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20. Infiltrate the press. Get control of book-review assignments, editorial writing, policy-making positions.
21. Gain control of key positions in radio, TV, and motion pictures.
22. Continue discrediting American culture by degrading all forms of artistic expression. An American Communist cell was told to "eliminate all good sculpture from parks and buildings, substitute shapeless, awkward and meaningless forms."
23. Control art critics and directors of art museums. "Our plan is to promote ugliness, repulsive, meaningless art."
24. Eliminate all laws governing obscenity by calling them "censorship" and a violation of free speech and free press. 25. Break down cultural standards of morality by promoting pornography and obscenity in books, magazines, motion pictures, radio, and TV.
26. Present homosexuality, degeneracy and promiscuity as "normal, natural, healthy."
originally posted by: MichiganSwampBuck
Communist Goals (1963) Congressional Record--Appendix, pp. A34-A35 January 10, 1963.
Goals 20 -26.
20. Infiltrate the press. Get control of book-review assignments, editorial writing, policy-making positions.
21. Gain control of key positions in radio, TV, and motion pictures.
22. Continue discrediting American culture by degrading all forms of artistic expression. An American Communist cell was told to "eliminate all good sculpture from parks and buildings, substitute shapeless, awkward and meaningless forms."
23. Control art critics and directors of art museums. "Our plan is to promote ugliness, repulsive, meaningless art."
24. Eliminate all laws governing obscenity by calling them "censorship" and a violation of free speech and free press. 25. Break down cultural standards of morality by promoting pornography and obscenity in books, magazines, motion pictures, radio, and TV.
26. Present homosexuality, degeneracy and promiscuity as "normal, natural, healthy."
Weaponizing entertainment.
For the past century, the Department of Defense’s Entertainment Media Office has provided Hollywood with equipment, personnel and technical expertise at taxpayer expense. In exchange, the military industrial complex has gotten a starring role in such blockbusters as Top Gun and its rebooted sequel Top Gun: Maverick, which translates to free advertising for the war hawks, recruitment of foot soldiers for the military empire, patriotic fervor by the taxpayers who have to foot the bill for the nation’s endless wars, and Hollywood visionaries working to churn out dystopian thrillers that make the war machine appear relevant, heroic and necessary.
As Elmer Davis, a CBS broadcaster who was appointed the head of the Office of War Information, observed, “The easiest way to inject a propaganda idea into most people’s minds is to let it go through the medium of an entertainment picture when they do not realize that they are being propagandized.”
originally posted by: vNex92
a reply to: nugget1
There was an interesting dark movie that Disney once produced called Dragonslayer.
originally posted by: vNex92
a reply to: nugget1
Walt Disney was a brave person back in the early days of Disney to make those cartoons that most on the far left today would view or find it problematic if not offensive.
You know who it was that saved Disney, Walt Disney and his company from collapsing during WW2 and the economic crisis that they had?
the US army/US gov gave Disney millions to produce propaganda short films, movies, Cartoons agaisnt Nazis.
Oddly enough, the entry of the United States into World War II in 1941 helped rescue Disney’s company from financial ruin. The day after Pearl Harbor, Walt Disney allowed the U.S. Army to “invade” his Burbank, California studios, making it the only Hollywood studio to ever be occupied by the military. Half of the studio functioned as anti-aircraft protection for a nearby Lockheed aircraft plant for the next eight months.
Walt Disney’s first government contract, executed right after Pearl Harbor, was with the U.S. Navy. The studio was asked to create twenty war-related animated shorts for a total cost of $90,000. At $4,500 per short, that was more money than Disney typically made for a short film. Naturally, the animation for which Disney Studios was so renowned became the centerpiece of government-funded training films and educational shorts.