In short, this is straight-up propaganda for the military-industrial complex. It would have looked and sounded identical had it been scripted by a joint team from the Pentagon and the Israel Defense Forces.
My reticence to review the film has lifted after reading the latest investigations of Tom Secker and Matthew Alford into the manifold ways the U.S. military and security services interfere in Hollywood, based on a release of 4,000 pages of documents under Freedom of Information requests.
In their new book “National Security Cinema,” the pair argue that the Pentagon, CIA and National Security Agency have meddled in the production of at least 800 major Hollywood movies and 1,000 TV titles. That is likely to be only the tip of the iceberg, as they concede:
“It is impossible to know exactly how widespread this military censorship of entertainment is because many files are still being withheld.” Continue reading
But money in politics is not the only major institutional factor in which everyday and state violence are nourished by a growing militarism. As David Theo Goldberg has argued in his essay “Mission Accomplished: Militarizing Social Logic,” the military has also assumed a central role in shaping all aspects of society. Militarization is about more than the use of repressive power; it also represents a powerful social logic that is constitutive of values, modes of rationality and ways of thinking. According to Goldberg,
The military is not just a fighting machine…. It serves and socializes. It hands down to the society, as big brother might, its more or less perfected goods, from gunpowder to guns, computing to information management … In short, while militarily produced instruments might be retooled to other, broader social purpose – the military shapes pretty much the entire range of social production from commodities to culture, social goods to social theory.