1) The documentary discusses the racist and inaccurate depictions of Arabs, Muslims, and Middle Eastern cities in the television show Homeland. It has portrayed Al Qaeda as being connected to Iran and presented an overly simplistic "good vs evil" dichotomy.
2) The authors were hired by the show's producers to add authentic Arabic graffiti to a set representing a Syrian refugee camp. They took this as an opportunity to subvert the show's propaganda by writing political and critical messages instead of the requested apolitical graffiti.
3) Their intervention was broadcast in Season 5, Episode 2 of Homeland, though the producers were unaware of the critical messages written on the walls of the set. The document
Lesson for High school students. This lesson provides a brief overview of the history of the U.S. while offering a brief look at the history and impact of political cartoons. Lesson allows student to work at their own pace and interest level.
Lesson for High school students. This lesson provides a brief overview of the history of the U.S. while offering a brief look at the history and impact of political cartoons. Lesson allows student to work at their own pace and interest level.
This cartoon by the British cartoonist David Low was published in the Evening Standard newspaper on 21 October 1939. Having destroyed Poland, Hitler and Stalin stroll down their now-shared frontier.
Maus an analysis novel by art spiegelmanAlexRobert25
The Muslims were in denial about the Holocaust and Nazi Armies barbarism and as the word spread about the denial of a Holocaust from Muslim majority countries, some Muslims and Jews struggle to keep alive their connections and history with one another.
2212014 Bright Lights Film Journal Casablancahttpb.docxtamicawaysmith
2/21/2014 Bright Lights Film Journal :: Casablanca
http://brightlightsfilm.com/55/casablanca.php#.Uwenf_RdVod 1/10
60
TANFER EMIN TUNC
Casablanca
The Romance of Propaganda
"Casablanca provides twenty-first-century Americans with an oasis of hope in a desert of arbitrary cruelty and senseless violence."
As we approach the sixty-fifth
anniversary of Casablanca (1942), it is
clear that the elements that made the
film an enduring international classic
— an A-list cast in a riveting love
story;; an exotic, glamorous setting;; melodramatic and heroic sacrifices;; sharp, noir
dialogue;; and the triumph of idealism over cynicism in a "world gone mad" — are still
capturing our imagination. It is one of those rare films from Hollywood's Golden Age
which has managed to transcend its era to entertain generations of moviegoers for nearly
three-quarters of a century. However, if we look beyond the nostalgia and the sentimental
theme of lost love and redemption, we see that Casablanca actually presents a complex
and intricate political and social commentary on the early days of World War II. The
product of a decade when studios were routinely producing "a movie a week,"
Casablanca surpasses its humble origins as "just another Warner Brothers' picture" by
exploiting wartime patriotism and the traditional "American values" of freedom, liberty,
and equality to shape audiences' perception of the war. In the most basic sense,
Casablanca was an anti-fascist propaganda vehicle which was designed to support U.S.
participation in the Allied Forces' struggle for global justice and democracy at a time
when most Americans believed that U.S. foreign policy should have promoted
isolationism and neutrality.
Hollywood and the Home Front
Although World War II began on September 1, 1939, as late as the beginning of
December 1941, the time at which Casablanca is set, most Americans believed that the
United States "should stay out of that phony war in Europe." In fact, a Gallup Poll taken
during the first year of the war indicated that an overwhelming ninety-six percent of all
Americans wanted the country to remain neutral. 1 However, by the time Casablanca
premiered in November 1942, the bombing of Pearl Harbor had already occurred, and the
United States had been at war for almost a year. Nevertheless, many Americans
continued to support an isolationist foreign policy, and were uneasy about U.S.
participation in a war that was thousands of miles away. To counteract this negative
public sentiment towards American military participation in WWII, the Department of
War established a "War Films" division, and hired filmmakers John Fo ...
This cartoon by the British cartoonist David Low was published in the Evening Standard newspaper on 21 October 1939. Having destroyed Poland, Hitler and Stalin stroll down their now-shared frontier.
Maus an analysis novel by art spiegelmanAlexRobert25
The Muslims were in denial about the Holocaust and Nazi Armies barbarism and as the word spread about the denial of a Holocaust from Muslim majority countries, some Muslims and Jews struggle to keep alive their connections and history with one another.
