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Demystifies the predominant methods of persuasion that have been employed by those seeking power, analyzing the present day and contextualizing it by looking back at periods when propaganda defined nations and kept populations in check.
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00:00:46Propaganda is political brainwashing.
00:00:50It's a calculated attack on the complexity of other people's minds.
00:00:54Behold his monkey hand!
00:01:00It's the invisible hand.
00:01:03It's getting you to submit without realizing consciously that you're submitting.
00:01:08What if the media is the enemy of the people?
00:01:23Wherever there is power, there is propaganda.
00:01:25If we grow up only surrounded by propaganda, then how do we know what is truth?
00:01:31See, in my line of work, you've got to keep repeating things over and over and over again
00:01:41for the truth to sink in.
00:01:43We can take back control of 350 million pounds.
00:01:46350 million pounds.
00:01:47350 million pounds.
00:01:58Propaganda is not going to die out.
00:02:00Propaganda is essential for the modern state.
00:02:04How can we protect democracy from people tampering with the truth?
00:02:09The truth about Negroes and foreigners!
00:02:20In the wrong hands, the power of art is a dangerous thing.
00:02:34We allow ourselves to be manipulated by fictions.
00:02:48As though they were uncontestable truths.
00:02:52As if we cannot distinguish between the two.
00:02:55Okay, can you go back and reshoot it?
00:02:58I think we have to get it again.
00:03:00We have always been captivated by fairy tales and fantasies.
00:03:05And the imagery that accompanies them.
00:03:10But how is it possible that our powers of reason
00:03:13have so often been overtaken by the irrational?
00:03:18If we look back at the history of humankind,
00:03:22language is a medium that provided humans
00:03:27with a new kind of power.
00:03:32The power of grasping the symbolic layer of reality.
00:03:39If we look back at the history of magic,
00:03:43art, religion,
00:03:46they all share the same roots.
00:03:48So this is one of the hand stencils that El Castillo Cave is famous for.
00:04:08And the hand stencil is probably the first symbolic piece of art we find,
00:04:13representing something in the real world.
00:04:15This is done with a great deal of care.
00:04:17The location is deliberately chosen.
00:04:19This is not just art for art's sake.
00:04:21This is meaningful art.
00:04:25To know that they are the hands of Neanderthals.
00:04:27That 65,000 years ago the Neanderthal stood there and made this symbol.
00:04:32It's just, it's mind blowing.
00:04:36This is the origin of symbolic culture.
00:04:38It's the origin of art, if you like.
00:04:40And that plays a really important role in propaganda.
00:04:44Symbolic communication lies at the heart of propaganda.
00:04:48It's the tools from which propaganda formed.
00:04:53So to make this, they would have,
00:04:55an individual would have come along and placed their hand against the wall
00:04:58and they would have blown pigment either by spitting it or blowing it through a tube.
00:05:01And when their hands are removed, you have a negative hand stencil.
00:05:04And this is the same method that modern graffiti artists use to make their graffiti today.
00:05:10And there are maybe 40 of these hand stencils in this area.
00:05:13So when we see large concentrations of art like this,
00:05:16maybe it was designed to be viewed by a large number of people,
00:05:19by gatherings of individuals, perhaps performing some kind of ritual.
00:05:23This is public art, if you like.
00:05:28Great propaganda exploits your need to believe something.
00:05:34Your need for belief.
00:05:36And your craving or your appetite for a magical form of empowerment.
00:05:44We will, at this point, lose our relative insignificance in the universe
00:05:48and we'll be masters of the universe together.
00:05:53So it's not surprising that our ancestors found these places full of awe.
00:05:58Look at it. It's like a modern cathedral.
00:06:01It's full of beautiful stalagmite formations.
00:06:03And of course, they would have been walking around with small tallow lamps.
00:06:07The shadows would have been awesome.
00:06:09It would have been an eerie place.
00:06:10It would have been the place that the spirits lived.
00:06:16The shaman takes you into the dark cave where you can't see very well
00:06:20and things are flickering and pictures of the animal spirits are on the walls.
00:06:26The caves might be seen as a rather elaborate way of convincing people of the power of the shaman.
00:06:34That's propaganda.
00:06:35The power of the image has been with us from the beginning.
00:06:49Is that why we're so easily seduced by propaganda?
00:06:52And coerced into adopting opinions that are not our own?
00:06:58You are fake news.
00:07:00Today we are bombarded with loaded images and messages like never before.
00:07:07They scream out to us from our own computers and cell phones.
00:07:10As if the dystopian fiction of George Orwell has become our daily reality.
00:07:19So how can we defend ourselves against the inanities of politics?
00:07:23Of religion?
00:07:25Of demagogues?
00:07:27Of rabble-rousing leaders who feed us false hopes, deception and hate?
00:07:32And hate.
00:07:39When the very concept of truth is being attacked.
00:07:42When knowledge is debased and ignorance lauded.
00:07:46When the rage within every one of us is at a boiling point.
00:07:51We need to stop and ask ourselves how we got here.
00:07:54This film is a cautionary tale.
00:08:00And a call to action.
00:08:03At a precarious moment in our history.
00:08:16We can be manipulated.
00:08:17We can be influenced.
00:08:19Information is a really powerful thing.
00:08:21I'm Craig Silverman.
00:08:22I'm the media editor for BuzzFeed News.
00:08:25Our office in Toronto specializes in investigating media manipulation, digital deception, fake news, online misinformation.
00:08:36Let me ask you, how did you come up with the term fake news?
00:08:40For me, my first encounter with what I came to call fake news happened in the late summer or the fall of 2014.
00:08:48I kept coming across stories that were just completely 100% false.
00:08:54But they looked like they were published on a news website.
00:08:58One of the things that we exposed during the 2016 election was that there were a group of young men and teenagers in the former Yugoslav Republic of Macedonia who were launching Trump sites.
00:09:13They had more than 150 that we found and they were publishing a lot of stories that were incredibly misleading and many that were also 100% false.
00:09:24And one of the reasons for that is you could make a lot of money from them.
00:09:27Some of the fake stories that we saw during the election that did well were a story claiming that the Pope had endorsed Trump, a story claiming that Hillary Clinton had approved a sale of weapons to ISIS.
00:09:41They were everywhere.
00:09:44Storytelling is a powerful tool to move people.
00:09:57It's a powerful tool to engage people.
00:10:00People want to believe in stories.
00:10:03Storytelling is embedded in the history of propaganda.
00:10:09A good propaganda is a good story.
00:10:11It's a good narrative.
00:10:12There is an enemy.
00:10:14There is an hero.
00:10:16And this is how propaganda worked through the centuries.
00:10:21Taking some specific symbols and providing those symbols with supernatural power.
00:10:29The use of propaganda to depict a cult of personality, we can go right back to Alexander the Great.
00:10:38Alexander the Great was one of the first leaders to recognize the importance of the way in which his presence should be symbolized.
00:10:50There's a case to be made for him being one of the greatest propagandists ever.
00:10:54He became a god.
00:10:56That's the point.
00:10:58And I think he did that consciously.
00:11:02He was the first person to have to wrestle with the problem of having a vast empire and how do you keep people believing in you?
00:11:10You can't be everywhere at one time.
00:11:12So he and his people came up with the idea, well, if Alexander can't be there, statues of Alexander can be there.
00:11:19Coins with Alexander's head on them can go to the ends of the world and they will carry the Alexander message.
