As far back as the 1920s, the pioneering Soviet director Aleksandr Dovzhenko demonstrated how the reordering of identical images through montage could create opposite feelings and conclusions in the audience.

Oscar Season Begins

by Roger L. Simon

Sorting the art from the liberal propaganda is no easy task.

Every year at this time, my house turns into a version of The Sorcerer’s Apprentice from Disney’s Fantasia, with endless brooms and buckets descending on hapless Mickey Mouse. Only the brooms and buckets are DVDs of the year’s movies sent to me, as a member of the Academy of Motion Picture Arts and Sciences, to garner my Oscar vote. Like The Sorcerer’s Apprentice, the process begins as a benign, hopeful experience but then can turn almost nightmarish, as flick after flick shows up at my door, my will to watch declining with each new arrival. And this year hasn’t even begun so benignly. Perhaps it was Robert Redford, in a CNN interview to promote his new Oscar contender, All Is Lost, calling President Obama’s critics racists—“There you go again,” as a wise man once said—but I was in a sour mood about Hollywood from the start.

To make matters worse, two of the first four films to arrive—Fruitvale Station and After Tiller—were outright liberal propaganda. And one of them, Fruitvale, was particularly well-made liberal propaganda, sure to have its intended effect on the audience, reinforcing the racial cant that increasingly permeates our culture.

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