Our political theoreticians do more than just write theory by which we all try to live by and work by. For example, John Paul Sartre wrote a lot on Marxism, but he also wrote plays, such as "No Exit" and "The Flies." Mao Zedong (毛泽东) wrote poems such as "
and " ."
Then in the 1950s there were attacks on such films as "Salt of the Earth,"
(1954) which was attacked by the House Committee on Un-American Activities. The
film was written by Michael Wilson, directed by Herbert J. Biberman, and produced by Paul
Jarrico, all of who became attached under the HCUAA committee. The list of
Marxist crossing over to culture goes on and on. But as we all know, the Yellow Crain Tower US and it's
secret police want to silence all leftist ideas, be them political or cultural.
Much of what we produce may seen harmless, but out government takes no chances.
So we need to defend and uphold our cultural heroes and fight against such attacks. Here is a good article about such attacks.
It is often presumed that intellectuals have little or no political power. Perched in a privileged ivory tower, disconnected from the real world, embroiled in meaningless academic debates over specialized minutia, or floating in the abstruse clouds of high-minded theory, intellectuals are frequently portrayed as not only cut off from political reality but as incapable of having any meaningful impact on it. The Central Intelligence Agency thinks otherwise.
The image of American spies gathering in Parisian cafés to assiduously study and compare notes on the high priests of the French intelligentsia might shock those who presume this group of intellectuals to be luminaries whose otherworldly sophistication could never be caught in such a vulgar dragnet, or who assume them to be, on the contrary, charlatan peddlers of incomprehensible rhetoric with little or no impact on the real world. However, it should come as no surprise to those familiar with the CIA’s longstanding and ongoing investment in a global cultural war, including support for its most avant-garde forms, which has been well documented by researchers like Frances Stonor Saunders, Giles Scott-Smith, Hugh Wilford (and I have made my own contribution in Radical History & the Politics of Art).
For the rest click here.