{"id":7708,"date":"2015-01-05T09:31:33","date_gmt":"2015-01-05T09:31:33","guid":{"rendered":"http:\/\/www.justcharlie.com\/?p=7708"},"modified":"2019-04-06T17:05:58","modified_gmt":"2019-04-06T09:05:58","slug":"cia-involvement-the-interview","status":"publish","type":"post","link":"https:\/\/www.justcharlie.com\/cia-involvement-the-interview\/","title":{"rendered":"Feasibility of CIA Involvement in The Interview"},"content":{"rendered":"
When I was in the states a week ago I caught up with an old friend who made an interesting offhand comment about The Interview: what if the CIA were involved?<\/em><\/p>\n It’s not as far fetched as it may seem when you consider a few facts:<\/p>\n In the movie, Seth Rogan asks: If we kill Kim, won’t he just be replaced by another chubby dude\u00a0with a goofy hairdo?<\/em><\/p>\n Yes, he will. “Killing Kim won\u2019t change anything. He will be replaced. He has brothers and generals\u2026 the people need to be shown that he is not a God; that he is a man. Then they will be ready for change.\u201d<\/em><\/p>\n What happens when\u00a0North Koreans learn of The Interview, the context surrounding it, and\u00a0begin to watch it?<\/p>\n The CIA having a hand\u00a0in The Interview would be\u00a0hiding in plain sight.<\/p>\n In the 1950’s, the CIA funded the Abstract Expressionist art movement\u00a0in order to use it as a weapon against the Soviet Union.<\/p>\n At the time, Moscow was vehemently opposed to non-conformity and was relentlessly committed to rigid systems of control. The American modern art movement\u00a0was the opposite: it discarded artistic principles that came before it in favor of chaos and randomness.<\/p>\n Artists like Jackson Pollack and Willem de Kooning created art which was funded and promoted by the CIA. Art was\u00a0promoted within a policy called “long leash”, which described the distance required between these two parties to avoid detection.<\/p>\n During this period, exhibitions with titles like “The New American Painting” were featured in every major European city all across the continent. Who would suspect, especially in the 1950’s, that the CIA was funding art exhibitions in Europe? It’s brilliantly\u00a0cunning.<\/p>\n\n
Modern Art as a\u00a0Coercive Force<\/h2>\n