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As media outlets become increasingly polarized, and as social media rules information feeds, where does propaganda come into play? Propaganda 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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00:02:22O poder da arte é uma coisa perigosa.
00:02:43Nós permitimos ser manipulados por fictions
00:02:48as though they were uncontestable truths
00:02:51as if we cannot distinguish between the two
00:02:57we have always been captivated by fairy tales and fantasies
00:03:04and the imagery that accompanies them
00:03:09but how is it possible that our powers of reason
00:03:12have so often been overtaken by the irrational
00:03:17if we look back at the history of humankind
00:03:21language is a medium that provided humans
00:03:28with a new kind of power
00:03:30the power of grasping the symbolic layer of reality
00:03:38if we look back at the history of magic
00:03:43art, religion
00:03:45they all share the same roots
00:04:02so this is one of the hand stencils
00:04:05that El Castillo Cave is famous for
00:04:08and the hand stencil is probably the first symbolic piece of art
00:04:12we find representing something in the real world
00:04:15this is done with a great deal of care
00:04:16the location is deliberately chosen
00:04:18this is not just art for art's sake
00:04:21this is meaningful art
00:04:24to know that they are the hands of Neanderthals
00:04:27that 65,000 years ago
00:04:28the Neanderthal stood there and made this symbol
00:04:32it's just, it's mind-blowing
00:04:35this is the origin of symbolic culture
00:04:38it's the origin of art
00:04:40if you like
00:04:40and that plays a really important role
00:04:42in propaganda
00:04:43symbolic communication
00:04:45lies at the heart of propaganda
00:04:47it's the tools from which propaganda formed
00:04:53so to make this
00:04:54an individual would have come along
00:04:55and placed their hand against the wall
00:04:57and they would have blown pigment
00:04:59either by spitting it
00:05:00or blowing it through a tube
00:05:01and when their hands are removed
00:05:02you have a negative hand stencil
00:05:04and this is the same method
00:05:05that modern graffiti artists use
00:05:07to make their graffiti today
00:05:09and there are maybe 40
00:05:11of 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
00:05:17by a large number of people
00:05:19by gatherings of individuals
00:05:20perhaps performing some kind of ritual
00:05:23this is public art if you like
00:05:28great propaganda
00:05:30exploits
00:05:31your need to believe something
00:05:33your need for belief
00:05:35and your craving
00:05:37or your appetite
00:05:37for a magical form of empowerment
00:05:43we will at this point
00:05:45lose our relative insignificance
00:05:47in the universe
00:05:47and we'll be masters of the universe together
00:05:52so it's not surprising
00:05:54that our ancestors found these places
00:05:56full of awe
00:05:58look at it
00:05:59it's like a modern cathedral
00:06:00it's full of beautiful stalagmite formations
00:06:02and of course
00:06:03they would have been walking around
00:06:05with small tallow lamps
00:06:06the shadows would have been awesome
00:06:08it would have been an eerie place
00:06:10it would have been the place
00:06:11that the spirits lived
00:06:16the shaman takes you into the dark cave
00:06:18where you can't see very well
00:06:20and things are flickering
00:06:21and pictures of the animal spirits
00:06:23are on the walls
00:06:26the caves might be seen
00:06:27as a rather elaborate way
00:06:29of convincing people
00:06:30of the power of the shaman
00:06:41the power of the image
00:06:43has been with us
00:06:44from the beginning
00:06:48is that why we're so easily seduced
00:06:51by propaganda
00:06:53and coerced into adopting opinions
00:06:55that are not our own
00:06:57you are fake news
00:06:59today we are bombarded
00:07:01with loaded images
00:07:02and messages like never before
00:07:06they scream out to us
00:07:08from our own computers
00:07:09and cell phones
00:07:11as if the dystopian fiction
00:07:13of George Orwell
00:07:14has become our daily reality
00:07:18so how can we defend ourselves
00:07:20against the inanities
00:07:21of politics
00:07:22of religion
00:07:24of demagogues
00:07:27of rabble-rousing leaders
00:07:29who feed us false hopes
00:07:30deception
00:07:31and hate
00:07:38when the very concept of truth
00:07:40is being attacked
00:07:41when knowledge is debased
00:07:43and ignorance lauded
00:07:45when the rage within every one of us
00:07:48is at a boiling point
00:07:51we need to stop
00:07:52and ask ourselves
00:07:53how we got here
00:07:57this film is a cautionary tale
00:07:59and a call to action
00:08:02at a precarious moment
00:08:04in our history
00:08:15we can be manipulated
00:08:17we can be influenced
00:08:18information is a really powerful thing
00:08:20I'm Craig Silverman
00:08:22I'm the media editor
00:08:23for BuzzFeed News
00:08:24our office in Toronto
00:08:27specializes in investigating
00:08:28media manipulation
00:08:29digital deception
00:08:31fake news
00:08:32online misinformation
00:08:35let me ask you
00:08:36how did you come up
00:08:37with the term fake news
00:08:39for me
00:08:40my first encounter
00:08:42with what I came to call
00:08:43fake news
00:08:44happened in
00:08:45the late summer
00:08:46or the fall of 2014
00:08:49I kept coming across
00:08:50stories that were just
00:08:52completely 100% false
00:08:54but they looked like
00:08:56they were published
00:08:57on a news website
00:09:02one of the things
00:09:03that we exposed
00:09:05during the 2016 election
00:09:06was that there were
00:09:07a group of young men
00:09:08and teenagers
00:09:08in the former Yugoslav Republic
00:09:11of Macedonia
00:09:11who were launching Trump sites
00:09:13they had more than 150
00:09:15that we found
00:09:17and they were publishing
00:09:18a lot of stories
00:09:19that were incredibly misleading
00:09:20and many that were also
00:09:22100% false
00:09:23and one of the reasons
00:09:24for that is
00:09:25you could make a lot of money
00:09:26from them
00:09:29some of the fake stories
00:09:31that we saw
00:09:31during the election
00:09:32that did well
00:09:33were a story claiming
00:09:34that the Pope
00:09:35had endorsed Trump
00:09:37a story claiming
00:09:38that Hillary Clinton
00:09:39had approved
00:09:39a sale of weapons
00:09:40to ISIS
00:09:42they were everywhere
00:09:52storytelling
00:09:53is a powerful tool
00:09:55to move people
00:09:57it's a powerful tool
00:09:58to engage people
00:10:00people want to believe
00:10:02in stories
00:10:05storytelling
00:10:06is embedded
00:10:07in the history of propaganda
00:10:09good propaganda
00:10:10is a good story
00:10:11it's a good narrative
00:10:12there is an enemy
00:10:13there is an hero
00:10:17and this is how propaganda
00:10:19worked through the centuries
00:10:22taking some specific symbols
00:10:24and providing those symbols
00:10:27with supernatural power
00:10:32the use of propaganda
00:10:33to depict
00:10:34occult and personality
00:10:36we can go right back
00:10:37to Alexander the Great
00:10:39Alexander the Great
00:10:40was one of the
00:10:41one of the first leaders