00:11:27Believe in me and everything's going to be fine.
00:11:31Propaganda wants to be everywhere.
00:11:36It is only propaganda when it is part of a larger endeavor of constructing of engineering reality.
00:11:43When we don't think it's propaganda, it works the best as propaganda.
00:11:46Sometimes the most insidious propaganda is the propaganda of omission.
00:11:55You look at these beautiful paintings and you see this kind of sublime light.
00:12:00But they also have this kind of ideology embedded in them.
00:12:10The artists of that time were selling this idea of the American West as a kind of an empty paradise.
00:12:18A kind of an empty big piece of empty real estate.
00:12:23My intent was to really make history paintings to tell a completely different narrative of North America.
00:12:30My name is Kent Monkman and I'm a Cree visual artist.
00:12:39And I returned to the zenith of propaganda painting in the 19th century.
00:12:44For me, that was the most sophisticated form of painting because it embraced all aspects of painting.
00:12:50It embraced the brush stroke, the surface, the content, bringing it all together to serve a larger purpose.
00:12:57I thought, can I bring this authority of history painting to Indigenous, our own histories, my own histories, my own personal histories and the histories of my own community?
00:13:12Can I communicate, you know, the histories of Indigenous people with this power?
00:13:19So this painting is called The Scoop. In the 1960s in Canada, children were taken out of their families and out of their communities and adopted out into non-Indigenous families and residential schools.
00:13:47The forcible transfer of children from one cultural group to another is a definition of genocide.
00:13:54And the Mountie, of course, is this, you know, friendly, innocuous symbol of Canada that's used on postcards.
00:14:02In fact, they were the perpetrators of this policy.
00:14:05To this day, my family still reverberates from the trauma of colonialism.
00:14:12I want to dismantle the propaganda of, you know, the government selling people a myth, a story, a lie about themselves, about their own histories and about Indigenous people.
00:14:28...
00:14:45eins
00:15:001984 a dystopian novel of a totalitarian society in which personal relationships
00:15:06e o regime é terrível.
00:15:09Rúm 101.
00:15:11Ele nunca foi fora de princípio, ele publicou isso.
00:15:15E, de repente,
00:15:16ele escalou o mundo melhor de vendas, de novo.
00:15:21Eles trouxeram drogas,
00:15:22eles trouxeram crime,
00:15:24eles são rapistas.
00:15:25Brumos!
00:15:26Nós estamos à guerra com a povo de Eurasia,
00:15:28a vile e rúthos agressores
00:15:30que cometem tantos atrocidades
00:15:32e que são culpados de todos os crimes
00:15:33que a humanidade pode cometem.
00:15:35Estados como esses
00:15:37e seus alianos terroristas
00:15:39constituem um axo de mal,
00:15:41armando para afastar a paz do mundo.
00:15:47De repente, as pessoas querem ler bem,
00:15:50como um sistema de alerta.
00:15:52É como um direcção médica.
00:15:56O que está acontecendo com nós?
00:15:58Nós estamos tomando por um grande irmão?
00:16:01O que é que nós somos capazes de amar alguém
00:16:05no meio de um lado de uma ideologia?
00:16:08O que...
00:16:09...
00:16:11...
00:16:13...
00:16:15I'd always read it as describing another world,
00:16:22but it suddenly felt very painful to read it
00:16:25because it felt it was describing the world I was in.
00:16:30What you're seeing and what you're reading is not what's happening.
00:16:35Our press secretary gave alternative facts.
00:16:38No, it isn't truth. Truth isn't truth.
00:16:45Reject the evidence, but have faith in magical mythologies.
00:16:54Arguably the most effective propagandist in history has been the church.
00:16:59Could I ask you about the origin of the word propaganda?
00:17:04The word propaganda, as we use it in English,
00:17:07does derive from a Latin term,
00:17:10and the sense of the original Latin term
00:17:15is to plant.
00:17:17The planting of ideas,
00:17:21it's used in the Catholic Church
00:17:23as a way of describing the process of evangelization.
00:17:28You plant or you seed the faith.
00:17:34At the beginning of the 16th century,
00:17:36there were maybe 200 printing presses in Europe,
00:17:39and these would turn out to be the heavy artillery
00:17:45of the propaganda war that was about to break out.
00:17:50Martin Luther and the people who worked with him in the Reformation
00:17:53had a very clear idea of the power of the printing press.
00:17:57They produced enormous amounts of stuff.
00:18:00The first best-seller was one of Martin Luther's tracts
00:18:05about the iniquitous sale of indulgences.
00:18:09And he had the idea to use the services of really good artists
00:18:14who did woodcuts that would go along with his sermons,
00:18:18railing against the Catholic establishment.
00:18:20But then we had, first of all, various popes
00:18:30trying to counter the propaganda of Protestantism.
00:18:36They decided to go right through
00:18:39the whole means of communication of the Catholic Church
00:18:42and make it more accessible to the ordinary person.
00:18:47And that went from painting, sculpture, architecture, music,
00:18:58right across the whole spectrum of the arts
00:19:01and gave rise to the glory that is the Baroque.
00:19:07At the heart of any propaganda campaign
00:19:19is an emotional appeal of some kind,
00:19:21some kind of emotional appeal.
00:19:25The central Baroque idea of manipulating the senses
00:19:29is playing to the heart rather than to the mind.
00:19:32My name is Jim Fitzpatrick and I'm an Irish artist
00:19:39and I'm probably best known as the creator
00:19:42of the famous or infamous 1968 red and black
00:19:46Che Guevara poster titled Viva Che.
00:19:48I was working as a barman in a pub in Kilquay
00:20:02and in walked Che Guevara.
00:20:06And of course, being a barman,
00:20:08you learn to talk to people.
00:20:09That was one of my gifts.
00:20:11So he came over near the bar and I said,
00:20:13what brings you here?
00:20:14And he looked at me, kind of startled,
00:20:16and I said, you're Che?
00:20:17And he said, yeah.
00:20:19He said he was in a stopover, fog bound,
00:20:23for two days, I think, in Shannon Airport.
00:20:26It left an enormous impression
00:20:27because here was somebody I admired hugely.
00:20:30It was like meeting Martin Luther King.
00:20:32This was a man I looked at and thought,
00:20:33my God, this is the real, you know, hero of the revolution.
00:20:39I did many, many versions of the Che
00:20:41before I came to the final version
00:20:43and here's a couple of them.
00:20:46As you can see, they're overcomplicated.
00:20:48I need to simplify, so I started simplifying.
00:20:51These are not in sequence,
00:20:52but you can see what I'm up to.
00:20:54This was one I was going to do as a poster and didn't
00:20:57because that's what he looked like
00:20:59when I actually met him.
00:21:07Che had been murdered, executed as a prisoner of war.
00:21:10Then they committed the most obscene act.
00:21:15They put him on this thing
00:21:17for draining the blood from cattle, right?
00:21:20And he looked like the dead Christ.
00:21:24I was so outraged at the manner of his murder
00:21:27and the fact that they tried to disappear him,
00:21:32which is residence in Ireland
00:21:33where we had many disappeared
00:21:34and we know during the Argentina Dirty War
00:21:36what disappearance meant.
00:21:37and I thought, fuck them, that's not going to happen.
00:21:46When I did the Che Guevara image,
00:21:48I did that deliberately as a piece of propaganda.