2212014 Bright Lights Film Journal Casablancahttpb.docxtamicawaysmith
2/21/2014 Bright Lights Film Journal :: Casablanca
http://brightlightsfilm.com/55/casablanca.php#.Uwenf_RdVod 1/10
60
TANFER EMIN TUNC
Casablanca
The Romance of Propaganda
"Casablanca provides twenty-first-century Americans with an oasis of hope in a desert of arbitrary cruelty and senseless violence."
As we approach the sixty-fifth
anniversary of Casablanca (1942), it is
clear that the elements that made the
film an enduring international classic
— an A-list cast in a riveting love
story;; an exotic, glamorous setting;; melodramatic and heroic sacrifices;; sharp, noir
dialogue;; and the triumph of idealism over cynicism in a "world gone mad" — are still
capturing our imagination. It is one of those rare films from Hollywood's Golden Age
which has managed to transcend its era to entertain generations of moviegoers for nearly
three-quarters of a century. However, if we look beyond the nostalgia and the sentimental
theme of lost love and redemption, we see that Casablanca actually presents a complex
and intricate political and social commentary on the early days of World War II. The
product of a decade when studios were routinely producing "a movie a week,"
Casablanca surpasses its humble origins as "just another Warner Brothers' picture" by
exploiting wartime patriotism and the traditional "American values" of freedom, liberty,
and equality to shape audiences' perception of the war. In the most basic sense,
Casablanca was an anti-fascist propaganda vehicle which was designed to support U.S.
participation in the Allied Forces' struggle for global justice and democracy at a time
when most Americans believed that U.S. foreign policy should have promoted
isolationism and neutrality.
Hollywood and the Home Front
Although World War II began on September 1, 1939, as late as the beginning of
December 1941, the time at which Casablanca is set, most Americans believed that the
United States "should stay out of that phony war in Europe." In fact, a Gallup Poll taken
during the first year of the war indicated that an overwhelming ninety-six percent of all
Americans wanted the country to remain neutral. 1 However, by the time Casablanca
premiered in November 1942, the bombing of Pearl Harbor had already occurred, and the
United States had been at war for almost a year. Nevertheless, many Americans
continued to support an isolationist foreign policy, and were uneasy about U.S.
participation in a war that was thousands of miles away. To counteract this negative
public sentiment towards American military participation in WWII, the Department of
War established a "War Films" division, and hired filmmakers John Fo ...
172 Martha For many multinationals, the answer increasinglAnastaciaShadelb
172 Martha
For many multinationals, the answer increasingly seems to be
to downplay any U.S. heritage or even a single global identity.
Neville Isdell, new chief executive of Coca-Cola, is typical of many
business leaders who work hard to stress local credentials with
sports sponsorship and customised advertising. "We are not an
American brand," he says.
Starbucks, the coffee chain, has thrived by making more of its
products' associations with the developing world than of its own
Seattle heritage. But Doug Holt, professor of marketing at the
Said School of Business in Oxford, cautions against running away
from historic roots entirely. "Local is not always better," he warns.
"People assign value to brands that have succeeded globally; that's
why multinational companies do so well."
If nothing else, the trend reveals a declining confidence in the
aspirational pull of the U.S. Simon Anholt, author of Brand
America, sums up how far the U.S. has slipped from its pedestal:
"The world's love affair with America isn't exactly over, but it has
stopped being a blind and unquestioning kind of love."
Questions for Discussion and Writing
1. This article suggests that there are certain products that "mean" America for
people in other countries. Make a list of the ones mentioned in this essay
and then write down what elements of American life you feel they represent.
2. Are there products and foods from other countries that you feel represent
those nations? What kinds of things are you thinking of and what ideas do
they give you about other cultures?
3. Imagine that you are a salesperson and what you are selling is an image of
America. What elements of America would you want to emphasize and what
kinds of products and images might you use to present your sales
Exporting the Wrong Picture
MARTHA BAYLES
Martha Bayles is the author of Hole in Our Soul: The Loss of Beauty
and Meaning in American Popular Music (Chicago), teaches
humanities at Boston College, and is working on a book about U.S.
cultural diplomacy. She has written widely about the role of music
in popular culture. Dr. Bayles has also written articles on Miles
Exporting the Wrong Picture 173
Davis for The New York Times and is a contributor to the Wall
Street Journal. In this article, published in The Washington Post on
August 28, 2005, the writer discusses how the elements of popular
culture that are exported from the United States influence the views of
those overseas, and how they directly impact other cultures.