00:10:42to recognize
00:10:43the importance
00:10:44of the way
00:10:45in which his presence
00:10:46should be symbolized
00:10:50there's a case to be made
00:10:51for him being
00:10:52one of the greatest
00:10:53propagandists ever
00:10:54he became a god
00:10:56that's the point
00:10:58and I think
00:10:59he did that consciously
00:11:02he was the first person
00:11:04to have to wrestle
00:11:06with the problem
00:11:07of having a vast empire
00:11:08and how do you keep
00:11:09people believing in you
00:11:10you can't be everywhere
00:11:11at one time
00:11:12so
00:11:14he and his people
00:11:15came up with the idea
00:11:16well if Alexander
00:11:17can't be there
00:11:17statues of Alexander
00:11:19can be there
00:11:20coins with Alexander's
00:11:22head on them
00:11:22can go to the ends
00:11:24of the world
00:11:25and they will carry
00:11:26the Alexander message
00:11:28believe in me
00:11:28and everything's
00:11:29going to be fine
00:11:35propaganda
00:11:35propaganda wants
00:11:36to be everywhere
00:11:38it is only propaganda
00:11:39when it is part
00:11:40of a larger endeavor
00:11:41of constructing
00:11:42of engineering reality
00:11:43when we don't think
00:11:45it's propaganda
00:11:45it works the best
00:11:46as propaganda
00:11:50sometimes
00:11:50the most insidious
00:11:52propaganda
00:11:52is the propaganda
00:11:54of a mission
00:11:56you look at
00:11:57these beautiful paintings
00:11:58and you see this
00:11:58kind of sublime light
00:12:02but they also have
00:12:04this kind of
00:12:05ideology embedded in them
00:12:09the artists of that time
00:12:11were selling this idea
00:12:13of the American West
00:12:14as a kind of
00:12:16an empty paradise
00:12:18a kind of an empty
00:12:19big piece of empty
00:12:21real estate
00:12:22my intent was to really
00:12:24make history paintings
00:12:25to tell a completely
00:12:27different narrative
00:12:28of North America
00:12:35my name is Kent Monkman
00:12:37and I'm a Cree visual artist
00:12:39and I returned to the zenith
00:12:42of propaganda painting
00:12:43in the 19th century
00:12:44for me that was the most
00:12:45sophisticated form of painting
00:12:48because it embraced
00:12:49all aspects of painting
00:12:50it embraced the brushstroke
00:12:52the surface
00:12:53the content
00:12:53bringing it all together
00:12:55to serve a larger purpose
00:12:59I thought
00:13:00can I bring this
00:13:02authority of history painting
00:13:04to indigenous
00:13:06our own histories
00:13:07my own histories
00:13:09my own personal histories
00:13:10and the histories
00:13:10of my own community
00:13:11can I
00:13:13communicate
00:13:14you know
00:13:15the histories of indigenous
00:13:17people with this power
00:13:32so this painting is called
00:13:34the scoop
00:13:34in the 1960s
00:13:36in Canada
00:13:37children were taken
00:13:38out of their families
00:13:39and out of their communities
00:13:41and adopted out
00:13:41into non-indigenous families
00:13:44and residential schools
00:13:49the forcible transfer of children
00:13:51from one cultural group
00:13:52to another
00:13:53is a definition of genocide
00:13:55and the Mountie of course
00:13:56is this you know
00:13:58friendly innocuous symbol
00:14:00of Canada
00:14:00that's used on postcards
00:14:01in fact
00:14:03in fact they were the perpetrators
00:14:04of this policy
00:14:07to this day
00:14:08my family still reverberates
00:14:10from the trauma
00:14:11of colonialism
00:14:13I want to dismantle
00:14:16the propaganda
00:14:17of you know
00:14:18the government
00:14:19selling people
00:14:20a myth
00:14:20a story
00:14:21a lie
00:14:22about themselves
00:14:24about their own histories
00:14:26and about indigenous people
00:14:39hey
00:14:41hey
00:14:41hey
00:14:43hey
00:14:43hey
00:14:44Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei! Ei!
00:14:52It emagreus um livro para uma sociedade nacional, em que as realidades personagens e o regime são terrifícios.
00:15:09Romano 1
00:15:10Has never been out of print since he published it
00:15:15And suddenly
00:15:16It escalated up
00:15:18The world's best selling lists
00:15:20Again
00:15:20They're bringing drugs
00:15:22They're bringing crime
00:15:24They're rapists
00:15:25Brothers, we're at war with the people of Eurasia
00:15:28The vile and ruthless aggressors
00:15:30Who have committed countless atrocities
00:15:32And who are guilty of every beast your crime a human being can commit
00:15:35States like these
00:15:36And their terrorist allies
00:15:38Constitute an axis of evil
00:15:41Arming to threaten the peace of the world
00:15:47Suddenly
00:15:47People want to read all well
00:15:49As a warning system
00:15:52It's like a
00:15:52It's like a medical directory
00:15:56What's wrong with us
00:15:57Are we taken in by a big brother
00:16:01Could we be made
00:16:03To hate somebody
00:16:05On the flip of an ideological
00:16:07Which
00:16:17I'd always read it as describing
00:16:20Another world
00:16:21But it suddenly felt
00:16:23Very painful to read it
00:16:25Because it felt it was describing
00:16:28The world I was in
00:16:30What you're seeing
00:16:31And what you're reading
00:16:32Is not what's happening
00:16:35Our press secretary
00:16:36Gave alternative facts
00:16:38No, it isn't truth
00:16:39Truth isn't truth
00:16:47Reject the evidence
00:16:48But have faith in magical mythologies
00:16:54Arguably the most effective propagandist in history
00:16:57Has been the church
00:16:59Could I ask you about the origin of the word propaganda
00:17:04Propaganda
00:17:05The word propaganda
00:17:06As we use it in english
00:17:07Does derive from a latin term
00:17:09And the sense of the original latin term
00:17:14Is to plant
00:17:16The planting of ideas
00:17:20It'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
00:17:41And these would turn out to be the heavy artillery
00:17:45Of the propaganda war that was about to break out
00:17:49Martin Luther and the people who worked with him
00:17:51In the reformation
00:17:53Had a very clear idea of the power of the printing press
00:17:57They produced enormous amounts of stuff
00:18:01The first bestseller 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
00:18:13Who did woodcuts that would go along with his sermons
00:18:17Railing against the catholic establishment
00:18:28But 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 the whole means of communication
00:18:41Of the catholic church
00:18:42And make it more accessible to the ordinary person
00:18:49And 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
00:19:16The heart of any propaganda campaign is an emotional appeal
00:19:20Of some kind, some kind of emotional appeal
00:19:24The central baroque idea of manipulating the senses
00:19:29Is playing to the heart rather than to the mind
00:19:36My name is Jim Fitzpatrick and I'm an Irish artist
00:19:39And I'm probably best known as the creator of the famous or infamous
00:19:431968 red and black Che Guevara poster titled Viva Che
00:19:59I was working as a barman in a pub in Kilquay
00:20:03And in walked Che Guevara
00:20:06And of course, being a barman, you 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, what brings you here?
00:20:14And he looked at me, kind of startled
00:20:16And I said, you're Shane?