00:21:51I wanted that as simple as possible
00:21:53so anybody could copy it.
00:21:55I made leaflets, I made prints,
00:21:57I gave it to everybody.
00:21:59I made it free use.
00:22:00I rather grandly stated
00:22:02that it was to be copyright free
00:22:04for all revolutionary and leftist use.
00:22:07The Che image began to proliferate of its own accord.
00:22:12I've seen it in the most incongruous places.
00:22:14I've seen it in toilets in Tokyo.
00:22:17I've seen it endlessly on T-shirts.
00:22:22It took off and became so world famous
00:22:24it kind of intimidated me.
00:22:26It got to the point where
00:22:27I wouldn't even say I did it
00:22:29because nobody believed here.
00:22:35I'm very lucky.
00:22:37Kind of accidentally
00:22:38I created one of the most iconic images of all time
00:22:40and I try not to laugh
00:22:42because it's a serious image
00:22:44but it feels kind of good.
00:22:46You know, it's nice at my age
00:22:47to be looking back and thinking
00:22:48well, I did something decent with my life.
00:22:51I commemorated a great man
00:22:53and made him live again.
00:22:54In the First World War
00:23:22you have nations fighting in total war.
00:23:25You don't just have armies
00:23:26but you have whole populations
00:23:28pitted against whole populations.
00:23:35And as a result of that
00:23:37governments have to justify
00:23:38really for the first time
00:23:40on a major scale
00:23:42why they are fighting total war.
00:23:45And that's where propaganda comes in.
00:23:48propaganda is used by all the belligerents
00:24:08they use the old media
00:24:10the print, posters, etc.
00:24:13but they also use the new technologies
00:24:16and in particular
00:24:17the cinema
00:24:19In stark terms
00:24:40many of these stories
00:24:43were perceived in the immediate aftermath
00:24:46of World War I
00:24:47to be untrue
00:24:48and so propaganda
00:24:49in Britain and America
00:24:51became firmly associated
00:24:54with lies and falsehood.
00:24:56Now what's interesting
00:24:59is that other countries
00:25:01like Germany
00:25:02Italy
00:25:03Russia
00:25:06and eventually the Soviet Union
00:25:07would actually take
00:25:10a different lesson
00:25:11from the experiences
00:25:12of the First World War
00:25:14they wouldn't see propaganda
00:25:16necessarily
00:25:17in these negative terms.
00:25:18If you look at
00:25:48films such as
00:25:49The Fall of Berlin
00:25:50here you see
00:25:52Starling
00:25:53depicted
00:25:54in cinematic form
00:25:55We have an actor
00:25:58who becomes
00:25:59a national treasure
00:26:00who plays Starling
00:26:01in a number of films
00:26:02And plays Starling
00:26:11as this wise
00:26:13kind of benevolent
00:26:14figure
00:26:15that
00:26:16really sacrifices
00:26:17everything
00:26:18for his country
00:26:19and in the fall
00:26:20of Berlin
00:26:21of course
00:26:21it's the celebration
00:26:22it's the apotheosis
00:26:23of this wise
00:26:25and benevolent leader.
00:26:26and in the fall
00:26:30of this
00:26:30peace
00:26:31and happiness
00:26:33peace
00:26:34and happiness
00:26:35to all of you
00:26:37friends
00:26:37Propaganda é uma coisa que não podemos trazer a nossa intelectual intelectual.
00:26:57Então há algo sobre propaganda que desabou nossa intelectual intelectual.
00:27:02E então nós podemos olhar para trás e pensar, como eu poderia acreditar isso?
00:27:06É um pouco como o fim de uma espécie de amor, onde você pensa, como eu poderia ter falado por essa pessoa?
00:27:24A desilusão sobre Stalin, parece que é muito interessante aqui, porque o que nos mostrava, em retrospecto,
00:27:31é como o tempo de atenção selecionada foi necessária para acreditar.
00:27:40Em outras palavras, as pessoas, se não consciente, se consciente,
00:27:43atacaram a capacidade de percepção e de pensamento.
00:27:48É como se não havia realmente ocorrido para eles.
00:27:51E isso me parece ser uma parte de uma pessoa que não pode saber o que uma sabe.
00:28:03Propaganda é baseada em como você pode parar de saber coisas.
00:28:07A PORTA A PORTA A PORTA A PORTA
00:28:25A CIDADE NO BRASIL
00:28:55Narratives about North Korea that we get in our Western media are propaganda.
00:29:04Morten Travik is an artist and entrepreneur who stages music events around the world.
00:29:11His special fascination with North Korea has led him to face the unique challenge of producing concerts in that hermit kingdom.
00:29:25Many people think that a place like North Korea, it must be like Mordor, it must be like, you know, hell on earth.
00:29:32And many people make a living out of selling this narrative.
00:29:35But the fact is, and you can ask anybody who has grown up in a dictatorship or in a totalitarian system.
00:29:44People censor themselves because we are comfortable animals, most of us.
00:29:50We like to stay on the safe side and we want to keep out of trouble.
00:29:52Even in North Korea, people actually, many people, know what is propaganda and what is not propaganda.
00:30:04And that's a paradox, that people are living an existence which is so obviously manipulated.
00:30:13There is a level of total staging in the average North Korean's life.
00:30:19But that level is so obvious that you can have a parallel existence below that level of basically a normal life, as long as you pay lip service.
00:30:35In any kind of totalitarian system, they say the same.
00:30:39That yes, we did wave our flags.
00:30:41We went for the May 1st parade.
00:30:44We did all that stuff.
00:30:46We keep our sanity.
00:30:47We, in the more or less free world, we are so trained now.
00:31:00We are not that susceptible, for instance, to North Korean propaganda.
00:31:03For us, that is quaint and kitsch even.
00:31:08But we are also subjects to many, many forms of propaganda all the time.
00:31:15that are more subtle, which might lead us to the misconception that we are somehow less exposed than the average North Korean.
00:31:31And this, I don't necessarily agree with.
00:31:38Propaganda is something other people consume.
00:31:41I mean, I think that that's sort of our default definition, right?
00:31:45We don't go around, nobody goes around and says, my name is Astra and I love propaganda, because we all like to flatter ourselves and think we don't consume propaganda, other people do.
00:31:57If you look at standard histories of propaganda, what do you see, you see the Catholic Church, you see the Soviet Union, and Nazi propaganda, and what's striking to me about these sort of conventional narratives of what propaganda is, is how much is left out.
00:32:18Adreline knows that, for some reason, she doesn't fit into the picture, but she doesn't know why.
00:32:25As a woman in this world, I know there are patriarchal messages, there are sexist messages.
00:32:30There's no sort of Bureau of Male Affairs pushing those from on high, they're just sort of in the ether and being transmitted through the culture, and we call them stereotypes.
00:32:36We talk about bias, but we don't use the term propaganda.
00:32:43Take a show like The Bachelor.
00:32:45Lauren B.
00:32:46All these stereotypes are endlessly reinforced.
00:32:51Lauren, will you accept this for us?
00:32:54For me, when I look around, and I look at American culture, North American culture, the stuff that strikes me as the most propagandistic is actually the most important.
00:33:05is actually the most mainstream culture, it's the films coming out of Hollywood, you know, like, she's all that.
00:33:12Home improvement shows, or real estate shows, like House Hunters, these things that present a sort of idealized consumeristic mode of life.
00:33:21Your grand staircase?
00:33:22Yeah.
