Sunday 26th of June 2022

the comic propaganda of the CIA

It is well known that the CIA and its derivatives have used many propaganda tools and techniques in its massaging and exposition of the superiority of mainly Western cultures, especially the populace of the USA. 

Quite a few of the famous writers of “spy novels” came from the dark intestines of spy agencies such as MI6, the FBI and the CIA. 

Apart from many Comics, much of Hollywood and main stream Western movie-making has been also under the influence of “intelligence” agencies. 

 

The FBI and the Pentagon have both engaged in decades of direct intervention with television and film. 

 

J Edgar Hoover, the FBI’s founding director, served as a de facto co-producer for the 1959 drama film The FBI Story, even going as far as to play himself and force reshoots of scenes that he felt didn’t portray the FBI in an appropriate light. Hoover spent the rest of his life intervening in movies like 1962’s Moon Pilot, in which he pressured Disney to change a bumbling FBI agent into a generic “federal security officer” to avoid besmirching the good name of his agency. Walt Disney himself served as an FBI informant, who turned in alleged communists in return for the ability to film inside FBI headquarters. 

Despite claiming that its formal relationship with Hollywood is over, there is evidence that the FBI continues to review and approve movies – over 700 “requests for assistance” were reviewed by the FBI in 2012 alone. Ed Saxon, a producer of the 1991 film The Silence of the Lambs, complained about the FBI’s role in the movie and attempts by the agency to whitewash its behaviour and turn the movie into propaganda for the recruitment of female agents. Much of the information uncovered about the FBI’s modern role was only revealed after a three-year lawsuit for information by BuzzFeed.

 

Tom King is a freelance comic book writer with Marvel and DC Comics and a former CIA officer who thinks heroes are immensely important… Superheroe stories are just what “Westerns” used to be (kill uncouth savage “Indians”). “And Westerns are what myths used to be — like you go back and you read your Iliad and your Odyssey — they’re an exaggeration to metaphor of what you deal with every day.” Not quite...

Yep, Superman smooths the socially complicated ideals with the goodies versus the baddies syndrome. All this streamlines chaos and eliminate GUILT of conquests by punishing “villains” who use similar devious means but do not have the goodness of humanity at heart, nor the selflessness to die for a good cause. It’s all bullshit, but it penetrates the mind of people to make sure they value the Empire as a protector against loonies and the kryptonites…

 

The main purpose of these influences is to steer people’s thinking away from the ideals of socialism and communism. It’s a demanding job, but "someone has to do it”. We HATE socialism, don’t we? (not here on YD, but the general populace do). Every new social idea such as the “woke” has to be corralled, contained, absorbed (even by the armies) and managed as not letting people stray away from the concept that capitalism and competition are good for humanity — even if these concepts verge on fascism as a means to prevent the rise of socialism — and keep you, the unwashed poor, in the rubbish fossicking kingdom. 

 

There has been many example of the CIA comic propaganda used to defeat regimes that did not want to play the game of Empire — as well as glorifying state-sponsored terrorism to this end.

 

The Game of Thrones TV show was one of these contraptions, a full blown comic for adults, that promotes the idea that humans need an ultimate ruler (see Disney's Lion King) and though this was about fictitious characters, the winner had to be “American” thinking, in its defeat of others, nasties or not. Though not particularly nor directly influenced by the CIA, Game of Throne, had its moments when the CIA could not be avoided:

 

Washington (CNN) A former CIA officer was quietly lurking in the Winterfell soup line during Sunday's episode of HBO's "Game of Thrones."

That officer was former Deputy Director David S. Cohen, who made a surprise brief cameo as an unnamed resident of Winterfell.

While Cohen may have hoped his intelligence background would prompt show writers to cast him in a more prominent role — maybe that of a Faceless Man — he was ultimately given the job of playing a nondescript Northerner.

While Cohen did not have any lines, he was served a bowl of soup by Ser Davos Seaworth, played by actor Liam Cunningham, as Winterfell prepared for the impending arrival of the Night King and his army of the dead.

The CIA revealed Cohen's cameo in a tweet.