00:20:17And he said, yeah
00:20:19He said he was in a stopover, fog bound
00:20:22For two days, I think, in Shannon Airport
00:20:25It left an enormous impression
00:20:27Because here was somebody I admired hugely
00:20:29It was like meeting Martin Luther King
00:20:31And this was a man I looked at and thought, my God
00:20:33This is the real, you know, hero of the revolution
00:20:39I did many, many versions of the Che before I came to the final version
00:20:43And here's a couple of them
00:20:45As you can see, they're over-complicated
00:20:48I need to simplify, so I started simplifying
00:20:51These are not in sequence, but you can see what I'm up to
00:20:54This was one I was going to do as a poster and didn't
00:20:58Because that's what he looked like when I actually met him
00:21:07Che had been murdered, executed as a prisoner of war
00:21:11Then they committed the most obscene act
00:21:14They put him on this thing for draining the blood from cattle
00:21:19Right? And he looked like the dead Christ
00:21:24I was so outraged at the manner of his murder
00:21:28And the fact that they tried to disappear him
00:21:31Which is residents in Ireland, where 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 Shake of Our Image
00:21:48I did that deliberately as a piece of propaganda
00:21:51I wanted that as simple as possible, so anybody could copy it
00:21:55I made leaflets, I made prints, I gave it to everybody
00:21:58I made it free use
00:22:00I rather grandly stated that it was to be copyright free
00:22:04For all revolutionary and leftist use
00:22:07The Shay image began to proliferate of its own accord
00:22:11I'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
00:22:21It took off and became so world famous
00:22:24It kind of intimidated me
00:22:25It got to the point where
00:22:28I wouldn't even say I did it
00:22:29Because nobody believed you
00:22:35I'm very lucky
00:22:36Kind of accidentally I created one of the most iconic images of all time
00:22:41And I try not to laugh because it's a serious image
00:22:44But it feels kind of good, you know
00:22:46It's nice at my age to be looking back and thinking
00:22:48Well I did something decent with my life
00:22:51I commemorated a great man and made him live again
00:23:20In the First World War you have nations fighting in total war
00:23:25You don't just have armies but you have whole populations
00:23:29Pitted against whole populations
00:23:35And as a result of that
00:23:36Governments have to justify really for the first time
00:23:40On a major scale
00:23:41Why they are fighting total war
00:23:44And that's where propaganda comes in
00:24:05Propaganda is used by all the belligerents
00:24:08Because they use the old media
00:24:10The print, posters, etc.
00:24:14But they also use the new technologies
00:24:16And in particular the cinema
00:24:38In stark terms
00:24:41Many of these stories were perceived in the immediate aftermath of World War One to be untrue
00:24:48And so propaganda in Britain and America became firmly associated with lies and falsehood
00:24:56Now what's interesting is that other countries like Germany, Italy, Russia and eventually the Soviet Union would actually take a
00:25:10different lesson from the experiences of the First World War
00:25:13They wouldn't see propaganda necessarily in these negative terms
00:25:24The First World War
00:25:24As the Prime Minister's Movies
00:25:28The Second World War
00:25:47Se você olhar para filmes como o Falle de Berlim,
00:25:51aqui você vê Starling deputado em forma cinética.
00:25:55Você tem um ator que se torna um treinador nacional,
00:26:00que joga Starling em vários filmes.
00:26:02Hoje, nós celebramos a litoral победa contra o fascismo alemãe.
00:26:09E joga Starling como um jovem, benevolente figura
00:26:15que realmente sacrifica tudo para o país.
00:26:19E na Falle de Berlim, é a celebração,
00:26:22é a apotheosis de um jovem e benevolente líder.
00:26:32A paz e alegria de todos vocês, meus amigos.
00:26:38A paz e alegria de todos vocês.
00:26:52A paz e alegria de todos vocês.
00:26:52Propaganda é algo que não podemos nos darmos a nossa inteira.
00:26:57Então, há algo em propaganda que desaboração nossa inteira.
00:27:03Então, nós podemos olhar para trás e pensar,
00:27:05como eu poderia acreditar isso?
00:27:07É um pouco como a fim de uma luta de um amor,
00:27:09onde você pensa, como eu poderia ter falado por essa pessoa?
00:27:23A paz e alegria de qualquer forma.
00:27:24A desiluxoção de Stalin parecem muito estranha aqui
00:27:28porque o que nos mostrava no retrospeito
00:27:31é o quanto a atenção selecção foi necessária a ir a acreditar.
00:27:40In other words, people had quite actively, if unconsciously,
00:27:43attacked their capacity for perception and for thought.
00:27:48It's as though it had never really occurred to them.
00:27:53And this seemed to me to be an active part of oneself
00:27:56that can determinedly not know what one knows.
00:28:03Propaganda is based on how you stop yourself knowing things.
00:28:30Propaganda is based on how it works for you.
00:28:32The The voices of the director of the movie
00:28:37A CIDADE NO BRASIL
00:29:07He's an 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
00:29:20kingdom.
00:29:25Many people think that a place like North Korea, it must be like Mordor, it must be like, you know,
00:29:31hell on earth.
00:29:31And many people make a living out of selling this narrative.
00:29:36But the fact is, and you can ask anybody who has grown up in a dictatorship or in a totalitarian
00:29:42system, people censor themselves.
00:29:46Because 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.
00:29:55Even in North Korea, people actually, many people, know what is propaganda and what is not propaganda.
00:30:05And 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
00:30:29life, as long as you pay lip service.
00:30:35In any kind of totalitarian system, they say the same, that yes, we did wave our flags, we went for
00:30:42the May 1st parade, we did all that stuff.
00:30:45We keep our sanity.
00:30:54We, 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 subject to many, many forms of propaganda, all the time, that are more subtle.
00:31:20Which might lead us to the misconception that we are somehow less exposed than the average North Korean.
00:31:32And 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.
00:31:51Because we all like to flatter ourselves and think we don't consume propaganda.
00:31:56Other people do.
00:31:59If you look at standard histories of propaganda, what do you see?
00:32:03You see the Catholic Church.
00:32:06You see the Soviet Union and Nazi propaganda.
00:32:13And what's striking to me about these sort of conventional narratives of what propaganda is, is how much is left
00:32:18out.
00:32:20Adrieline knows that, for some reason, she doesn't fit into the picture, but she doesn't know why.
00:32:26As a woman in this world, I know there are patriarchal messages, there are sexist messages, there's no sort of
00:32:33Bureau of Male Affairs pushing those from on high.
00:32:36They're just sort of in the ether and being transmitted through the culture, and we call them stereotypes.
00:32:41We talk about bias, but we don't use the term propaganda.
00:32:46Take a show like The Bachelor.
00:32:48Lauren B.
00:32:49Lauren B.
00:32:49All these stereotypes are endlessly reinforced.
00:32:55Lauren, can you accept this for us?
00:32:57For me, when I look around, and I look at American culture, North American culture, the stuff that strikes me
00:33:04as the most propagandistic is actually the most mainstream culture.
00:33:07It'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.
00:33:16It's 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?
00:33:25Kind 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
00:33:32is to be rich.
00:33:36Capitalism creates tremendous envy because a lot of people feel extremely deprived and resentful because they're living in a culture
00:33:45in which it appears as though 1% of the population is enjoying life as it should be lived.
00:33:51And everybody else is just suffering.
00:33:55The trouble is, we've been sold the wrong picture of a good life.
00:34:16What do you see your role to be?
00:34:18I see myself as a political guerrilla artist.
00:34:22What do you call it?
00:34:23A shit disturber.
00:34:25I think it's your duty to disturb shit when you think things are wrong.
00:34:40I believe something's wrong and it needs to be changed and for some strange reason, the smartest among us don't
00:34:47seem to get it.
00:34:51It's one thing to have an idea, but what good is the idea if you can't get it out there?
00:34:58Now I can have something go from my mind to like the Drudge Report or Glenn Beck, wherever, Breitbart, within
00:35:0824 hours.