00:33:23How does that make you feel?
00:33:24Kind of happy inside.
00:33:26The most successful propaganda, I think, ever in the world, has been the propaganda that says, what you really want is to be rich.
00:33:35Capitalism creates tremendous envy, because a lot of people feel extremely deprived and resentful, because they're living in a culture in which it appears as though 1% of the population is enjoying life as it should be lived, and everybody else is just suffering.
00:33:54The trouble is, we've been sold the wrong picture of a good life.
00:34:01What do you see your role to be?
00:34:17I see myself as a political guerrilla artist.
00:34:21What do you call it?
00:34:22A shit disturber.
00:34:24I think it's your duty to disturb shit when you think things are wrong.
00:34:29I believe something's wrong, and it needs to be changed, and for some strange reason, the smartest among us don't seem to get it.
00:34:48It's one thing to have an idea, but what good is the idea if you can't get it out there?
00:34:57Now, I can have something go from my mind to, like, the Drudge Report or Glenn Beck, wherever, Breitbart, within 24 hours.
00:35:09I like the Obama drone series that I did.
00:35:22It's basically a celebrity that drones on and on and on about their politics.
00:35:28And I kind of figured Hollywood is, like, the drone base, where these celebrities, like, fly out into the country and then, like, spread their message.
00:35:37And, of course, at the time, Obama had a drone policy to where it's like he actually joked about it.
00:35:43I have two words for you. Predator drones.
00:35:47He won a Nobel Peace Prize. It's like, for God's sakes.
00:35:51He dropped a bomb every 20 minutes for eight years.
00:35:58All these political artists, what were they doing?
00:36:01They were falling all over themselves to get into galleries with their bullshit wallpaper.
00:36:07And so it's like, you know what, you had an opportunity to show that you really spoke against power.
00:36:13Like, if there's power out there that was being abused, it was your job as an artist to speak against it.
00:36:18I'm a Republican. I've always been a Republican.
00:36:24Probably die one.
00:36:26Here in L.A., here in Hollywood, you're in the closet. You have to wear a mask.
00:36:30We're the Zoros. We're the heroes. We're the black sheep.
00:36:35We're the punk rock.
00:36:37It's like, the left isn't. The left is establishment.
00:36:40Rawr! Over there, over there, over there.
00:36:43And the left, they control the school system.
00:36:45Carabiner's out.
00:36:46They control Hollywood. They control the music industry.
00:36:49Don't pull too hard.
00:36:50You name it, they control it.
00:36:52That's it, man.
00:36:53To which they'll say, well, you have a president that's a Republican. Isn't that the establishment?
00:36:57No, the establishment is the people that control the narrative.
00:37:01And that is a cop.
00:37:07Oh, shit, we're fucked.
00:37:15It's really bad when you reach a point in time when just telling the truth is revolutionary.
00:37:21There are a lot of dangers to putting work up in public without permission. I've been arrested 18 times.
00:37:38Being arrested is never fun.
00:37:40It's especially dangerous for me as a type 1 diabetic because often I'm not given my insulin in jail, so it becomes life-threatening.
00:37:51But street art is important enough for me to take that risk.
00:37:57It interacts with people where they live their daily lives.
00:38:02You know, what I'm trying to do is I'm trying to use the tools that propaganda uses, and I even call my work propaganda.
00:38:14Propaganda has a negative connotation, but I don't think it has to be negative.
00:38:17So I'm using the tools of propaganda in a way that I think is socially responsible.
00:38:22The Obama Hope poster was like, you know, lightning in a bottle, perfect storm.
00:38:35I created the Hope poster as just a grassroots initiative.
00:38:42But after I made the image, which originally said progress, they found that it caught on very quickly, virally.
00:38:51We need a new politics, and we need a new person.
00:38:57The campaign, the Obama campaign, reached out to me and said,
00:39:00we really like that, but would you mind using the word hope or change?
00:39:05And I like the word hope because I think during Bush a lot of people felt hopeless,
00:39:11and without hope people don't act.
00:39:18The Obama branding was excellent.
00:39:20His logo, the type choices they made, but there hadn't been anything with that human connection.
00:39:25And, you know, I'd like to think that beyond just the human connection,
00:39:29the way in which I illustrated Obama felt patriotic.
00:39:34It portrayed him in a way that he seemed to have vision and legitimacy.
00:39:40His biggest challenge, I think, was that he was fairly unknown and unproven in American political life.
00:39:47So having a two-dimensional sculpture made of this figure is a way to legitimize and also deracialize.
00:39:57That's a big obstacle in the United States, racism.
00:39:59So illustrating Obama in red, white, and blue, even though it's not the usual exact red, white, and blue,
00:40:06it still is, you know, it's American rather than African American.
00:40:13People are looking back very fondly at that poster, and it's because they don't want to lose hope.
00:40:25So we need to make it to be a certain task.
00:40:27Many other issues are being taken to the center.
00:40:28And we don't want to correct them.
00:40:29The bail is not just enough, but you know...
00:40:31Thanks for this project, the government is not willing to pay.
00:40:32And we'll just be able to make it to the center.
00:40:34And we need to make it to the center.
00:40:35So we need to make it to the center.
00:40:36And we'll come back to the center.
00:40:37And we need to do a few steps
00:40:38Then the federal government is to help the center.
00:40:39And we need to keep the center of the security resources that we need to have in this.
00:40:41A Câmara de Môme foi muito claro que não só controlamos a gun, mas também a pen.
00:41:02A year que eu was born, meu pai foi exiled as anti-party, anti-people.
00:41:11To be sent to very remote, re-education camps.
00:41:24My first 20 years is under that condition.
00:41:31Ai Weiwei has been called the most powerful political artist in the world.
00:41:36A brave and unrelenting critic
00:41:40of the Chinese authoritarian regime,
00:41:43he is now in exile
00:41:44and a symbol of the struggle
00:41:46for human rights.
00:41:53Art functions
00:41:55like a cancer
00:41:56in communist society.
00:41:59It destroys
00:42:00every single cell.
00:42:03That's why
00:42:04I'm seen as the most dangerous person
00:42:06for the state.
00:42:19In totalitarian regimes,
00:42:21what gets erased often
00:42:22is the idea about
00:42:23who created the art.
00:42:25You know, even propagandistic posters,
00:42:27for instance,
00:42:27that you have
00:42:28during the Cultural Revolution.
00:42:30These are created by people,
00:42:31by individual people.
00:42:32But what gets erased
00:42:34is their authorship.
00:42:35The author becomes the state.
00:42:39And so,
00:42:41the recognition,
00:42:42the coming to the fore
00:42:43of the individual itself,
00:42:45is itself a political act.
00:42:46I started to work on the Internet.
00:43:07I opened my blog.
00:43:09I was beaten by police
00:43:34at the brain harmerage.
00:43:38You have to wait here, please.
00:43:40You have to transfer him
00:43:41to the intensive care room.
00:43:43If you wait,
00:43:43the nurses cannot talk to you.
00:43:47I never can imagine
00:43:49just by freely talking about
00:43:52what is in my mind
00:43:54can cause this kind of severe damage.
00:43:57All art is propaganda,
00:44:13but it's not a propaganda
00:44:16from a powerful state,
00:44:18but rather from the heart
00:44:20of an individual.
00:44:21The essential power of art
00:44:32is a subversive power.
00:44:36Art is about freedom.
