A banned film.
From communist Czechoslovakia.
Party as nightmare (like O slavnosti a hostech).
Walls on all sides.
As if Jeremy Bentham was tomorrow appointed head of the NSA.
From the single, centralized watchtower.
Stares out the embalmed ego of Bentham.
It’s just a skeleton stuffed with hay. Dressed in Bentham’s clothes.
Like the panopticon.
A straw man prison.
Dear friends, I know of no film which conveys the horror of the 21st century.
Quite like this gem of resistance against totalitarianism.
This was the underbelly of communism.
The “evil empire” of which Reagan spoke.
His words seem funny today. His unscientific, hypocritical words.
Because the Red Scare in the United States was typified by the same methods on display.
Which I fear will not subside anytime soon.
Nor has this wave even crested.
“Mass surveillance doesn’t work,” Mr. Snowden wrote. “This bill will take money and liberty without improving safety.”
Finally The New York Times prints something worthwhile.
And even Hillary Clinton’s “History made.” ad can’t deflate the importance of Snowden’s words.
And so if you want to see the 12-tone paranoia of the communist “big brother” state (now that we are living in a “capitalist” big brother state), I would heartily recommend The Ear by director Karel Kachyňa.
It was banned for 19 years in Czechoslovakia.
Because it got real close to the truth.
It painted the communist party leaders as a bunch of jerks.
It portrayed the constant suspicion upon bureaucrats as a living nightmare.
The Ear. Maybe some HUMINT at the party.
But largely this film deals with SIGINT (if author Jeffrey T. Richelson can be trusted).
The Ear deals primarily with what Richelson calls “clandestine SIGINT” in his book The U.S. Intelligence Community.
What we encounter in Ucho are “the oldest of these devices” (viz. “traditional audio surveillance devices”).
Wikipedia does a passable job outlining this area of inquiry in the article “Covert listening device”.
But dear friends…describing it so matter-of-factly does no justice to the strain which omnipresent surveillance puts on largely innocent people.
And therefore The Ear is a film which shows the psychological toll that governments exact when they make ethics secondary.
What we get from director Karel Kachyňa is the portrait of a society (his society) which assumes all citizens to be guilty until proven innocent.
This is ostensibly the opposite of the American system, but today’s Amerika is merely the other side of the coin: same pervasion of surveillance (even if it is “capitalist”).
My hypothesis is that “free market” America has come to all-to-closely resemble the regimes it fought to defeat. Those “victories”, then, were hollow. We have appropriated the worst, most tortuous means of our past enemies.
But Kachyňa has another message for us in this masterpiece.
In such upside-down societies, promotion might be the worst form of punishment.
Beware, my coopted friends.