+----
W hen Benjamin Franklin went to France in 1776, his assignment was to manipulate the French into supporting the
American war for independence. This he accomplished with two
stratagems: First, he played the balance-of-power game as deftly
as any European diplomat; and second, he waged a subtle but
effective campaign of what we now call public diplomacy, or the
use of information and culture to foster goodwill toward ...
01062024_First India Newspaper Jaipur.pdfFIRST INDIA
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In a May 9, 2024 paper, Juri Opitz from the University of Zurich, along with Shira Wein and Nathan Schneider form Georgetown University, discussed the importance of linguistic expertise in natural language processing (NLP) in an era dominated by large language models (LLMs).
The authors explained that while machine translation (MT) previously relied heavily on linguists, the landscape has shifted. “Linguistics is no longer front and center in the way we build NLP systems,” they said. With the emergence of LLMs, which can generate fluent text without the need for specialized modules to handle grammar or semantic coherence, the need for linguistic expertise in NLP is being questioned.
हम आग्रह करते हैं कि जो भी सत्ता में आए, वह संविधान का पालन करे, उसकी रक्षा करे और उसे बनाए रखे।" प्रस्ताव में कुल तीन प्रमुख हस्तक्षेप और उनके तंत्र भी प्रस्तुत किए गए। पहला हस्तक्षेप स्वतंत्र मीडिया को प्रोत्साहित करके, वास्तविकता पर आधारित काउंटर नैरेटिव का निर्माण करके और सत्तारूढ़ सरकार द्वारा नियोजित मनोवैज्ञानिक हेरफेर की रणनीति का मुकाबला करके लोगों द्वारा निर्धारित कथा को बनाए रखना और उस पर कार्यकरना था।
‘वोटर्स विल मस्ट प्रीवेल’ (मतदाताओं को जीतना होगा) अभियान द्वारा जारी हेल्पलाइन नंबर, 4 जून को सुबह 7 बजे से दोपहर 12 बजे तक मतगणना प्रक्रिया में कहीं भी किसी भी तरह के उल्लंघन की रिपोर्ट करने के लिए खुला रहेगा।
role of women and girls in various terror groupssadiakorobi2
Women have three distinct types of involvement: direct involvement in terrorist acts; enabling of others to commit such acts; and facilitating the disengagement of others from violent or extremist groups.
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#First_India_NewsPaper
1. "Arabian
Street
Artists"
Bomb
Homeland:
Why
We
Hacked
an
Award-‐Winning
Series
What’s wrong with Homeland's political message? The very first season of “Homeland”
explained to the American public that Al Qaida is actually an Iranian venture. According to the
storyline, they are not only closely tied to Hezbollah, but Al Qaida even sought revenge against
the US on behalf of Iran. This dangerous phantasm has become mainstream ‘knowledge’
in the
US and has been repeated as fact by many mass media outlets. Five seasons later, the plot has
come a long way, but the thinly veiled propaganda is no less blatant. Now the target is freedom
of information and privacy neatly packaged as the threat posed by Whistleblowers, the Islamic
State and the rest of Shia Islam.
In the summer of 2015, the American television serial “Homeland”
was shot in Berlin. June
and July saw parts of the city dedicated to capturing the doings of former CIA Agent Carrie
Mathison (Claire Danes) in her new role as security advisor to a German humanitarian
oligarch, Otto Düring (Sebastian Koch). Amidst hints of a hacker conspiracy and secret
agreements between the US and Germany, the show attempts to mirror real-life events with
an Edward Snowden-style leak revealing a joint project by the CIA and the BND (German
Federal Intelligence Service) illegally spying on German citizens. But unlike real life, this
leak forced Germany to release all arrested ISIS terrorists.