"A perk of working for CIA is world travel. Apparently that sometimes extends to other realms…

 

https://edition.cnn.com/2019/04/22/politics/former-cia-deputy-director-game-of-thrones/index.html

 

 

It does not take long to find that the “inspirational source” of the series, George R. R. Martin — author of the series of epic fantasy novels A Song of Ice and Fire, which were adapted into the Game of Thrones series was a fanatical comic book reader. “GusNote: I knew this !!!” (I guessed it before I read his full biography)….

 

Martin attended Mary Jane Donohoe School and later Marist High School. While there he became an avid comic book fan, developing a strong interest in the superheroes being published by Marvel Comics,[16] and later credited Stan Lee for being one of his greatest literary influences; "Maybe Stan Lee is the greatest literary influence on me, even more than Shakespeare or Tolkien."[17] A letter Martin wrote to the editor of Fantastic Four was printed in issue No. 20 (November 1963); it was the first of many sent, e.g., Fantastic Four #32, #34, and others. Fans who read his letters wrote him letters in turn, and through such contacts, Martin joined the fledgling comics fandom of the era, writing fiction for various fanzines;[18] he bought the first ticket to the world's first Comic-Con, held in New York in 1964.[19][20] In 1965, Martin won comic fandom's Alley Award for Best Fan Fiction for his prose superhero story "Powerman vs. The Blue Barrier".[21]

 

It is to be said that MANY OF THESE COMICS and their fandom WERE INFLUENCED BY THE CIA, by various means, overt and mostly covert, to influence the mind of kids and adolescents to be loyal subjects of the Empire… As well, the influence of the Marist brothers, Catholic and manipulators of young minds, is not to be snuffed at on George R. R. Martin's writings… 

the CIA has had many Catholic (or once Catholic) directors since the 1970s — William Casey, Leon Panetta, Michael Hayden, and John Brennan — that today it has been called the “Catholic Intelligence Agency.

Philip Agee of Tampa, Florida, and from the University of Notre Dame served in the Air Force from 1957 to 1960. Agee then joined the CIA, where he was posted to Ecuador, Uruguay, and Mexico City. In Uruguay in 1965, he overheard the torture of communist leader Oscar Bonaudi, who had been caught in a joint CIA–Montevideo Police Department operation called AVENGEFUL. This unpleasant experience made Agee doubt American intentions abroad and especially the justice of its collaboration with repressive governments.

But the Tlatelolco student massacre in Mexico City in 1968, in which Agee felt the CIA was complicit, pushed him to immerse himself in the leftist Catholic liberation theology movement sweeping Latin America: “… The CIA, after all, is nothing more than the secret police of American capitalism.

 

In the last 25 years, even as its percentage of the population has changed little, Catholicism has become much more central to American public life. But the Catholicism in ascendancy is no longer JFK and Joe Biden and Nancy Pelosi’s old-fashioned Northeastern urban and ethnic variety. Instead, the FACIST hard-edged, reactionary, pre–Vatican II strain has achieved unprecedented influence and power through the right-wing bishops appointed by Popes John Paul II and Benedict… Catholicism is pumped through political figures like Paul Ryan, Sam Brownback, Newt Gingrich, and Steve Bannon — and through their outright majority on the Supreme Court: John Roberts, Samuel Alito, Clarence Thomas, Brett Kavanaugh, and Amy Coney Barrett. 

Leftist, social-justice Catholics like Agee no longer pose any danger to the CIA.

  

So: 

Set on the fictional continents of Westeros and Essos, Game of Thrones has a large ensemble cast and follows several story arcs throughout the course of the show. The first major arc concerns the Iron Throne of the Seven Kingdoms of Westeros through a web of political conflicts among the noble families either vying to claim the throne or fighting for independence from whoever sits on it. 

A second focuses on the last descendant of the realm's deposed ruling dynasty, who has been exiled to Essos and is plotting to return and reclaim the throne. The third follows the Night's Watch, a military order defending the realm against threats from beyond Westeros's northern border.

 

Game of Thrones attracted a record viewership on HBO and has a broad, active, and international fan base. Critics have praised the series for its acting, complex characters, story, scope, and production values, although its frequent use of nudity and violence (including sexual violence) has been subject to criticism. 

