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To: Remedy
Fits what I observe. But I have wondered, seriously, why The Arts sem to attract so many morally wrecked-up individuals (and what the chicken-egg relationship is). I love movies, always have; but it conflicts me that, in some ways, I'm supporting people whose lives are wrecked up (in? by?) what I am supporting.

Dan
12 posted on 05/13/2003 8:54:03 AM PDT by BibChr ("...behold, they have rejected the word of the LORD, so what wisdom is in them?" [Jer. 8:9])
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To: BibChr

why The Arts sem to attract so many morally wrecked-up individuals

Attract &/or recruit?

(and what the chicken-egg relationship is). I love movies, always have; but it conflicts me that, in some ways, I'm supporting people whose lives are wrecked up (in? by?) what I am supporting.

The Motion Picture Production Code of 1930 (Hays Code) era (and ones since, in compliance with that code) are probably your favorites.

Classical Greece and Classical Hollywood In stark contrast with today's films, the principles of classical restraint adduced by Lessing in his profound discussion of the proper portrayal of violence, both in the visual arts and in poetry, were applied with astonishing fidelity in movies of Hollywood's Golden, or Classical, Age—the 1920s to the 1950s. To be sure, these principles were applied not because Darryl F. Zanuck, Cecil B. DeMille et al., read Lessing (though with DeMille one cannot be sure!) but because they were part of the artistic legacy of Western culture, which until the 1960s informed the best of popular culture as well. The artistic imagination and technical skill demonstrated by Hollywood filmmakers in the dramatization of violence (and eros) in the manner advocated by Lessing is a major reason for the superiority of films of that era to those since. To understand a major problem with contemporary Hollywood movies—their uncontrolled, sordid treatment of violence—and the libertine culture of which they are the leading example,

…The craft employed by the sculptor to create an image of beauty is intended to evoke a moral reaction in the viewer (what we mean by being "moved"); a literal depiction of, in this instance, extreme violence, will only disgust and repel the viewer, forcing him to turn away and losing the cathartic benefit of a moral lesson. The literal is the enemy of art; the artist's "target" is the imagination of the audience: only there can the full horror of the awful event be conveyed. And to reach the imagination requires far more of the artist—artifice and craft, guided by moral inspiration—than mechanical literalism. (In the self-censorship Production Code that governed Hollywood movies from 1934 to 1966, drafted by a Jesuit, Father Daniel Lord, movie art is defined as an "appeal to the soul through the senses.") Or, as Lessing writes, "...that which we find beautiful in a work of art is beautiful not to our eyes but to our imagination through our eyes."

Communist Goals - 1963 Congressional Record

20. Infiltrate the press. Get control of book-review assignments, editorial writing, policymaking 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."

36. Infiltrate and gain control of more unions.

37. Infiltrate and gain control of big business.

40. Discredit the family as an institution. Encourage promiscuity and easy divorce.

NewsMax.com: Commentmax Archives

Ronald Reagan served as president of the Screen Actors Guild in 1947-1952 and 1959-1960. In 1947, he testified as a friendly witness before the House Committee on Un-American Activities, which was investigating communist influence in Hollywood. It was his discovery of the communist takeover of the Hollywood Independent Citizens Committee of the Arts, Sciences, and Professions (HICCASP), which had originally been formed as a support group for President Roosevelt, that inspired him to accept the nomination for the presidency of the Screen Guild.

Hollywood was being split by ideological differences. The unions around the country had been subjected to communist efforts to influence or take them over, especially in the 1930s during the Great Depression. Hollywood's unions were no different. On one side was the Conference of Studio Unions supported by communists like Dalton Trumbo. On the opposite side was the International Alliance of Theatrical Stage Employees. It was in the latter that Ronald Reagan found himself going to bat for as he and his friends faced the intimidation of the communists in Hollywood.

The Death of the West: How Dying Populations and Immigrant ...

Twentieth-century Marxists, especially in Western Europe, radically shifted the main focus of revolutionary doctrine. The Bolshevik Revolution succeeded in Russia, but elsewhere in Europe, armed violence against the existing order failed. "Nothing the Marxists had predicted had come to pass. Their hour had come and gone. The workers of the west, the mythical proletariat, had refused to play the role history had assigned them" (p. 74).

What was to be done? According to the great Italian Marxist Antonio Gramsci, Communism must inevitably fail so long as people retained their faith in traditional Christian values. " ‘The civilized world has been saturated with Christianity for 2000 years,’ Gramsci wrote; and a regime grounded in Judeo-Christian beliefs and values could not be overthrown until these roots were cut" (p. 76, quoting Gramsci).

The task for revolutionaries is then obvious: they must undermine traditional values. To do so—and here precisely lies Gramsci’s greatest originality—revolutionaries should not "seize power first and impose a cultural revolution from above" (p. 77). Rather, they must first change the culture. Through a "long march through the institutions," Christian values would be undermined. "Then the people could be slowly educated to understand and even welcome the revolution" (p. 77, quoting Gramsci).

13 posted on 05/13/2003 11:29:53 AM PDT by Remedy
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To: BibChr
I'm supporting people whose lives are wrecked up (in? by?) what I am supporting.

Congrats,your supporting Protestantism.Reap the wind,pal.

14 posted on 05/13/2003 11:46:44 AM PDT by Codie
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