’s war on America may have claimed its first two casualties with the murder of two US airmen in Germany by a Muslim terrorist who was inspired by the Koran, and apparently by a clip from Brian DePalma’s movie, Redacted.

This isn’t the first time the news-entertainment complex has manufactured its own fake atrocity porn with ugly results. In 2005, Newsweek’s Michael Isikoff ran a fake report about Gitmo personnel flushing a Koran down the toilet. Muslims reacted with their usual violent restraint, rioting, burning and generally running amok. One of the perpetrators of the 2005 London bombing was reportedly influenced by that story. That would make it the first news article to have killed over 50 people.

n 2004, the Boston Globe was so desperate for anti-war porn in the wake of Abu Ghraib, that it published photos of US soldiers raping Iraqi women that they got from the Nation of Islam. In reality the photos were pornographic fakes, but the Globe went ahead and ran them even though they had already been exposed as fakes.

And before Piers Morgan was picked by CNN as Larry King’s replacement, he was working as the editor of the Daily Mirror, and in that capacity he published more fake photos of UK soldiers torturing Iraqis. That got him fired from the Daily Mirror, but made him amply qualified for a high profile hosting gig at CNN, which suffers from even lower standards than the UK’s trashiest tabloid.

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Campaign of defamation by a country’s entertainment industry

But when fake news stories wouldn’t do, there were always movies. More anti-war movies have been made by Hollywood during the War on Terror, than were made throughout the entire Vietnam War. As it stands now, there has not been a single movie made about the War in Iraq that positively depicts American soldiers and their mission. Instead, movie after movie has portrayed US troops as monsters (The Valley of Elah), rapists and butchers (Redacted) working for a secret military-industrial complex (Body of Lies, The Green Zone) or violent headcases (Stop Loss, Harsh Times, American Dreamz, Hurt Locker). Hollywood has been less willing to attack the War in Afghanistan, instead it ignores it.

There is no precedent for such a campaign of defamation by a country’s entertainment industry against its fighting men and women. No precedent for a movie industry that consistently makes movies in which Americans are the bad guys and its enemies are the good guys.

It took Hollywood five years to begin making a few obligatory TV shows and movies about 9/11, e.g. (World Trade Center, United 93 and Path to 9/11), but only 2 years later, HBO had already thrown together Strip Search, a TV movie in which a devout Muslim is abused by a female American interrogator. As always Hollywood had its priorities in order, and the media-entertainment complex’s first priority was to bash America.

Redacted was distributed by Magnolia Pictures which had gone into the business of distributing movies that attacked or undermined America’s war against terror. From Control Room (2004), a piece of shameless Al Jazeera propaganda to Only Human (2004), Voices of Iraq (2004), The War Within (2005) and No End in Sight (2007) (not to mention Jesus Camp). It’s an impressive record. Almost as impressive as Warner Independent Pictures which distributed Paradise Now (2005), an ugly work of terrorist moral equivocation, Good Night and Good Luck (2005), In the Valley of Elah (2005) and Towelhead (2007).

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Much of the media’s bias can be attributed to a corporate culture whose political orientation spills into the content side of the business

The merger of news companies with film and television media has created a news-entertainment complex, giant entities like Time Warner, Newscorp or Comcast’s NBC Universal, which have a common viewpoint that runs across all its properties. Much of the media’s bias can be attributed to a corporate culture whose political orientation spills into the content side of the business. That mandatory liberalism, with its breathy radicalism, has made patriotism into an extinct species within the news-entertainment complex. It also means that the same agenda moves across hundreds of magazines, books, newspapers, cable channels, movies and news programs. An agenda that does not distinguish between fact and fiction.

Hollywood is only one leg of a global empire. And even though Americans have rejected the long line of anti-war movies cranked out by its studios, they have made plenty of money overseas. As the foreign box office grows, the studios orient themselves toward a new environment becoming American in name only. American actors lend their talents to Anti-American movies made in the Muslim world, as Billy Zane, Spencer Garrett and Gary Busey (playing an evil eye stealing Jewish doctor) did in Valley of the Wolves. American exceptionalism is stripped out of even such iconically American products as GI Joe and Superman, with Truth, Justice and the American Way, becoming just Truth and Justice, a telling commentary on Hollywood’s view of America.

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The American elites see themselves as multinational, citizens of the world, who happen to be stuck in a country filled with ignorant jingoists who believe in Creationism and Nationalism, and don’t drink Fair Trade coffee. Their movies and their reporting reflect their mindset. They don’t like America very much, or the idea of nations at all. Instead they look forward to a better world in which we all live in between borders. They resent the War on Terror for poisoning the image of Americans abroad and have rushed to be in the vanguard of denouncing and undermining their own country. Their war on America is born of equal parts detachment and self-hatred. And when that war claims American lives, as it may have in Frankfurt, they feel no guilt for it. Perhaps even a species of triumph, of the sort felt by vicarious Keffiyah wearers, when the real deal blow up a bus or a humvee, at striking a blow at the American Empire.

Read the rest Hollywood’s War on America