Copaganda Theater: “End of Watch”

Occupy LA Anti-Social Media (OLAASM) has published an excellent piece on the historical role of the Los Angeles police department, called “The LAPD: Not Your Model Police Department – But Definitely Theirs.” OLAASM writes that:

Los Angeles has long served as a proving ground where the counterinsurgency tactics later adopted by police throughout the United States were first domestically deployed. Ever since the nation’s very first no-knock SWAT raid on the Black Panther Party headquarters at 41st & Central and the CIA-facilitated, “crack cocaine explosion” that was first unleashed on South Central to more recent, repressive innovations like so-called “Community Policing” and today’s “Predpol,” (Minority Report-style pre-crime tactics –ed) the City of Angels has repeatedly been lauded as a “model” for “modern” policing.

OLAASM’s piece about how the LAPD is a “model” police department got me thinking about a film I just watched, which struck me as one of the cop-iest piece of copaganda ever dressed up as “found” footage. David Ayer’s 2012 End of Watch is both a critically acclaimed cop thriller and a text that broadcasts police forces’ most deeply embedded myths.

The LAPD is a model police department, but a model for how the state can more effectively and invisibly defuse challenges to its power. For instance, when a militarized police response to the Ferguson protests failed to quell the resistance, the cops sent out a lovable Captain in his dress blues to hug and hold hands with community members. OLAASM calls this part of the “LA Model,” and discusses the tactic’s roots in counterinsurgency strategy (COIN). One of the central planks of COIN is “perception management,” a.k.a. propaganda and related psychological operations. In the case of the America’s police forces, OLAASM calls the carefully cultivated media relations model copaganda.

coin fergusonHollywood usually engages in “perception management” in a pretty direct way—with a cop, spy, or soldier telling screenwriters “add more of this” or “take that part out.” This may sound like a conspiracy theory, but it is well-established conspiracy fact. Just last month during the bizarre spectacle surrounding The Interview, it was reported both that CIA contractors were consulting Seth Rogen during the production, and State Department officials and RAND corporation employees were pushing the screenwriter and the studio to target North Korea ever more belligerently.

Similarly, when David Ayer set about writing End of Watch, he consulted cops (“I’m a good researcher”), to ensure that viewers are sutured into the LAPD’s perspective. The result is a film that mirrors the most successful relationship Hollywood has ever cultivated: the one with the US military. According to Peter Debruge at Variety, “End of Watch affords the LAPD the respectful portrayal the U.S. military seeks when partnering with Hollywood: Instead of glorifying the individual, the film depicts an honorable and efficient organization of people working together.”

One of the most consistent aspects of film reception is that “realism” in form is taken as indicative of realism in content—a film shot with steadicam-immediacy is discussed critically as though its narrative must similarly reflect “real” life. End of Watch is shot in found-footage style, with the conceit that the film is recorded from the officers’ body-cams and Taylor’s handheld digital video camera (Presumably, if all cops were outfitted with body-cams, the footage would show what a bunch of chill guys they are). Continue reading

Death to Christmas, Hollywood, and Free Speech

549b79e88d470aea988645a74f2d8ed836ea0b59This week, Kim Jong-un cancelled Christmas.

Not only that, he has eliminated America’s most cherished value: Free Speech.

It may have not been the North Korean government that hacked Sony and threatened to unleash a 9/11-style attack on theaters screening The Interview. However, the US government and its good friend, Hollywood, are treating this like it’s the case. It’s lead to a holiday season spectacle that’s finally worth watching: the entertainment industry wailing and keening over the deaths of all that’s good, decent, and American in the world.

George Clooney said that “North Korea dictate[s] content” now. Sean Penn, who seems like he got tired of pretending to be a leftist sometime last year, says that this has sent an invitation to ISIS. And then there’s everyone else in Hollywood, with variations of the hackers/terrorists/Hitlers have won (thanks to Variety for the laughs):

LOL

LOL

LOL

As is often the case with invoking Free Speech, people aren’t responding to government censorship but invoking an American totem like a fetish object. It’s one of those unfortunate situations that reveals the discomforting truth about capitalism. It’s chieftains have no silly, impoverishing devotion to any nation, just to their bottom line. In reality, Sony probably saw a mid-budget misfire that they could quietly shuffle off their schedule until an embarrassing hacking scandal died down. Especially once theaters started scurrying away from controversy, as profit-driven institutions are wont to do. As a hilarious illustration of the true amoral opportunism that makes someone an oligarch, the right-wing billionaire who owns Regal cinemas and was the first exhibitor to abandon the film was named “America’s greediest executive” by Forbes in 2002. Anyone who expects a corporation to uphold values or act on principle is asking them to be something else–something out of a socialist worker’s paradise. Continue reading