00:35:19I 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
00:35:35and then like spread their message.
00:35:38And 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.
00:35:49It's like for God's sakes.
00:35:51He dropped a bomb every 20 minutes for eight years.
00:35:59All these political artists, what were they doing?
00:36:02They 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.
00:36:14Like if there's power out there that was being abused, it was your job as an artist to speak against
00:36:19it.
00:36:23I'm a Republican.
00:36:24I've always been a Republican.
00:36:25I'd probably die one.
00:36:27Here in L.A., here in Hollywood, you're in the closet.
00:36:30You have to wear a mask.
00:36:31We're the Zoros.
00:36:32We're the heroes.
00:36:34We're the black sheep.
00:36:36We're the punk rock.
00:36:37It's like the left isn't.
00:36:39The left is establishment.
00:36:41Rawr!
00:36:42Over there, over there, over there.
00:36:43And the left, they control the school system.
00:36:46Carabiner's out.
00:36:46They control Hollywood.
00:36:48They control the music industry.
00:36:50Don't pull too hard.
00:36:51You name it, they control it.
00:36:52That's it, Rick.
00:36:53To which they'll say, well, you have a president that's a Republican.
00:36:56Isn't that the establishment?
00:36:58No, the establishment is the people that control the narrative.
00:37:06And that is a cop.
00:37:08Oh, shit, we're fucked.
00:37:16It's really bad when you reach a point in time when just telling the truth is revolutionary.
00:37:29There are a lot of dangers to putting work up in public without permission.
00:37:33I've been arrested 18 times.
00:37:38Being arrested is never fun.
00:37:41It's especially dangerous for me as a type 1 diabetic because often I'm not given my insulin in jail,
00:37:50so it becomes life-threatening.
00:37:52But street art is important enough for me to take that risk.
00:37:58It interacts with people where they live their daily lives.
00:38:06You know, what I'm trying to do is I'm trying to use the tools that propaganda uses,
00:38:12and 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.
00:38:29The 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,
00:38:48they found that it caught on very quickly virally.
00:38:53We need a new politics, and we need a new person.
00:38:58The campaign, the Obama campaign, reached out to me and said,
00:39:01we really like that, but would you mind using the word hope or change?
00:39:06And I like the word hope because I think during Bush, a lot of people felt hopeless,
00:39:12and without hope, people don't act.
00:39:18The Obama branding was excellent.
00:39:21His logo, the type choices they made,
00:39:23but there hadn't been anything with that human connection.
00:39:26And, you know, I'd like to think that beyond just the human connection,
00:39:30the way in which I illustrated Obama felt patriotic.
00:39:35It portrayed him in a way that he seemed to have vision and legitimacy.
00:39:41His biggest challenge, I think, was that he was fairly unknown and unproven in American political life.
00:39:48So 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.
00:40:01So illustrating Obama in red, white, and blue,
00:40:04even though it's not the usual exact red, white, and blue,
00:40:08it still is, you know, it's American rather than African American.
00:40:17People are looking back very fondly at that poster,
00:40:21and it's because they don't want to lose hope.
00:40:50The camera moment is very clear.
00:40:52We're not only controlling the gun, but also the pen.
00:41:02The year I was born, my father was exiled as anti-party, anti-people.
00:41:12To be sent to very remote re-education camps.
00:41:24My first 20 years is under that kind of condition.
00:41:31Ai Weiwei has been called the most powerful political artist in the world.
00:41:38A brave and unrelenting critic of the Chinese authoritarian regime,
00:41:43he is now an exile and a symbol of the struggle for human rights.
00:41:53Art functions like a cancer in communist society.
00:41:59It destroys every single cell.
00:42:03That's why I'm seen as the most dangerous person for the state.
00:42:19In totalitarian regimes, what gets erased often is the idea about who created the art.
00:42:25You know, even propagandistic posters, for instance, that you have during the Cultural Revolution.
00:42:30These are created by people, by individual people.
00:42:33But what gets erased is their authorship.
00:42:35The author becomes the state.
00:42:39And so the recognition, the coming to the fore of the individual itself,
00:42:45is itself a political act.
00:43:03I started to work on the internet.
00:43:07I opened my blog.
00:43:31I was beaten by police.
00:43:34I was beaten by police at the brain harmerage.
00:43:38You have to wait here, please.
00:43:40You have to transfer him to the intensive care room.
00:43:43You have to wait in the nurses' care room to talk to you.
00:43:46I never can imagine just by freely talking about what is in my mind
00:43:54can cause this kind of severe damage.
00:44:11All art is propaganda.
00:44:14But it's not propaganda from a powerful state,
00:44:18but rather from the heart of an individual.
00:44:28The essential power of art is a subversive power.
00:44:36Art is about freedom.
00:44:59The Nationalsozialists have all sorts of art for their propaganda.
00:45:24They were aware of the potential of propaganda because they were sensitive to the power of art.
00:45:32Art moved them, and they knew that it could move other people, too.
00:45:38Art is a powerful means of tapping into the emotions.
00:45:43There was something very unifying about it and transcendent.
00:45:48I mean, the feeling of transcendence is an emotion of coming out of your own little life
00:45:53and just feeling one with something larger is one of the most powerful emotions we can have.
00:46:01And it can be very dangerous.
00:46:04The music belongs to it, but also Malerei, bildende Kunst and, of course, very important, the film.
00:46:20Wir stehen fest zusammen für Unterdeutschland.
00:46:27Linevenstahl hat hier eine Chance bekommen, die so oft kein Regisseur, kein Filmemacher bekommt.
00:46:33Sie hatte eine riesige Menge an Geld zur Verfügung.
00:46:38Es ist sicher einer der eindrucksvollsten und wirkungsvollsten Propagandafilme der Nationalsozialisten überhaupt.
00:46:47Linevenstahl war wirklich, auch wenn sie sich hat von den Nazis benutzen lassen und da gerne mitgemacht hat,
00:46:56sie war trotzdem eine große Künstlerin auf vielen Gebieten und hat auch das Gebiet des Films beherrscht.
00:47:02Es gibt unheimlich moderne Kamerafatten oder Schnitte und insoweit ist dieser Film mehr als nur ein Dokumentarfilm
00:47:13und mehr als ein üblicher Propagandafilm, sondern ist fast ein Stück Propagandakunst.
00:47:19Weil es war ein übler Propagandafilm und sie hat es nie zugegeben.
00:47:25Kunst im Dienste der Nazis ist halt keine unschuldige Kunst, sondern ist auch Propaganda.
00:47:39All of this was really operatic, because it came out of Wagner in many senses.
00:47:46People would believe it because it used components of information in a manipulative way
00:47:52to sway people's thought to a kind of almost religious belief in a system.
00:48:00Most Germans in the years of Hitler's rise were still churchgoers.
00:48:06They were still able to associate this kind of nocturnal torchlit procession
00:48:12with candlelit processions of an entirely different kind.
00:48:18The use of these elements, which involve all of the senses,
00:48:24the visual components, the buildings, the backdrops,
00:48:29smell for the incense, the body, the choreography of processions, the music,
00:48:36all of this is present in organized religion and in the quasi-religious organization of ideologies like Nazism.
00:48:48And it's enormously effective because it really involves the entire person.
00:48:55It relates the strong, sensual responses to what I believe to be ultimate truths.
