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Megan & Liz take a break from their promo tour to talk with Tommy2 about their new single and first headlining tour. While trying to lift a curse that makes her unflaggingly obedient, a spunky young woman (Anne Hathaway) falls in love with a dashing prince. Kiara seeks help from Callie regarding an unfit foster home, but getting Kiara out proves difficult.
The British site The Shiznit has an annual tradition of poking fun at Oscar nominated films by creating ‘truthful’ parody promotional posters. This year’s version, entitled “If 2015’s Oscar-nominated movie posters told the truth” goes after more than a dozen films, including American Sniper. The Sniper (1952 film), and check out The Sniper (1952 film) on Wikipedia, Youtube, Google News, Google Books, and Twitter on Digplanet.
The Sniper is a 1952 film noir, directed by Edward Dmytryk, written by Harry Brown, and based on a story by Edna and Edward Anhalt. The film marks Dmytryk's return to directing after he had first been named to the Hollywood blacklist and had a jail term for contempt of Congress. Eddie Miller (Arthur Franz), a San Francisco delivery man, struggles with his hatred of women.
Miller begins a killing spree as a sniper by shooting women from far distances with an M1 carbine. Producer Stanley Kramer was the first to hire Dmytryk as a director after his encounters with the House Un-American Activities Committee (HUAC) and testifying in 1951. The film's comparatively comprehensive outdoor footage of 1952 San Francisco remains unsurpassed in variety for a narrative film. Ron Kovic, who came back from Vietnam in a wheelchair and wrote the memoir Born on the Fourth of July, recalled the experience vividly: "I think a lot of us went to Vietnam with movie images of John Wayne in our minds.
Today, former diplomat and whistleblower Peter Van Buren explores the way American war movies, from World War II to today, have produced a remarkably uniform vision of how American war works, one that, in its modern form, is undoubtedly once again lending a helping hand to our latest conflicts.
In the age of the all-volunteer military and an endless stream of war zone losses and ties, it can be hard to keep Homeland enthusiasm up for perpetual war.
Like propaganda films and sexual pornography, Hollywood movies about America at war have changed remarkably little over the years. In sum: gritty, brave, selfless men, stoic women waiting at home, noble wounded warriors, just causes, and the necessity of saving American lives. So what do you, or the typical 18-year-old considering military service, actually know about war on entering that movie theater? You can see a lot of war porn and stop with just your toes in the water, thinking you've gone swimming. Peter Van Buren blew the whistle on State Department waste and mismanagement during the Iraqi reconstruction in his first book, We Meant Well: How I Helped Lose the Battle for the Hearts and Minds of the Iraqi People. You won't see segments about it on the nightly news or read about it on the front page of America’s newspapers, but the Pentagon is fighting a new shadow war in Africa, helping to destabilize whole countries and preparing the ground for future blowback. In 1964, a book entitled The Invisible Government shocked Americans with its revelations of a growing world of intelligence agencies playing fast and loose around the planet, a secret government lodged inside the one they knew that even the president didn't fully control.
They didn’t even bother to read their re-print of a Press Release that was featured in the The Hollywood Reporter. The friction becomes evident when a reality show follows them on a mission that goes terribly awry. Elsewhere, Mariana is recruited to join a team of gifted students, but she hides her high math scores from Mat; and Jesus tells Hayley his secret.