00:44:38The Nationalsozialists
00:44:59They were aware of the potential
00:45:26o propaganda
00:45:27porque eles eram
00:45:30sensíveis ao poder de arte.
00:45:32O arte movida
00:45:33e eles sabiam que
00:45:35ele podia movimentar outras pessoas, também.
00:45:38Art é um
00:45:39poderoso de
00:45:40tapar no emoção.
00:45:43Há algo muito unificado
00:45:45sobre isso e
00:45:47transcendente.
00:45:48A sensação de transcendência
00:45:51é um emoção de você
00:45:52de sua vida
00:45:53e de você se sentir
00:45:55uma coisa maior
00:45:57é uma das
00:45:59poderoso emoções que nós podemos ter.
00:46:01E pode ser muito perigoso.
00:46:04A música é a parte,
00:46:06mas também a arte,
00:46:08a arte, a arte e,
00:46:10e, claro, muito importante,
00:46:12o filme.
00:46:20Nós estamos juntos!
00:46:24Filme!
00:46:25hosukanos!
00:46:27Liene Liefenstahl
00:46:27tem uma chanceTH
00:46:50mesmo que ela tenha sido utilizado por os nazis e gostaria de fazer com.
00:46:55Ela era uma grande artista em vários lugares.
00:47:00E ela também tem o período do filme.
00:47:03Há um grande câmera, fatten ou snite.
00:47:08E esse filme é mais um documentar e um propaganda film,
00:47:15mas é quase um propaganda.
00:47:19Porque foi um filme de propaganda, e ela nunca anunciou.
00:47:25A arte em serviço de nazis não é uma desculpe arte, mas também é propaganda.
00:47:39Tudo isso foi muito operatório, porque isso veio de Wagner.
00:47:43Muitas pessoas acreditavam porque usavam componentes de informação
00:47:50em uma maneira manipulada de pessoas,
00:47:53para um tipo de religião religioso em um sistema.
00:48:00Muitos alemãs, na época de Hitler, ainda eram iguais.
00:48:06Eles ainda eram capazes de associar esse tipo de nocturnal,
00:48:10torchlitilha procession, com candelitilha processions
00:48:13de um tipo diferente.
00:48:18O uso de esses elementos, que envolvam todos os sensores,
00:48:24os visuales componentes, os bairros, os bairros,
00:48:28o smell for o incêndo, o corpo, a coroografia dos processos,
00:48:34o música.
00:48:35Tudo isso é presente em religião organizada,
00:48:39e na organização religiosa,
00:48:41e na organização religiosa,
00:48:42de ideologias como o nazismo.
00:48:48E isso é enormemente efetivo,
00:48:50porque realmente envolvam o todo mundo.
00:48:52é muito bonito, é muito perigoso,
00:48:54extremamente perigoso
00:48:55e muito perigoso.
00:48:56É muito perigoso.
00:48:57sensual responses to what I believe to be ultimate truth so at that point my
00:49:07senses my life and eternal truth become a single thing in these privileged
00:49:14moments it's very beautiful it's very moving it's very dangerous if it's
00:49:19misused
00:49:31when I as a Christian when I as a Christian priest celebrate with a choir singing
00:49:37with incense in a beautiful church surrounded by masterpieces in art I know
00:49:43what I'm doing I know what the impact of the images smells the sounds
00:49:49the words that I'm pronouncing has on people who believe in all of this and I
00:49:56do it not because I want to manipulate them but because I think that this
00:50:01really brings us all closer to the mystery of a spiritual God who becomes a
00:50:06physical human being which is a sacred core of Christianity
00:50:23if we're all wrong it has at least been innocent manipulation
00:50:30my name is Norman Lloyd and I have been in this business since 1932 so I've been in
00:50:49for quite some time well I was a good friend of Charlie Chaplin I would go up
00:50:59there about three times a week and play tennis well that's Charlie all those shots
00:51:05of Charlie and there he is he's serving he was he was good it's just that he
00:51:14wouldn't wear his glasses so in doubles he couldn't play the net but other than that
00:51:20he was good he was okay okay you're being kind though you're because you adore him the
00:51:27truth is you could beat him in tennis couldn't you well I could beat a lot of people
00:51:32the great dictator it's one of the greatest movies I've ever seen I think it's incredible how he does
00:51:46those two characters the tramp which is heaven sent a most beautiful creation the tramp ever and Hitler
00:51:58and he does those two things and then ends up with this fantastic speech we all want to help
00:52:15one another human beings are like that we want to live by each other's happiness not by each other's
00:52:20misery he drops out of character turns to the camera and speaks into the camera to the people of
00:52:30the world you the people have the power the power to create machines the power to create happiness you
00:52:36the people have the power to make this life free and beautiful to make this life a wonderful adventure
00:52:41what a moment let us fight for a new world a decent world he was creating propaganda because he felt
00:52:51very intensely about the necessity for it in the name of democracy let us all unite
00:53:11Trump every picture of him is a revelation you know he just the sides of his face are interesting in
00:53:32the back of his head is fantastic and the colors and textures there's so much to draw there you know
00:53:38it's too bad he is who he is I got a lot of these but this is when no lawyer would represent him so
00:53:49he's in court here getting advice from his lawyer is wearing a bag over his head here he is standing
00:53:56Marilyn like over a subway grate I have no idea what this means you know I've looked at so many pictures
00:54:02I slide pictures out of news stories and keep a folder and the folder is very expansive I've got a lot
00:54:08of pictures of Trump probably 600 pictures of Trump on my desktop I mean it's like he's made of rubber or
00:54:13pudding you know it seems like he's in the process of melting here's a fat joke is Trump getting stuck in
00:54:19an MRI around the time of his health care another health care Trump in traction this was just an excuse
00:54:27to draw him Zeig Heilig basically I'm wrapped with self-doubt about what I'm doing half the time I mean I am
00:54:41pushing a worldview whether I like it or not you know and cartoonists you know there's nothing particularly
00:54:48pure about what we're doing I think I'm trying for a laugh basically and I'll go to to depths to get a laugh believe me
00:54:58I think Trump would be delighted with some of my drawings but I know I know he didn't like the cover I did with
00:55:08which was a palm chart of his hand of his little hand and I you know I know Graydon Carter who was
00:55:15one of the architects of pointing out Trump's small hands and I mean that seems like propaganda to me in
00:55:22a way that's part of what the propaganda of of satire because Trump I mean he doesn't really have
00:55:28incredibly small hands maybe they're a tiny bit out of proportion for the rest of him but it's not
00:55:33anything I would have noticed it's a great joke that's when I feel like a cartoon is sort of
00:55:39propaganda itself where it's pushing a certain I mean like Napoleon apparently didn't do this
00:55:44or Gerald Ford apparently was an athletic guy he wasn't a bumbling fool but satirists fix on one tiny
00:55:56thing and if enough of them are doing that that becomes the way someone is viewed and you know that's
00:56:02taking an untruth now you know and and making it into a you know it's an iconic image seems like