00:49:05And so at that point, my senses, my life and eternal truth become a single thing in these privileged moments.
00:49:15It's very beautiful, it's very moving, it's very dangerous if it's misused.
00:49:31When I as a Christian, when I as a Christian priest celebrate with a choir singing with incense
00:49:38in a beautiful church surrounded by masterpieces in art,
00:49:42I know what I'm doing, I know what the impact of the images, the smells, the sounds,
00:49:49the words that I'm pronouncing has on people who believe in all of this.
00:49:56And I do it not because I want to manipulate them, but because I think that this really brings us
00:50:02all
00:50:02closer to the mystery of a spiritual God who becomes a physical human being, which is a sacred core of
00:50:10Christianity.
00:50:23If we're all wrong, it has at least been innocent manipulation.
00:50:32If we're all wrong, we're all wrong, we're all wrong.
00:50:38My name is Norman Lloyd, and I have been in this business since 1932.
00:50:48So I've been in it for quite some time.
00:50:54Well, I was a good friend of Charlie Chaplin.
00:50:57I would go up there about three times a week and play tennis.
00:51:02Well, that's Charlie, all those shots of Charlie.
00:51:07And there he is, he's serving.
00:51:11He was, he was good.
00:51:12It's just that he wouldn't wear his glasses.
00:51:15So in doubles, he couldn't play the net.
00:51:18But other than that, he was good, he was okay.
00:51:23Okay, you're being kind though, because you adore him.
00:51:27The truth is you could beat him in tennis, couldn't you?
00:51:30Well, I could beat a lot of people.
00:51:36The Great Dictator.
00:51:38It's one of the greatest movies I've ever seen.
00:51:43I think it's incredible how he does those two characters.
00:51:47The Tramp, which is heaven sent.
00:51:52The most beautiful creation, The Tramp ever.
00:51:56How do?
00:51:57And Hitler.
00:52:07And he does those two things.
00:52:11And then ends up with this fantastic speech.
00:52:14We all want to help one another.
00:52:16Human beings are like that.
00:52:17We want to live by each other's happiness, not by each other's misery.
00:52:20He drops out of character, turns to the camera, and speaks into the camera to the people of the world.
00:52:30You, the people, have the power.
00:52:33The power to create machines.
00:52:34The power to create happiness.
00:52:36You, the people, have the power to make this life free and beautiful.
00:52:39To make this life a wonderful adventure.
00:52:41What a moment.
00:52:43Let us fight for a new world.
00:52:45A decent world.
00:52:46He was creating propaganda.
00:52:50Because he felt very intensely about the necessity for it.
00:52:57In the name of democracy, let us all unite!
00:53:26Trump, every picture of him is a revelation.
00:53:28You know, he just, the sides of his face are interesting.
00:53:32And the back of his head is fantastic.
00:53:34And the colors and textures.
00:53:36There's so much to draw there.
00:53:38You know, it's too bad he is who he is.
00:53:45I got a lot of these, but this is when no lawyer would represent him.
00:53:49So he's in court here getting advice from his lawyer who's wearing a bag over his head.
00:53:55Here he is standing Maryland-like over a subway grate.
00:53:58I have no idea what this means.
00:54:00You know, I've looked at so many pictures.
00:54:02I slide pictures out of news stories and keep a folder.
00:54:05And the folder is very expansive.
00:54:07I've got a lot of pictures of Trump.
00:54:09Probably 600 pictures of Trump on my desktop.
00:54:11I mean, it's like he's made of rubber or pudding.
00:54:14You know, it seems like he's in the process of melting.
00:54:17Here's a fat joke.
00:54:18There's Trump getting stuck in an MRI around the time of his health care.
00:54:22Another health care.
00:54:24Trump in traction.
00:54:26This was just an excuse to draw him Zeig Heilig, basically.
00:54:37I'm wracked with self-doubt about what I'm doing half the time.
00:54:40I mean, I am pushing a world view whether I like it or not, you know?
00:54:44And cartoonists, you know, there's nothing particularly pure about what we're doing, I think.
00:54:50I'm trying for a laugh, basically.
00:54:52And I'll go to depths to get a laugh.
00:54:57Believe me.
00:55:03I think Trump would be delighted with some of my drawings.
00:55:06But I know he didn't like the cover I did, which was a palm chart of his hand, of his
00:55:11little hand.
00:55:13And, you know, I know Graydon Carter, who was one of the architects of pointing out Trump's small hands.
00:55:19And, I mean, that seems like propaganda to me, in a way.
00:55:22That's part of what the propaganda of satire.
00:55:25Because Trump, I mean, he doesn't really have incredibly small hands.
00:55:29Maybe they're a tiny bit out of proportion for the rest of him.
00:55:33But it's not anything I would have noticed.
00:55:34It's a great joke.
00:55:36That's when I feel like a cartoon is sort of propaganda itself.
00:55:40Or it's pushing a certain, I mean, like Napoleon apparently didn't do this.
00:55:47Or Gerald Ford apparently was an athletic guy.
00:55:50He wasn't a bumbling fool.
00:55:52But satirists fix on one tiny thing.
00:55:56And if enough of them are doing that, that becomes the way someone is viewed.
00:56:00And, you know, that's taking an untruth, you know, and making it into a, you know, an iconic image.
00:56:08It seems like there's an element of propaganda in that.
00:56:14I'm trying to get a laugh.
00:56:15I'd like to do something funny.
00:56:17I mean, going for pure outrage is another thing.
00:56:20And it's got its place.
00:56:21But it's dangerous.
00:56:25I'm trying to get a laugh.
00:56:27I'm trying to get a laugh.
00:56:28I'm trying to get a laugh.
00:56:29I'm trying to get a laugh.
00:56:32I'm trying to get a laugh.
00:56:33I'm trying to get a laugh.
00:56:34On February 7, 2015,
00:56:37we killed painters
00:56:42because they were drawing.
00:57:03Nós fomos cibidos porque nós fomos um dos dos, ou um dos dos, jornal,
00:57:13a nos oposição, aberto, a um totalitarismo político que não diz o nome.
00:57:25Nós fomos 11 pessoas mortem, 4 pessoas em situação de urgência absoluta.
00:57:32A França está hoje em um choque, um choque que é um choque,
00:57:39um choque, porque é um choque terrorista.
00:57:46Todos os totalitarismos, religios e compreensão,
00:57:49eles tentam o humor, e tentam o censurar, por todos os motivos.
00:57:57Então, é uma arma, o humor.
00:58:06A França está.
00:58:08A França está.
00:58:09Você constate que eu tenho muitas coisas,
00:58:12muitas coisas, eu vou levar ao hasard.
00:58:16Eu vou levar ao islam.
00:58:16Ela fala só de política.
00:58:19É nosso principal tema.
00:58:23Então, quando a gente diz que a Charlie Hebdo é obsede por o islam, não!
00:58:28A gente não faz que comentar a atualidade, a gente não faz que falar de atualidade.
00:58:33E quando o islam e o islamismo se convidam na atualidade, é claro que a gente não fala.
00:58:44E lá, vamos falar de propaganda.
00:58:47O islamismo chegou a nos fazer acreditar que quando a gente se ataca à seu discurso,
00:58:56a gente se ataca à toda uma comunidade.
00:58:59Ele veio a isso.
00:59:07A fé, é o que é individual, o que é pessoal.
00:59:14A religião é outra coisa.
00:59:16A religião é outra coisa.