He chose to testify in April 1951, and named fellow members of leftist organizations from his brief time with the Communist Party.
For first refusing to testify, Dmytryk was named as one of the "Hollywood Ten", barred from work in the film industry, and jailed for contempt of Congress. As Susan Faludi pointed out in her classic book Stiffed and as I experienced as a boy, the men who came home from World War II were often remarkably silent about their wartime experiences -- at least with their children.
In May 2011, Van Buren arrived at TomDispatch, just back from a 12-month State Department assignment in Iraq embedded with the U.S. He finds his war buddy dead from Agent Orange-induced cancer and is persecuted by the very Americans whose freedom he believed he had fought for. Americans always win, even when they lose in an era in which, out in the world, the losses are piling up. War films have the ability to bring home emotionally a glorious fantasy of America at war, no matter how grim or gritty any of these films may look. John Wayne’s The Green Berets, a pro-Vietnam War film, came out in 1968 as that conflict was nearing its bloody peak and resistance at home was growing.
One version of events dominates all others and creates a reality others can only scramble to refute. War is what happens when the rules break down and, as fear displaces reason, nothing too terrible is a surprise.
The Romans undoubtedly had their version of war porn that involved mocking the Gauls as sub-humans.
Check out the newest Dispatch Book, Rebecca Solnit's Men Explain Things to Me, and Tom Engelhardt's latest book, Shadow Government: Surveillance, Secret Wars, and a Global Security State in a Single-Superpower World.
Almost half a century later, everything about that "invisible government" has grown vastly larger, more disturbing, and far more visible.
Miller knows he is disturbed and, out of despair, burns himself by pressing his right hand to an electric stove. As the killings continue, a psychologist has the keys (early criminal profiling techniques) to finding the killer.
In April 1951, Dmytryk changed his mind and testified, both about his brief time with the Communist Party and naming fellow members of leftist organizations. My father, who had been the operations officer for the 1st Air Commando Group in Burma, had a couple of pat stories he would fall back on, if pressed, but normally only spoke of the war when angry.
In the meantime, Americans are clearly finding it difficult to remain emotionally roiled up about our confusing wars in Syria and Iraq, the sputtering one in Afghanistan, and various raids, drone attacks, and minor conflicts elsewhere. They are anonymous fanatics with neither a past worth mentioning nor a future worth imagining. Because he was screwed over in The 'Nam, the film gives him a free pass for his homicidal acts, including a two-hour murderous rampage through a Washington State town.
And a win is a win, even when its essence is one-sided bullying as in Heartbreak Ridge, the only movie to come out of the ludicrous invasion of Grenada.
We all know one American can't gun down 50 bad guys and walk away unscathed, in the same way he can't bed 50 partners without getting an STD. By comparison, how many saw the anti-war Iraq War film Battle for Haditha, a lightly fictionalized, deeply unsettling drama about an American massacre of innocent men, women, and children in retaliation for a roadside bomb blast?
The exceptions do, however, reveal much about what we don’t normally see of the true nature of American war.
The real secret of war for those who experience it isn't the visceral knowledge that people can be filthy and horrible, but that you, too, can be filthy and horrible.


Yet in twenty-first-century America, where wars are undeclared and Washington dependent on volunteers for its new foreign legion, the need to keep the public engaged and filled with fear over our enemies is perhaps more acute than ever. Is it that our varied enemies across nearly three-quarters of a century of conflict are always unbelievably alike, or is it that when America needs a villain, it always goes to the same script? The doctor treating him in an emergency room suspects he might need psychological help, but gets too busy to follow through.
The film is unusual in that its ending is completely non-violent, despite its genre and expectations raised throughout. And a loss is still a win in Black Hawk Down, set amid the disaster of Somalia, which ends with scenes of tired warriors who did the right thing. Take my word for it: as a diplomat in Iraq I met young people in uniform suffering from the effects of all this. They are uncomfortable for any of us to watch, as well as for military recruiters, parents sending a child off to war, and politicians trolling for public support for the next crusade.
These were thrilling moments of my childhood, though again my dad had little to say about what we looked at. In the recent World War II-themed Fury, Brad Pitt similarly mows down ranks of Germans to save his comrades. He returns for more personal redemption in later films to rescue American prisoners of war left behind in Southeast Asia. Such films also make it easier for politicians to sweet talk the public into supporting conflict after conflict, even as sons and daughters continue to return home damaged or dead and despite the country’s near-complete record of geopolitical failures since September 2001.
While the basics may be largely the same (us versus them, good versus evil), modern times do demand something slicker than the video equivalent of an old newsreel. It’s beyond question that the ends justify just about any means we might use, from the nuclear obliteration of two cities of almost no military significance to the grimmest sort of torture.
Even torture is justified, as in Zero Dark Thirty, in the cause of saving our lives from their nightmarish schemes. Thanks to that, you know he’s an insta-villain without the need for further information. Funny thing: American Sniper was nominated for an Academy Award for best picture as Washington went back to war in Iraq in what you'd have thought would be an unpopular struggle. The age of the Internet, with its short attention spans and heightened expectations of cheap thrills, calls for a higher class of war porn, but as with that 1943 film, it remains remarkable how familiar what’s being produced remains. In this way, the war film long ago became a moral free-fire zone for its American characters. And speaking of lack of a backstory, he improbably appears in the film both in the Sunni city of Fallujah and in Sadr City, a Shia neighborhood in Baghdad, apparently so super-bad that his desire to kill Americans overcomes even Iraq's mad sectarianism. All it takes these days to turn a loss into a win is to zoom in tight enough to ignore defeat. Hey, when an American kills in war, he's the one who suffers the most, not that mutilated kid or his grieving mother -- I got nightmares, man!
In American Sniper, the disastrous occupation of Iraq is shoved offstage so that more Iraqis can die in Kyle’s sniper scope.



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