{"id":78296,"date":"2015-11-01T17:26:38","date_gmt":"2015-11-02T01:26:38","guid":{"rendered":"http:\/\/www.lukeford.net\/blog\/?p=78296"},"modified":"2015-11-01T17:26:38","modified_gmt":"2015-11-02T01:26:38","slug":"20-signs-of-a-broken-film-culture","status":"publish","type":"post","link":"https:\/\/lukeford.net\/blog\/?p=78296","title":{"rendered":"20 signs of a broken film culture"},"content":{"rendered":"

Armand White writes<\/a>:<\/p>\n

Since 2004, the year that film culture split<\/a> along moral and artistic lines, political and class biases have been exhibited in films that became more and more partisan. This rift was furthered by a compromised media, where critics praised movies that exhibited cynicism along with political bias.<\/p>\n

Not just entertainment, the 20 films listed here effectively destroyed art, social unity, and spiritual confidence. They constitute a corrupt, carelessly politicized canon.<\/p>\n

1) Good Night and Good Luck<\/em><\/strong> (2005) \u2014 George Clooney, president of the corrupt canon, directed and acted in a dishonest fantasy biopic<\/a> of TV-news icon Edward R. Murrow to revive blacklist lore as part of a liberal agenda.<\/p>\n

2) The Dark Knight<\/em><\/strong> (2008) used the Batman myth to undermine heroism, overturn social mores, and embrace anarchy.<\/p>\n

3) Ocean\u2019s Twelve<\/em><\/strong> (2004) \u2014 Steven Soderbergh salutes land of the greedy and home of the depraved in a reboot franchise sequel, scoffing at the post-War conviction of Sinatra\u2019s Rat Pack original.<\/p>\n

4) 12 Years a Slave<\/em><\/strong> <\/em>(2013) distorted the history of slavery while encouraging and continuing Hollywood\u2019s malign neglect of slavery\u2019s contemporary impact.<\/p>\n

5) Wall-E<\/em><\/strong> <\/em>(2008) \u2014 Nihilism made cute for children of all ages who know nothing about cultural history or how to sustain it.<\/p>\n

6) Manderlay<\/em><\/strong> (2005) \u2014 Lars Von Trier\u2019s Dogville<\/em> sequel sold American self-hatred back to us, and critics fawned.<\/p>\n

7) United 93<\/em><\/strong> <\/em>(2006) reduced the pain and tragedy of 9\/11 to the inanity of a disaster movie.<\/p>\n

8) Frost\/Nixon<\/em><\/strong> (2008) \u2014 Political vengeance disguised as a dual biopic that prized showbiz egotism over conflicted public service.<\/p>\n

9) Knocked Up<\/em><\/strong> (2007) \u2014 Judd Apatow\u2019s comedy of bad manners attacked maturity and propriety.<\/p>\n

10) The Social Network<\/em><\/strong> (2010) \u2014 David Fincher\u2019s new Horatio Alger tale glorified<\/a> technocrat Mark Zuckerberg with chic, digital-era arrogance.<\/p>\n

11) Precious<\/em><\/strong> (2009) coincided with Obama\u2019s first year in office to revive racial condescension with the audacity of nope.<\/p>\n","protected":false},"excerpt":{"rendered":"

Armand White writes: Since 2004, the year that film culture split along moral and artistic lines, political and class biases have been exhibited in films that became more and more partisan. This rift was furthered by a compromised media, where … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[19],"tags":[],"class_list":["post-78296","post","type-post","status-publish","format-standard","hentry","category-hollywood"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/lukeford.net\/blog\/index.php?rest_route=\/wp\/v2\/posts\/78296","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lukeford.net\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lukeford.net\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lukeford.net\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lukeford.net\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=78296"}],"version-history":[{"count":1,"href":"https:\/\/lukeford.net\/blog\/index.php?rest_route=\/wp\/v2\/posts\/78296\/revisions"}],"predecessor-version":[{"id":78297,"href":"https:\/\/lukeford.net\/blog\/index.php?rest_route=\/wp\/v2\/posts\/78296\/revisions\/78297"}],"wp:attachment":[{"href":"https:\/\/lukeford.net\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=78296"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lukeford.net\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=78296"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lukeford.net\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=78296"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}