00:59:17A religião é a organização social e política da fé.
00:59:23Então, a religião é a política.
00:59:28A religião, hoje, é em conquista política,
00:59:31A religião é uma política,
00:59:33a gente não tem a fé,
00:59:35a outra coisa.
00:59:37Então, quando a gente está em política,
00:59:39a gente deve poder criticar o que se faz naquele campo de política.
00:59:43A gente deve poder criticar,
00:59:46atar, se mocar,
00:59:49insultar a religião.
01:00:10Paranoia. Xenophobia. Irrational fear.
01:00:15These are the pillars of propaganda that have led us into our deadliest conflicts.
01:00:22The Cold War was a new type of war. Fueled by unrelenting propaganda on all sides.
01:00:29It 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 forms of propaganda
01:00:50at the time.
01:00:50And it's explicitly acknowledged to be that.
01:00:54A bomb of unprecedented destructiveness had exploded.
01:00:58Three days later, a second atom bomb was dropped on Nagasaki.
01:01:03Strangely and very chillingly, the United States military actually reserved a number of cities in Japan, didn't bomb them using
01:01:11conventional bombs during the war itself.
01:01:14Precisely so that if they developed an atomic bomb, they could judge its full destructive capacity.
01:01:18Looking toward Zero Point from the roof of the Red Cross Hospital a mile away, the tremendous destruction created by
01:01:25the first atomic bomb can be seen.
01:01:27This foundry, three tenths of a mile away from Zero Point, shows considerable damage in spite of fairly good construction.
01:01:35Always in the back of the mind of the people who were making these considerations were, let's call them the
01:01:39propagandistic effects.
01:01:41It's a message, not only to Japan, but more importantly to the Soviet Union.
01:02:00The Cold War is the mobilization of culture and of ideology, and the stakes of it are global.
01:02:09Every citizen of the world is potentially a target.
01:02:13News reporting, for instance, becomes in some sense a form of propaganda too, in that it reports the kind of
01:02:19virtues of the United States,
01:02:21or the victories, for instance, of things like the space race.
01:02:24And these become their own form of propaganda as well.
01:02:28That's one small step for man, one giant leap for mankind.
01:02:46There are a lot of ways in which for everyone is.
01:02:50This is how they focus on the fear of Italy, and the most effective fighting there.
01:02:50Now, it's the only thing I can't imagine and the most powerful fighting it is,
01:02:54to be the strongest one being.
01:02:54North Norris, or the world being.
01:02:54grossed inesperia.
01:02:56It's the most powerful fighting people, and it seems a lot more powerful thing in what the world is.
01:02:56The world being.
01:03:01The world being.
01:03:01The world being.
01:03:07You're the Asked Army.
01:03:14A fotografia, por definição, é uma mentira.
01:03:17É um momento vazio em tempo.
01:03:20Vamos lá.
01:03:21Não sabemos o que aconteceu antes.
01:03:23Não sabemos o que aconteceu depois.
01:03:27E também, você está conseguindo essa história
01:03:31através da minha percepção.
01:03:36Mas isso é a coisa.
01:03:38É o que o trabalho de arte é ser propaganda.
01:03:45É para vender algo.
01:03:58Meu nome é Tyler Shields.
01:04:00Eu sou fotógrafo, diretor, escritor, e muitas pessoas me chamam de provocador, eu acho.
01:04:06É isso.
01:04:21Perfeito.
01:04:22Fazer algo mais importante é sempre um objetivo.
01:04:25Obviamente, é fácil dizer que fazer,
01:04:28mas, você sabe, quando você se prepara para fazer algo,
01:04:31às vezes você não tem ideia.
01:04:39Eu acho que muitas pessoas pensam que, você sabe,
01:04:42que nós planejamos isso por meses e fizemos a whole coisa.
01:04:45Ela queria fazer algo, você sabe, com o Trump envolvido.
01:04:49E ela era, ela disse,
01:04:50eu tenho um wig, eu posso fazer um wig que parecem o Trump.
01:04:54E eles tinham uma mask,
01:04:58e eles me mostram o Trump.
01:04:59E eles me mostram o mask,
01:05:00e eu falei, isso parece terrível.
01:05:02É só, você sabe,
01:05:03é um fake,
01:05:03como um Halloween-se,
01:05:05é um fake mask.
01:05:07E eu falei,
01:05:08ok, o que podemos fazer com isso?
01:05:09E eu disse,
01:05:10se nós cobramos em sangue,
01:05:11isso vai esconderá-lo.
01:05:13Eu coloquei um sangue,
01:05:14e eu falei,
01:05:15oh, sim, isso funciona.
01:05:21E eu disse,
01:05:22Isso funciona.
01:05:23Eu estava dormindo.
01:05:25Eu estava dormindo.
01:05:26Eu me despertava.
01:05:28E isso é no TMZ,
01:05:30e isso é,
01:05:30você sabe,
01:05:32tudo está acontecendo.
01:05:36Tudo explodiu.
01:05:37E aí,
01:05:38pessoas fora de minha casa,
01:05:39e,
01:05:39você sabe,
01:05:4020 vans,
01:05:41e,
01:05:42tipo,
01:05:42randos,
01:05:43vizinhos,
01:05:44vizinhos,
01:05:45vizinhos,
01:05:46Eu tinha a FBI,
01:05:48e a Secret Service,
01:05:49e eu tinha all esses pessoas.
01:05:52E aí,
01:05:53o que você começou a ter essa,
01:05:55você sabe,
01:05:55isso,
01:05:56e,
01:05:56ela me falou e me disse,
01:05:58gente que me fizesse,
01:06:00ah,
01:06:01eu não sei o que fazer.
01:06:02Eu sincero,
01:06:04desculpe.
01:06:05Eu estou agora vendo a reaction
01:06:06dessas imagens.
01:06:07Quando o mundo está dizendo,
01:06:10você fez isso,
01:06:11e sua carreira é over,
01:06:13Isso não é escuro para ninguém.
01:06:15Eu fiz um erro e eu estava errado.
01:06:17E então o presidente
01:06:19títulos sobre isso.
01:06:25Esse cara títulos sobre isso
01:06:27e quando ele títulos sobre isso
01:06:28isso levou a um nível internacional
01:06:32que eu nunca vi antes.
01:06:38E isso foi tudo orchestrado.
01:06:43Aparentemente,
01:06:44há uma coisa entre Fox News e Trump
01:06:48para apoiar toda a atenção
01:06:49para a Cati e tirar toda a atenção
01:06:52da Paris Accord,
01:06:54tirar toda a atenção
01:06:54da outras coisas.
01:06:56Você sabe,
01:06:57isso funcionou.
01:06:58Toda a atenção para tudo
01:07:00estava na foto.
01:07:02É genio, mas.
01:07:04É desilusão.
01:07:05É tudo propaganda.
01:07:07É tudo para manter
01:07:09o caminhão de caminhão.
01:07:11E o mais caos
01:07:13que você pode criar
01:07:14na pressão,
01:07:16o menos ninguém vai olhar
01:07:17para o que você está fazendo.
01:07:18É o maior magicão de caminhão.
01:07:20Você sabe,
01:07:21olha esse títulos louco
01:07:22enquanto eu tudo
01:07:23sobre isso aqui.
01:07:25É genio.
01:07:26E nunca mais antes
01:07:27na história
01:07:27você realmente
01:07:28teve a capacidade de fazer isso.