 

If one reads the "Tits and Bums History of Europe", one does not need to watch the Game of Throne which was mostly on pay per view cable networks…. On this site (YD) we have written this "History" by exposing many many of the intrigues, wars, pandemics and sexual encounters of the blue-blood European Rulers — and popes.  

 

The final season of Game of Throne received backlash for its abrupt and creative decisions, with many critics considering it a disappointing conclusion

 

Of course. George R. R. Martin was an author of stories that basically NEVER ENDED, like our own story, that of humans in search of a comfortable survival position in a world in flux, that the Empire is working hard to conquer in full, using the deceitful propaganda of the CIA and the rotten travails of the US administrations. 

 

In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages, until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy, and deflect global critiques of American racism.

As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda.

Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.

 

https://www.amazon.com/dp/022635055X/?tag=slatmaga-20

 

Even the CIA produced its own “comics”….

 

The Freedom Fighter's Manual is a fifteen-page propaganda booklet that was manufactured by the United States Central Intelligence Agency and airdropped over Nicaragua in 1983, with the stated goal of providing a "Practical guide to liberating Nicaragua from oppression and misery by paralyzing the military-industrial complex of the traitorous marxist state". The manual explains several methods by which the average citizen could cause civil disorder.[1] A Contra fighter gave the manual to a U.S. reporter in Honduras in 1984.[2]

https://en.wikipedia.org/wiki/The_Freedom_Fighter%27s_Manual

 

 

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MORE COMICS TO COME....

CIA comic corruption of social ideals...

 

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directed by the pentagon…..

As this country commemorates Memorial Day, many will head to theaters to bathe in the nostalgia of “Top Gun: Maverick,” which opened Friday. With Tom Cruise on screen, the multiplex will crack with high-fives and roar with F-18 fighter jets, those sleek emblems of American power.

The film’s F-18s and other military gear are courtesy of the Pentagon. This is the job of the U.S. Defense Department’s Entertainment Media Office, which allows use of such assets in exchange for control of the script. Each military branch — except for the Marine Corps, which operates out of Camp Pendleton in San Diego County — maintains satellite offices along Wilshire Boulevard to do outreach with the entertainment industry. The original 1986 “Top Gun,” which was intimately guided by the Navy, has long represented the military’s capabilities when it comes to steering pop culture.

Until recently, the scholarly consensus had been that this phenomenon was isolated to perhaps a couple of hundred films. In the past five years, however, my small group of researchers has acquired 30,000 pages of internal Defense Department documents through Freedom of Information Act requests and newly available archives at Georgetown University, which show that the Pentagon and the Central Intelligence Agency have exercised direct editorial control over more than 2,500 films and television shows. These discoveries raise questions about the government’s reach at a time when deciphering propaganda from fact has become increasingly difficult.

 

This includes a history of excising unsavory or controversial topics — or “showstoppers” as they’re often called in the documents — including depictions of war crimes, torture, security of the nuclear arsenal, veteran suicide, sexual assault and racism in the ranks. At the same time, these institutions have used their clout to promote weapons, gin up recruiting and normalize U.S. military action around the world.

We have also discovered dozens of instances where films, denied U.S. government assistance because of objectionable content, were ultimately never made. Jerry Bruckheimer, a top producer, said that “Top Gun” and 2001’s “Pearl Harbor” simply wouldn’t exist without military approval. Mace Neufeld, who produced virtually the entire Jack Ryan film franchise, also needed Pentagon and CIA support. Neufeld has acknowledged that Paramount Pictures would greenlight the first film in the series, 1990’s “The Hunt for Red October,” only if it secured Defense Department approval first. It was even in the contract. One can imagine the chilling effect this has on screenwriters.

“Top Gun,” also a Paramount product, came out post-Vietnam, at a time of public reticence about military adventurism. The movie became a military-supported public relations blitz that supercharged recruiting. As we found in our research, the Pentagon’s Entertainment Media Office internally wrote that the film “completed rehabilitation of the military’s image, which had been savaged by the Vietnam War.”

 

READ MORE:

https://www.latimes.com/opinion/story/2022-05-30/top-gun-maverick-memorial-day-tom-cruise-pentagon-propaganda

 

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