00:56:09there's an element of propaganda in that I'm trying to get a laugh I'd like to do something funny I mean
00:56:17going for pure outrage is another thing and it's got its place but it's dangerous
00:56:23the 7 Janvier 2015 on a tué des dessinateurs
00:56:41for ski parce qu'ils dessinaient
00:56:44nous avons été ciblés parce que nous avons été l'un des rares voire l'un des sols journal
00:57:12à nous opposer ouvertement à un totalitarisme politique qui refuse de dire son nom
00:57:2511 personnes qui sont mortes 4 qui sont en situation d'urgence absolue la France est
00:57:35aujourd'hui devant un choc un choc qui est celui d'un attentat car c'est un attentat terroriste
00:57:47tous les totalitarismes religions comprise déteste l'humour et essaye de le baïonner de le
00:57:53censurer par par tous les moyens donc c'est une c'est une arme l'humour
00:57:59vous constatez vous constatez sur si je prends plein de plein de couverture plein de couverture je
00:58:15les prends au hasard voilà elle ne parle que de la politique française c'est notre principal sujet donc
00:58:23quand on nous quand on dit charlie hebdo est obsédé par l'islam non on ne fait que commenter
00:58:30l'actualité on ne fait que parler de l'actualité et quand l'islam et l'islamisme s'invitent dans
00:58:35l'actualité évidemment on n'en parle
00:58:38et là on va parler de propagande l'islamisme est arrivé à nous faire croire que lorsque l'on
00:58:54s'attaque à son discours on s'attaque à toute une communauté il est parvenu à ça
00:59:08la foi c'est ce qui est individuel ce qui est personnel
00:59:11la religion c'est autre chose la religion c'est l'organisation sociale et politique de la
00:59:21foi donc la religion c'est politique
00:59:25la religion aujourd'hui est en conquête politique on est dans la politique on n'est pas dans la foi
00:59:34c'est autre chose donc dès lors que l'on est dans la politique on doit pouvoir critiquer ce qui se fait
00:59:42dans ce champ politique donc on doit pouvoir critiquer attaquer se moquer insulter la religion
01:00:04paranoia xenophobia irrational fear these are the pillars of propaganda that have led us into our
01:00:19deadliest conflicts the cold war was a new type of war fueled by unrelenting propaganda on all sides
01:00:28it was a war based on the constant threat of instant global annihilation
01:00:43the atomic bombing of Hiroshima and Nagasaki without any warring it's actually one of the most potent
01:00:49forms of propaganda at the time and and it's explicitly acknowledged to be that a bomb of
01:00:55unprecedented destructiveness had exploded three days later a second atom bomb was dropped on
01:01:01Nagasaki strangely and very chillingly the United States military actually reserved a number of
01:01:08cities in Japan didn't bomb them using conventional bombs during the war itself precisely so that if
01:01:15they developed an atomic bomb they could judge its full destructive capacity looking toward zero point
01:01:20from the roof of the red cross hospital a mile away the tremendous destruction created by the first
01:01:25atomic bomb can be seen this foundry three tenths of a mile away from zero point shows considerable damage
01:01:32in spite of fairly good construction always in the back of the mind of the people who are making
01:01:37these considerations were let's call them the propagandistic effects it's a message not only to Japan but more
01:01:45importantly to the soviet union
01:01:52the cold war is some mobilization of culture and of ideology and the stakes of it are global every citizen of the world is potentially a target
01:02:00news reporting for instance becomes in some sense a form of propaganda too in that it reports the kind of virtues of the United States or the victories for instance of things like the space race and these become their own form of propaganda as well
01:02:07that's one small step for man one giant leap for mankind
01:02:14for mankind
01:02:20for mankind
01:02:27Um pequeno passo para a manhã, um grande passo para a manhã.
01:02:57A fotografia, por definição, é uma mentira.
01:03:17É um momento vazio em tempo.
01:03:19Vamos lá.
01:03:21Não sabemos o que aconteceu antes, não sabemos o que aconteceu depois.
01:03:25E também, você está conseguindo essa história através da minha percepção.
01:03:33Mas isso é a coisa, isso é o que o seu trabalho é.
01:03:41O trabalho da arte é ser propaganda, é vender algo.
01:03:47Meu nome é Tyler Shields, eu sou fotógrafo, diretor, escritor e um...
01:04:03Muitas pessoas me chamam de provocador, eu acho.
01:04:19Muitas pessoas me chamam de provocadoras.
01:04:21Muitas pessoas me chamam de provocadoras.
01:04:27Muitas pessoas me chamam de provocadoras.
01:04:29Mas, você sabe, quando você tentou fazer algo, você não tem ideia.
01:04:35Muitas pessoas me chamam de provocadoras.
01:04:37Muitas pessoas me chamam de provocadoras.
01:04:43Muitas pessoas me chamam de provocadoras.
01:05:09E eu disse, se nós cobermos em sangue, ele vai esconderá-lo.
01:05:13Eu coloquei um sangue, e eu pensei, sim, isso funciona.
01:05:21O que foi na minha página, eu estava dormindo.
01:05:25Eu me levanto, e é no TMZ, e é, você sabe, em todo lugar.
01:05:36Tudo explodiu, e há pessoas fora de minha casa,
01:05:39e, você sabe, 20 vans de news,
01:05:42e, você sabe, tipo, random guys,
01:05:43eles estavam caminhando ao meu casa.
01:05:45Nós não sabia o que estava acontecendo.
01:05:47Eu tinha a FBI, a Secret Service,
01:05:49eu tinha todas essas pessoas.
01:05:52E aí, Cathy começou a ter essa, você sabe,
01:05:55isso, isso, e ela me chamou e disse,
01:05:59as pessoas estão muito amadas em mim.
01:06:01Eu não sei o que fazer.
01:06:02Eu sincero desculpe.
01:06:05Eu estou agora vendo a reação de essas imagens.
01:06:07Quando o mundo está dizendo,
01:06:10você fez isso, e sua carreira está terminada,
01:06:13isso é escuro para ninguém.
01:06:15Eu fiz um erro, e eu estava errado.
01:06:17E aí, o presidente,
01:06:19te diz sobre isso.
01:06:25Esse cara teitou sobre isso,
01:06:27e quando ele teitou sobre isso,
01:06:28isso levou a nível internacional
01:06:32que eu nunca vi visto antes.
01:06:38E isso foi tudo orchestrado.
01:06:43Aparentemente,
01:06:44havia uma coisa entre Fox News e Trump
01:06:48para apoiar toda a atenção
01:06:49para a Cathy coisa,
01:06:51e tirar toda a atenção
01:06:52de Paris Accord,
01:06:54tirar toda a atenção
01:06:54de todas as outras coisas.
01:06:56e, você sabe,
01:06:57isso funcionou.
01:06:58Toda a atenção
01:06:59para tudo foi naquela foto.
01:07:02É genial, mas.
01:07:04É desculpe.
01:07:04É desculpe.
01:07:05É tudo propaganda.
01:07:07É tudo para
01:07:08só manter o caminhão de coragem.
01:07:11O mais caos
01:07:13que você pode criar em a pressa,
01:07:15o menos ninguém vai olhar
01:07:17para o que você está fazendo.
01:07:18É o maior magia de truco.
01:07:20Você sabe,
01:07:21olha esse títio louco
01:07:22enquanto eu tudo por aqui.
01:07:25é genio.
01:07:26E nunca mais antes
01:07:27na história
01:07:28você realmente tinha
01:07:28a capacidade de fazer isso.
01:07:29Eu, Obama foi o primeiro
01:07:31presidente que tinha
01:07:32social media
01:07:32de qualquer tipo, certo?
01:07:35Mas ele nunca usou
01:07:36a forma que está sendo usado agora.
01:07:38Agora é usado.
01:07:39O social media
01:07:40foi usado.