01:07:29Eu sei,
01:07:30Obama foi o primeiro
01:07:31presidente
01:07:31que tinha social media
01:08:02de qualquer tipo,
01:08:02certo?
01:08:02muito in line
01:08:03com moderno
01:08:04prática.
01:08:10de caminhão de caminhão de caminhão de caminhão.
01:08:26E, claro,
01:08:27eles são muito conhecidos
01:08:28para os vídeos
01:08:29decapitamentos
01:08:30e outros
01:08:31murders
01:08:32de não-combatantes.
01:08:34Em todos esses vídeos,
01:08:36o que você vê
01:08:38é que eles desenham
01:08:39de caminhão de caminhão
01:08:41de caminhão de caminhão.
01:08:43Os vídeos são curtos,
01:08:45usually 3 a 5 minutos,
01:08:46e são feitos para consumir
01:08:47online.
01:08:52É incrível
01:08:54bem pensado,
01:08:55e muitas vezes
01:08:56eles usam de
01:08:57slow motion
01:08:58em um momento
01:08:59realmente dramático
01:09:00que lembram
01:09:01Hollywood
01:09:02e também
01:09:02a estética
01:09:03de jogos,
01:09:05videogames.
01:09:11e a parte da sua estratégia
01:09:13é reforçar
01:09:14nos nossos espectadores,
01:09:16se concordar com eles
01:09:18ou se concordar
01:09:19com eles,
01:09:19para propagar
01:09:20esses vídeos.
01:09:26Em 2015,
01:09:28a governadora Unida
01:09:29compreendeu
01:09:30que precisava
01:09:30de guerra
01:09:32não na terra,
01:09:34não na terra,
01:09:35mas na terra.
01:09:37E eles começaram
01:09:38a partir de uma
01:09:39infraestrutura
01:09:40de Isis,
01:09:41a partir de uma
01:09:41infraestrutura
01:09:42e assim,
01:09:43a partir de uma
01:09:46multidão.
01:09:46bombando
01:09:46a internet,
01:09:47assim,
01:09:48a partir de uma
01:09:50internet.
01:09:51Nós não falamos
01:09:52muito mais sobre Isis
01:09:53agora.
01:09:54A partir do que
01:09:55nós vimos
01:09:55que o alt-right
01:09:57e-não-nazis
01:09:58foram
01:09:58tomando a
01:09:59lead,
01:09:59e eles têm
01:10:01uma maior
01:10:01presença
01:10:02online
01:10:02do que
01:10:04Isis.
01:10:042,
01:10:061,
01:10:10These are the stakes, we either stand up to supporters of terrorism, or we and our allies
01:10:17risk losing the freedom we cherish.
01:10:21Now in the post 9-11 world, Muslim communities are frequently the target of anti-Muslim propaganda.
01:10:32You know, it seems these days that not a single one of us boards an airplane, attends a concert,
01:10:39or a sporting event and 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, there's a strategy behind it and there's a lot of money as well.
01:10:55Researchers have shown just how well-funded anti-Muslim hate groups are.
01:10:59It's easy to lose sight of an issue that defines our generation, the need to stop terrorism in our time.
01:11:07And this is an incredibly polarizing and polarized view of the world.
01:11:13And in the end, extreme groups benefit from that polarized view.
01:11:18And they need each other, they need an enemy.
01:11:28We're so primed, our species, for xenophobia.
01:11:33We're so primed to blame someone else.
01:11:36And we're so primed for resentment.
01:11:39There are always going to be people who have more, who are better looking and smarter and richer and more
01:11:44powerful and all of those things.
01:11:46A situation that's right for somebody to stir up resentment.
01:11:51And we're seeing that, you know, we're seeing that all over.
01:12:06Jihad is here! And he's here!
01:12:09And he's here!
01:12:09And he's here!
01:12:10Bring him for Christ!
01:12:11Let them call you racist. Let them call you xenophobes.
01:12:25Wear it as a badge of honor, because every day we get stronger and they get weaker.
01:12:35Steve Bannon, the man who wants to destroy the American establishment, and to make right-wing extremism the mainstream, now
01:12:44has Europe in his crosshairs.
01:12:46A big applause for Steve Bannon!
01:12:56Steve Bannon is mainly known as the former campaign advisor of Donald Trump.
01:13:02Of course, as the editor of Reitbart News, Steve Bannon is a very important contemporary example of a propaganda artist
01:13:10that operates within a democracy.
01:13:13He unleashed a movement that got his candidate of choice elected to the White House.
01:13:18The fake media tried to stop us from going to the White House.
01:13:22But I'm president and they're not.
01:13:28God, who else can compete with him for influence?
01:13:32This spreading of his message to Europe shows the kind of transportability of a set of skills around propaganda.
01:13:42There are a lot of places in the world where these kinds of tensions or issues can end up being
01:13:47exploited for these purposes.
01:13:49And where it can be done basically underground.
01:14:07Facebook is an idealistic and optimistic company.
01:14:11And as Facebook has grown, people everywhere have gotten a powerful new tool for staying connected to the people they
01:14:16love,
01:14:17for making their voices heard, and for building communities and businesses.
01:14:23Facebook, Twitter, Google, these massive platforms have always pitched themselves as a level playing field,
01:14:29saying everybody come on, share your stuff, and whatever is the most interesting and valuable to people will win.
01:14:35There was always this kind of utopian element to it.
01:14:39It's clear now that we didn't do enough to prevent these tools from being used for harm as well.
01:14:44They are not able to manage a platform that has more than two billion people on it.
01:14:51In Myanmar, hate speech on Facebook has led to violent crimes against the Rohingya people.
01:14:59650,000 of them have had to flee their homes for their lives.
01:15:15You only have to look to countries like Myanmar, where Facebook, for all intents and purposes,
01:15:20is actually what people are using as the internet.
01:15:25And it is an engine for spreading hate speech, for planning harassment,
01:15:29and for, in some ways, enabling genocide.
01:15:36The capacity to persuade people of blatant untruths, that capacity seems to have gone up.
01:15:51People have always tried to manipulate opinion, that's true,
01:15:54but the capacity to do that in manufactured huge numbers, through algorithms and things, is new.
01:16:05Although propaganda has always sought to hide itself,
01:16:11its 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
01:16:23truth.
01:16:23There is no such thing as the truth.
01:16:25That's what undergraduates write essays.
01:16:27They start, undergraduates, who've never tried to find out what the truth is,
01:16:32say, 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
01:16:46is a very fierce discipline.
01:16:57The role of journalism in a democracy is the critical last line of defence when it comes to reality.
01:17:10More and more people have got opinions.
01:17:12Everyone has an opinion, not everyone has a fact.
01:17:15Facts absolutely are not negotiable.
01:17:17There are facts.
01:17:18There is proof.
01:17:19And journalists deal in fact.
01:17:21We deal in the real world.
01:17:25One of the interesting challenges we have in our industry is getting people to believe that we are telling the
01:17:31truth.
01:17:34So if you take, for example, anonymous sources.
01:17:37When you use an anonymous source, a journalist is withdrawing from the credibility bank.
01:17:42And you're saying to the reader, trust me on this.
01:17:45There's a bunch of good reasons why we're granting anonymity, but there is a recognition that that is the line
01:17:50that 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.
01:17:58And there are stories that take many months, sometimes years, for us to put together.
01:18:02So there's one story I'm sitting on, I've been sitting on it for five years.