The series has garnered the reputation of the most bigoted and racist TV series for its
inaccurate, undifferentiated and highly biased depiction of Arabs, Pakistanis, and Afghans,
as well as its gross misrepresentations of the cities of Beirut, Islamabad- and the so-called
Muslim world in general. For four seasons, and entering its fifth, “Homeland”
has
maintained the dichotomy of the photogenic, mainly white, mostly American protector
versus the evil and backwards Muslim threat. The Washington Post reacts to the racist
horror of their season four promotional poster by describing it as “white Red Riding Hood
lost in a forest of faceless Muslim wolves”.1
In this forest, Red Riding Hood is permitted to
display many shades of grey - bribery, drone strikes, torture, and covert assassination- to
achieve her targets. She points her weapon of choice at the monochrome bad guys, who do
all the things that the good guys do, but with nefarious intent.
It cannot be disputed that the show looks good and is well acted and produced, as its many
awards prove. But you would think that a series dealing so intensively with contemporary
topics including the war on terrorism, ISIS, and ideological clashes between the US and the
Middle East would not, for example, name a key terrorist character after the former real-life
Pakistani ambassador to the United States.2
Granted, the show gets high praise from the
American audience for its criticism of American government ethics, but not without
dangerously feeding into the racism of the hysterical moment
we find ourselves in today.
Joseph Massad, Associate Professor of Modern Arab Politics and Intellectual History at
Columbia University, addresses this deep-seeded racism of American media towards the
Middle East:
“‘Homeland’
hardly deviates from this formula [of racist programming], except
to add that Arabs are so dangerous that even all-American White men can be corrupted by
them and become equally dangerous to America”.3
1
https://www.washingtonpost.com/posteverything/wp/2014/10/02/homeland-‐is-‐the-‐most-‐
bigoted-‐show-‐on-‐television/
2
https://www.youtube.com/watch?v=bZdRDM-‐NYgc
3
http://www.aljazeera.com/indepth/opinion/2012/10/2012102591525809725.html
2. At the beginning of June 2015, we received a phone call from a friend who has been active
in the Graffiti and Street art scene in Germany for the past 30 years and has researched
graffiti in the Middle East extensively. He had been contacted by “Homeland’s”
set
production company who were looking for “Arabian street artists”
to lend graffiti
authenticity to a film set of a Syrian refugee camp on the Lebanese/Syrian border for their
new season. Given the series’
reputation we were not easily convinced, until we considered
what a moment of intervention could relay about our own and many others’
political
discontent with the series. It was our moment to make our point by subverting the message
using the show itself.
In our initial meeting, we were given a set of images of pro-Assad graffiti- apparently
natural in a Syrian refugee camp. Our instructions were: (1) the graffiti has to be apolitical
(2) you cannot copy the images because of copyright infringement (3) writing “Mohamed is
the greatest, is okay of course”. We would arm ourselves with slogans, with proverbs
allowing for critical interpretation, and, if the chance presented itself, blatant criticism
directed at the show. And so, it came to be.
The set decoration had to be completed in two days, for filming on the third. Set designers
were too frantic to pay any attention to us; they were busy constructing a hyper-realistic set
that addressed everything from the plastic laundry pins to the frayed edges of outdoor plastic
curtains. It looked very
Middle Eastern and the summer sun and heat helped heighten that
illusion. The content of what was written on the walls, however, was of no concern. In their
eyes, Arabic script is merely a supplementary visual that completes the horror-fantasy of the
Middle East, a poster image dehumanizing an entire region to human-less figures in black
burkas and moreover, this season, to refugees. The show has thus created a chain of
causality with Arabs at its beginning and as its outcome- their own victims and executioners
at the same time4
. As was briefly written on the walls of a make-believe Syrian refugee
camp in a former Futterphosphatfabrik (animal feed plant) in the outskirts of Berlin, the
situation is not to be trusted-
.
The Arabian Street Artists //
Heba Amin
Caram Kapp
Stone
* Our intervention was broadcast on October 11, 2015, “Homeland” Season 5, Episode 2.
4
Camus,
Albert,
“Ni
Victimes
Ni
Bourreaux”;
Combat;
Paris;
1948
http://inventin.lautre.net/livres/Camus-‐Ni-‐victimes-‐ni-‐bourreaux.pdf