Tag Archives: Russophobia

Pity the Nation, by Scott Ritter

Pure, unmitigated hatred of Russia is blinding the U.S. to critical realities, just as it did with Iraq in 2003. From Scott Ritter at consortiumnews.com:

Fact-based arguments Scott Ritter made challenging the case for war against Iraq were effectively silenced. Today he sees the same template in play towards anyone challenging the dogma of “Putinism.”

Lawrence Ferlinghetti in 2012. (Cmichel67 – Own work, CC BY-SA 4.0, Wikimedia Commons)

Pity the Nation

Pity the nation whose people are sheep

And whose shepherds mislead them…

Pity the nation oh pity the people

Who allow their rights to erode

and their freedoms to be washed away

– Lawrence Ferlinghetti

In the past few months, the United States has undergone a kind of transformation that one only reads about in history books — from a nation which imperfectly, yet stolidly, embraced the promise, if not principle, of freedom, especially when it came to that most basic of rights — the freedom of expression. Democracies live and die on the ability of an informed citizenry to engage in open debate, dialogue and discussion about difficult issues. Freedom of speech is one of the touch-stone tenets of American democracy — the idea that, no matter how out of step with mainstream society one’s beliefs might be, the retained right to freely express opinions thus derived without fear of censorship or repression existed.

No more.

In the aftermath of the Russian invasion of Ukraine, the Russophobia which had taken grip in the United States since Russia’s first post-Cold War president, Boris Yeltsin, handed the reins of power over to his hand-picked successor, Vladimir Putin, has emerged much like the putrid core of an over-ripe boil. That this anti-Russian trend existed in the United States was, in and of itself, no secret. Indeed, the United States had, since 2000, pushed aside classic Russian area studies in the pursuit of a new school espousing the doctrine of “Putinism,” centered on the flawed notion that everything in Russia revolved around the singular person of Vladimir Putin.

The more the United States struggled with the reality of a Russian nation unwilling to allow itself to be once again constrained by the yoke of carpetbagger economics disguised as “democracy” that had been prevalent during the Yeltsin era, the more the dogma of “Putinism” took hold in the very establishments where intellectual examination of complex problems was ostensibly transpiring — the halls of academia which in turn produced the minds that guided policy formulation and implementation.

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The Establishment is Changing its Tune on Russia, by Patrick Lawrence

Has there been a subtle shift away from Russophobia? From Patrick Lawrence at consortiumnews.com:

G7 leaders gather for a “family” photo, Aug. 25, 2019, Biarritz, France. (White House/Shealah Craighead)

Russophobic rhetoric persists in Washington, but a counter-argument is emerging.

Are Western democracies, the U.S. and France in the lead, rethinking the hostility toward Russia they conjured out of nothing since Moscow responded to the coup Washington cultivated in Ukraine five years ago? Will Trump eventually succeed in putting ties with Russia on a more productive path — triumphing over the hawks hovering around him? Have the Europeans at last grown weary of following the U.S. lead on Russia even as it is against their interests to do so?

In desultory fashion over the past month or so, we have had indications that the policy cliques in Washington are indeed reconsidering the Cold War II they set in motion during the Obama administration’s final years. And President Donald Trump, persistent in his effort to reconstruct relations with Russia, now finds an unlikely ally in Emmanuel Macron. This suggests a nascent momentum in a new direction.

“Pushing Russia away from Europe is a profound strategic mistake,” the French president asserted in a stunning series of remarks to European diplomats immediately after the Group of 7 summit in Biarritz late last month.

This alone is a bold if implicit attack on the hawkish Russophobes Trump now battles in Washington. Macron then outdid himself: “We are living the end of Western hegemony,” he told the assembled envoys.

It is difficult to recall when a Western leader last spoke so truthfully and insightfully of our 21stcentury realities, chief among them the inevitable rise of non–Western nations to positions of parity with the Atlantic world. You have nonetheless read no word of this occasion in our corporate media: Macron’s startling observations run entirely counter to the frayed triumphalism and nostalgia that grip Washington as its era of preeminence fades.

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Hollywood reboots Russophobia for the New Cold War, by Max Parry

Washington and Hollywood have been in bed together for a long time. From Max  Parry at off-guardian.org:

​It is an age-old question as to the extent art reflects the world we live in. Bertolt Brecht allegedly said to the contrary that art was “not a mirror held up to reality but a hammer with which to shape it.”

The Marxist German playwright devised theatrical methods designed to distance the audience from the staged drama while drawing self-reflexive attention to the contrived nature of the spectacle itself.

The idea was that by estranging the spectator and encouraging critical examination, they would come to view society’s manmade injustices as similarly unnatural and be given agency to transform them in the real world. One of the implications of Brecht’s notion was that art in its more conventional forms often functions as a tool of mass persuasion for those in power to reinforce those inequities.

Marx and Engels themselves professed to have learned more about the contradictions of French society from the novels of Honoré de Balzac, which upheld the monarchy and the Church, than any historians or philosophers of their day. At its very worst, artistic mediums can be used by governments to manipulate a nation’s attitude towards other countries in order to justify war.

Brecht’s life and work coincided with the development of the film industry. However, most productions influenced by his ‘epic theatre’ were art-house and foreign films while commercial, mass-market Hollywood movies placed greater emphasis on appealing to the emotions over intellect.

However, there were some exceptions such as Charlie Chaplin who not coincidentally was persecuted for his politics by the House of Un-American Activities Committee (HUAC) during the Red Scare.

In the Cold War, Tinseltown played an important role in the cultural battlefield against the USSR and anti-Soviet paranoia was an ever-present theme in American cinema for decades, from the McCarthy era until the Berlin Wall fell.

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