01:07:46ISIS apareceu na cena
01:07:48em 2014.
01:07:50Eles fazem declarações
01:07:51à orthodoxy,
01:07:53de fato de que eles estão
01:07:55a verdadeirismo.
01:07:55E ainda,
01:07:56eles têm técnicas
01:07:57para criar
01:07:58visualizadas artes
01:08:00de forma,
01:08:01a arte da terror,
01:08:02são muito in line
01:08:03com a prática modernas.
01:08:04Eles têm criado vídeos de eles destruindo artes do Mosul Art Museum.
01:08:16Eles têm criado vídeos de eles destruindo os famílios de boll lions de Nineveh e Nimrod.
01:08:26E, claro, eles são muito conhecidos por vídeos de decapitações e outros murders de não-combatantes.
01:08:34Em todos esses vídeos, o que você vê é que eles desenham na mídia digital.
01:08:43Os vídeos são curtos, geralmente três a cinco minutos, e eles são feitos para consumir online.
01:08:52É incrível bem pensado.
01:08:55E muitas vezes eles fazem uso de slow motion em um momento realmente dramático
01:09:00que lembram os filmes de Hollywood, mas também a estética de jogos, de videogame.
01:09:12E parte da sua estratégia é reforçarmos, os espectadores,
01:09:16se concordarmos com eles ou não, para propagar esses vídeos.
01:09:21Os soldados foram feitos para o trabalho de salim.
01:09:23Eles foram feitos para o trabalho de salim.
01:09:25Eles foram feitos para o trabalho de salim.
01:09:26Em 2015, a União Europeia entendia que precisava de mania de paz,
01:09:32não se feria no bairro, não na terra, não na terra, mas na terra.
01:09:36E eles começaram a ir atrás da infraestrutura digital de Isis,
01:09:41a apontação de Twitter e assim a ação.
01:09:43Então, eles estão bombando a internet, então, para dizer.
01:09:51Nós não falamos muito sobre ISIS agora.
01:09:54O que nós vemos é que o alt-right e-não-nazi grupos estão tomando o lead.
01:10:00E eles têm uma maior presença online agora que ISIS.
01:10:04Um, dois, um, esses são os estados.
01:10:12Nós estamos ouçando para apoio de terrorismo, ou nós e nossos alias riskam perdendo a liberdade que nós cherchemos.
01:10:21Agora, no post-9-11 mundo, comuns comuns comuns são frequentemente a target de anti-Muslim propaganda.
01:10:30Do you know, seems these days that not a single one of us boards an airplane, attends a concert or a sporting event.
01:10:41It doesn't have at least a fleeting concern that terror could strike.
01:10:44These hate groups include Act for America, Secure America Now.
01:10:49This is not haphazard.
01:10:52There's a strategy behind it, and there's a lot of money as well.
01:10:55Então, researches have shown just how well-funded anti-Muslim hate groups are.
01:10:59É fácil perder o problema que define a nossa geração,
01:11:04a necessidade de evitar o terrorismo em nosso tempo.
01:11:07E isso é uma visão polarizada e polarizada do mundo.
01:11:13E, no final, grupos extremos beneficiam dessa visão polarizada.
01:11:17E eles precisam de um inimigo.
01:11:20Eles precisam de um inimigo.
01:11:22Nós somos tão primados, o nosso species,
01:11:31para xenofobia.
01:11:33Nós somos tão primados para quem alguém.
01:11:36E nós somos tão primados para o respeito.
01:11:38Tem sempre que haverá pessoas que têm mais,
01:11:41que são melhor e melhor, e melhor, e mais poderoso,
01:11:45e todas essas coisas.
01:11:46É uma situação que é certo para alguém
01:11:49que nós somos tão primados, e nós estamos dizendo isso.
01:11:52Nós estamos dizendo isso, todo mundo.
01:12:19Por favor, portá-los a casa!
01:12:21Deixem-os chamarem-os racistas.
01:12:23Deixem-os chamarem-os xenófobes.
01:12:26Wear-os como um honra de honra,
01:12:28porque todos os dias nós ficamos mais fortes e eles ficam mais fortes.
01:12:35Steve Bannon,
01:12:37o homem que quer destruir o estabelecimento americano
01:12:40e fazer o extremismo direto-carno do mainstream,
01:12:44agora tem a Europa em seus correntes.
01:12:46Um grande aplauso para Steve Bannon!
01:12:49Um grande aplauso para Steve Bannon é mais conhecido
01:12:59como o antigo-advizador de Donald Trump,
01:13:02claro, como o editor do Reitbart News.
01:13:06Steve Bannon é um muito importante exemplo de um artista propagandista
01:13:10que opera dentro de uma democracia.
01:13:12Ele lançou um movimento que chegou a seu candidato de escolha
01:13:17para a White House.
01:13:18The fake media tried to stop us
01:13:20from going to the White House,
01:13:23but I'm president and they're not.
01:13:25God, who else can compete with him for influence?
01:13:33This spreading of his message to Europe
01:13:35shows the kind of transportability
01:13:38of a set of skills around propaganda.
01:13:40There are a lot of places in the world where these kinds of tensions or issues
01:13:46can end up being exploited for these purposes
01:13:49and where it can be done basically underground.
01:13:51Facebook is an idealistic and optimistic company, and as Facebook has grown, people everywhere
01:13:59have gotten a powerful new tool for staying connected to the people they love, for making
01:14:04their voices heard and for building communities and businesses.
01:14:06Facebook, Twitter, Google, these massive platforms have always pitched themselves as a level playing field, saying,
01:14:11everybody come on, share your stuff and whatever is the most interesting and valuable to people will win, there was always this kind of utopian element to it.
01:14:25It's clear now that we didn't do enough to prevent these tools from being used for harm as well, they are not able to manage a platform that has more than 2 billion people on it.
01:14:32It's clear now that we didn't do enough to prevent these tools from being used for harm as well, they are not able to manage a platform that has more than 2 billion people on it.
01:14:47In Myanmar, hate speech on Facebook has led to violent crimes against the Rohingya people.
01:14:55650,000 of them have had to flee their homes for their lives.
01:15:02You only have to look to countries like Myanmar, where Facebook, for all intents and purposes, is actually what people are using as the internet.
01:15:20And it is an engine for spreading hate speech, for planning harassment, and for in some ways enabling genocide.
01:15:33The capacity to persuade people of blatant untruths, that capacity seems to have gone up.
01:15:48People have always tried to manipulate opinion, that's true, but the capacity to do that in manufactured huge numbers through algorithms and things is new.
01:16:03Although propaganda has always sought to hide itself, its capacity to do that on social media is enhanced.
01:16:16A lot of confusion has been sown, really, by a lot of the ways in which intellectuals have talked about truth.
01:16:23There is no such thing as the truth. That's what undergraduates write essays.
01:16:27They start, undergraduates who've never tried to find out what the truth is, say in this Olympian way, there are many truths.
01:16:35There's been a philosophical and sociological undermining of the fact that trying to establish reality is a very fierce discipline.
01:16:48The role of journalism in a democracy is the critical last line of defense when it comes to reality.
01:17:03More and more people have got opinions. Everyone has an opinion, not everyone has a fact.
01:17:13Facts absolutely are not negotiable. There are facts. There is proof. And journalists deal in fact. We deal in the real world.
01:17:21One of the interesting challenges we have in our industry is getting people to believe that we are telling the truth.