01:18:05I can't get the second source.
01:18:06I know it's true.
01:18:07It's very interesting.
01:18:08I know it to be true, because who told me?
01:18:10And I trust that person.
01:18:11But I haven't got the second source.
01:18:12But 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.
01:18:21It's just another story.
01:18:23And 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
01:18:32news, but this is one place where you're getting the information because of the commitment and the effort and the
01:18:40expense that only professional journalism can offer.
01:18:47If 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.
01:19:18We are just getting out the last two hard disks that we need for the performance.
01:19:22Leibach is a Slovenian art rock band, I guess you could say in simple terms, who were founded in 1980
01:19:32in then Yugoslavia.
01:19:34Everybody just stay together.
01:19:36For me, as the director of that whole event, it was an irresistible challenge to try to bring a band
01:19:44that has been accused of fascism.
01:19:46To perform in one of the world's most tightly controlled states.
01:19:51Life.
01:19:53Life.
01:19:55Leibach is in many ways the missing link between totalitarianism and rock music.
01:20:03They reappropriate fascists, Nazi, communist, all kind of totalitarian ideologies they put to their own use.
01:20:11When we all feel the power, life is life.
01:20:17When 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.
01:20:31Life.
01:20:32Life.
01:20:32Right down to wearing seemingly fascist inspired uniforms on stage.
01:20:38Life.
01:20:41Life.
01:20:43Life.
01:20:43Life.
01:20:44Life.
01:20:46Life.
01:20:51Life.
01:20:52Life.
01:20:54Life.
01:20:55Se Leibach desistiu a deeper cave, ele faria provocações e faria o sistema socialista.
01:21:04Eu disse ao comitê, que Leibach foi acusado de fascismo e de ser um banho mal.
01:21:16Norte-Korea é regularmente acusada de ser um estado fascista na mídia veste.
01:21:22Você sabe o que as mídia veste.
01:21:23Eles fazem as coisas todo o tempo.
01:21:25Então você e Leibach tem isso em comum.
01:21:28Vocês são todos entendidos.
01:21:32Vamos ter um par de milan.
01:21:35Eu tenho certamente sido acusado de ser um idiota útil para o regime norte-korean.
01:21:41Desde muitas quartas.
01:21:42Vamos ter milan no meio e...
01:21:45Vai ser muito respeitado, eu prometo.
01:21:48Eu acho que é muito mais difícil trabalhar como termite.
01:21:52mais do que um elefante.
01:21:55O termite burra dentro de uma grande estrutura,
01:21:59parecia insurmontável,
01:22:01e escrava-lo fora de dentro,
01:22:04ao invés de romper toda a porcelain.
01:22:09A grande estrutura,
01:22:11é um barulho,
01:22:12para que você tenha um barulho.
01:22:14Não, não.
01:22:16Não, não.
01:22:16Não, não.
01:22:16Não é um barulho.
01:22:18Você pode burra-lo no sistema,
01:22:20e você pode usar o poder,
01:22:22e o língua do poder,
01:22:24para suas próprias pontas.
01:22:31Então, quando eles performam em frente a um...
01:22:34unsuspectante,
01:22:35uma população norte-korean de 1500 pessoas,
01:22:40isso criou uma magia de contradição e paradoxo.
01:22:45Nós crescemos,
01:22:48nós crescemos,
01:22:52nós crescemos,
01:22:52nós camamos e camamos.
01:22:55Nós camamos e camamos.
01:22:56Nós nunca caamos
01:22:57tão grande como o céu...
01:22:59Eu acho que a maioria deles,
01:23:01realmente,
01:23:02mas, então,
01:23:03isso é uma reação total normal para uma banda como Leibach,
01:23:06em qualquer lugar do mundo.
01:23:18Mas eu ouvi de alguns estudantes universitários,
01:23:21e eles disseram uma coisa muito bonita,
01:23:23que nós realmente amamos,
01:23:26era algo novo.
01:23:31Eles realmente não avaliaram a música,
01:23:34se fosse bom ou ruim,
01:23:35mas era algo novo.
01:23:37E para eles,
01:23:38foi mais do que o suficiente.
01:23:39E para mim.
01:24:12e,
01:24:13às vezes,
01:24:14com uma história quinta de espéras,
01:24:17e deixamos sair do nosso passado.
01:24:23A história da humanidade,
01:24:29talvez seja
01:24:29Mas é realmente possível, os Icones da História
01:24:33e eles com um novo significado?
01:24:59Adolf Hitler saiu da Bühne.
01:25:02Ein!
01:25:07Wenn man sich mit der Geschichte etwas näher beschäftigt hat,
01:25:11dann ist das teilweise ein beklemmendes Gefühl.
01:25:13Aber ich denke mal, die Autos, die Motorengeräusche,
01:25:17dann ist das aus der Geschichte einfach ausgeblendet.
01:25:25Adolf Hitler hat gesagt, er baut das für 1000 Jahre.
01:25:29Das wird 1000 Jahre halten.
01:25:40Wir nehmen uns das Gelände wieder zurück
01:25:43und überlassen es nicht den Nazi-Baut, ist es unser Platz.
01:25:48Dass Menschen hier feiern, dass Menschen hier glücklich sind,
01:25:51weil sie sagen, wir treffen uns hier nicht, um zu streiten oder Hass.
01:25:54Es ist einfach ein Platz, um sich auch zu treffen,
01:25:58um Freude zu teilen.
01:26:03We are a highly social species.
01:26:06We have retained our tribal instincts
01:26:08and have a deep need for belonging
01:26:11that is firmly rooted in our evolution.
01:26:16Since our earliest existence,
01:26:19our inclination to imagine collective fictions
01:26:21has allowed great civilizations to rise
01:26:24and for humanity to flourish.
01:26:29But we must also constantly examine these narratives
01:26:33with disciplined reason and skepticism.
01:26:37We must strive to reclaim history where it has been erased.
01:26:41To stand firm against authoritarianism.
01:26:46To combat demagogues with an arsenal of humor and wit.
01:26:50To combat demagogues with an arsenal of humor and wit.
01:26:52We must all be aware of our own emotions
01:26:55and how they can be maliciously and manipulatively exploited.
01:27:00There are no easy answers.
01:27:02There is only personal responsibility.
01:27:07In a democracy, it matters what people think.
01:27:09Therefore, you're always going to have wars of persuasion.
01:27:15You're always going to have battles over the hearts and minds of the citizenry.
01:27:19That's what it means to engage in self-government as a society.
01:27:24Decisions have to be rationalized.
01:27:26Decisions have to be explained.
01:27:29Propaganda could be good or bad.
01:27:31It could be a warning on the cigarette packet
01:27:33or it could be triumph of the will.
01:27:37Maybe we should just understand it more.
01:27:40I think everybody has to take real responsibility
01:27:42to live a much more uncomfortable, awkward life.
01:27:46testing themselves because that really matters.
01:27:54Anything that satisfies or reassures is going to be very compelling.
01:27:58And I think, in a way, it's as though the commodity here is hope.
01:28:02And you can either poison people with false hopes
01:28:05or you can inspire them.
01:28:08What's being sold, though, is a better future.
01:28:21recommenced like a symbol of evil.
01:28:22It's a bigger threat.
01:28:29To it microbiome, it seems to always be the question
01:28:55Tchau, tchau.
01:29:18Tchau, tchau.
01:29:46Tchau.
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