01:17:34So if you take, for example, anonymous sources. When you use an anonymous source, a journalist is withdrawing from the credibility bank.
01:17:41And you're saying to the reader, trust me on this. There's a bunch of good reasons why we're granting anonymity.
01:17:47But there is a recognition that that is the line that you're asking the reader to trust you on.
01:17:53We are fact based. And one of the things that we insist upon is fact checking.
01:17:57And there are stories that take many months, sometimes years for us to put together.
01:18:01So there's one story I'm sitting on. I've been sitting on it for five years. I can't get the second source.
01:18:06I know it's true. It's very interesting. I know it to be true. Because who told me? And I trust that person.
01:18:10But I haven't got the second source. But when we do it, will we explain that it took us five years?
01:18:16Or will we just simply allow it to go out and say, that's what we do? It's just another story.
01:18:22And I think what's important now is that we provide an increased value judgment around our work.
01:18:27And we say, you can go to a lot of different places to get a lot of daily or hourly news.
01:18:32But this is one place where you're getting the information because of the commitment and the effort and the expense.
01:18:39that only professional journalism can offer.
01:18:46If basic concepts like truth are being attacked by reckless propaganda, then what weapons can be used to combat it?
01:18:54Perhaps one of the most effective would be an occasional dose of subversion.
01:18:59We are just getting out the last two hard disks that we need for the performance.
01:19:21Leibach is a Slovenian art rock band, I guess you could say in simple terms, who were founded in 1980 in then Yugoslavia.
01:19:33Everybody just stay together.
01:19:35For me as the director of that whole event, it was an irresistible challenge to try to bring a band that has been accused of fascism.
01:19:44To perform in one of the world's most tightly controlled states.
01:19:50Life.
01:19:51Leibach is in many ways the missing link between totalitarianism and rock music.
01:20:03They reappropriate fascists, nazis, communists, all kind of totalitarian ideologies they put to their own use.
01:20:11When we all feel the power, life is life.
01:20:18When we all feel the pain, life is life.
01:20:22They critique by exaggerating the language of power, but just a little bit.
01:20:29Life.
01:20:31Right down to wearing seemingly fascist inspired uniforms on stage.
01:20:36Leibach is a terrible rock band that his music videos uses phonographs.
01:20:46Indeed, this group is considered as neo-nazis supporting Hitler style, scenery and clothing, and their music is terrible.
01:20:55If Leibach did miss the deeper cave, they would carry out the provocation and harm its socialist system.
01:21:05I told the committee that, look, Leibach has in the past been accused of fascism and of being an evil ban.
01:21:15North Korea is regularly accused of being a fascist-like state in the Western media.
01:21:21So you know what the Western media is like.
01:21:23They make up things all the time.
01:21:25So you and Leibach have this in common.
01:21:27You are both misunderstood.
01:21:29Let's have a couple of just Milan.
01:21:34I've certainly been accused of being a useful idiot for the North Korean regime from many quarters.
01:21:41Yeah, let's get Milan in the middle and pop.
01:21:45It will be very respectful, I promise.
01:21:47I find it much more challenging to work as a termite more than an elephant.
01:21:54The termite burrows inside big seemingly insurmountable structure and hollows it out from inside instead of smashing the whole porcelain shop.
01:22:07Please, ask Milan to take off his...
01:22:12Guys, guys, guys!
01:22:13No, no, no, he doesn't.
01:22:15It is not a Nazi.
01:22:17You can burrow into the system and you can use the power and the language of power to your own ends.
01:22:24So when they perform in front of a unsuspecting North Korean crowd of 1500 people, that creates a magic of contradiction and paradox.
01:22:45I think most of them really hated it.
01:23:02But then again, that's a total normal reaction to a band like Leibach anywhere in the world.
01:23:07From north and south, we come from east and west, breathing as water...
01:23:18But I did hear from some university students, and they said a very beautiful thing.
01:23:23That, oh, we really loved it. It was something new.
01:23:27We stand alone...
01:23:31They didn't really, you know, evaluate the music, whether it was good or bad, but it was something new.
01:23:36And to them, that was more than enough.
01:23:39And to me.
01:24:06Perhaps we should regard the lessons of human history as a cautionary tale.
01:24:16And try to veer away from the horrors of our past.
01:24:21But is it actually possible to take the icons of history and infuse them with new meaning?
01:24:36That area here is Nürnberg's most important area.
01:24:49Here are some concerts or an outdoor event every year.
01:24:53There are 150.000 people who can see how the cars are 40 rounds of Hitler's Redner to the stage.
01:25:01One!
01:25:02One!
01:25:03One!
01:25:04One!
01:25:05One!
01:25:06One!
01:25:07One!
01:25:08One!
01:25:09One!
01:25:10One!
01:25:11One!
01:25:12One!
01:25:13One!
01:25:14One!
01:25:15One!
01:25:16One!
01:25:17One!
01:25:18One!
01:25:19One!
01:25:20One!
01:25:21One!
01:25:22One!
01:25:23One!
01:25:24One!
01:25:25Adolf Hitler disse que ele baut isso para 1000 anos, ele vai ser 1000 anos.
01:25:41Nós nos levarmos de novo e não abandonamos os nazis, é nosso lugar.
01:25:47Que as pessoas feixam, que as pessoas são aqui feliz, porque eles falam que não se treinam aqui, para não se streitar ou com o excesso.
01:25:54É um lugar para se encontrar e compartilhar.
01:26:24E para a humanidade de flores.
01:26:29Mas nós também devemos constantemente examinar esses narrativos com disciplina de razão e scepticismo.
01:26:37Nós devemos strive para reclamar a história onde foi sido errada.
01:26:41Para se manter firmes contra autoridade.
01:26:46Para combatir demagogues com um arsenal de humor e de wit.
01:26:50Nós devemos todos ser conscientes de nossas próprias emoções e como elas podem ser manipuladamente e manipuladamente.
01:27:00Não há resposta fácil. Há apenas responsabilidade personal.
01:27:07Em uma democracia, é importante o que as pessoas pensam.
01:27:10Por isso, você sempre vai ter guerras de persuasão.
01:27:15Você sempre vai ter batalhas sobre os céus e mentes dos cidadãos.
01:27:18Isso é o que significa engajar em self-governamento como uma sociedade.
01:27:24Decisões devem ser racionalizadas. Decisões devem ser explicadas.
01:27:29Propaganda pode ser bom ou ruim.
01:27:31Pode ser um apagado no cidadão, ou pode ser o triunfo da vontade.
01:27:37Talvez nós devemos entender mais.
01:27:40Eu acho que todo mundo tem que ter responsabilidade de viver um muito mais confortável,
01:27:45e tristeza de vida, testem-se, porque isso realmente importa.
01:27:54O que satisfaz ou assurera vai ser muito empolgante.
01:27:58E eu acho que, em uma forma, é como a commodities aqui é esperança.
01:28:02E você pode desculpar pessoas com esperança, ou você pode inspirar elas.
01:28:06O que está sendo soldado, então, é um melhor futuro.
01:28:11O que está sendo soldado, é um melhor futuro.
01:28:11O que está sendo soldado, é um melhor futuro.
01:28:13O que está sendo soldado, é um melhor futuro.
01:28:43A CIDADE NO BRASIL
01:29:13A CIDADE NO BRASIL
01:29:43A CIDADE NO BRASIL
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