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October 7, 2015 / 24 Tishri, 5776
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Invaders from Outer Space

Palestinians demonstrating

Photo Credit: Abed Al Rahim Al Khatib /Flash90


New York City has been invaded, its buildings blown up and its citizens slaughtered hundreds of times. The invaders come every summer, descending from the sky and under the earth. Sometimes they aliens or gods or monsters. They are, however, never Muslims.

Every summer, for 10 dollars you can see a fantasy version of September 11 reenacted with invading enemies who deserve no mercy and receive none. They come in swarms, buildings fall, people run for cover and then they are beaten back and banished. And then, as summer fades, we pause for that obligatory week in which attention must be paid to commemorating the attacks of September 11 while seeing no connection between the discharges of tension through fictional victories used as an escape mechanism from a war that we dare not fight.

The Dark Knight, the previous Batman film, contained an elaborate analogy to the War on Terror, a shadow version of the real war fought out by men in costumes proving that it was possible to release a big-budget movie supportive of the War on Terror so long as it was dressed up in the right costume.

Since then, and before, New York City has been attacked by meteors, ice ages, mythical skeletons, more costumed criminals, the year 2012, and every possible imaginary scenario that can be dreamed up. It just hasn’t been attacked by Muslims because that’s something that doesn’t happen in movies. Only in real life.

The actual enemy rarely shows up in movies. There have been more movies made attacking the War on Terror than movies showing American soldiers and law enforcement officers fighting terrorists. After ten years of war there have hardly been any movies made about the war in Afghanistan and the most watched movie about the War in Iraq began with an anti-war quote, just so no one made any mistakes about where everyone involved stood. And all of these are a drop in the bucket.

Our cinematic world is a relentless barrage of anxieties; week after week, movie theater screens light up with depictions of civilization collapsing into chaos, overrun by hordes of zombies and monsters, our cities torn down, buildings burning, police and military forces helpless in the face of the enemy. These collective anxieties are packaged up and exported to audiences at home and around the world who sit watching our unacknowledged fears of invasion and collapse play out in movie theaters.

A culture’s art, no matter how tawdry it may seem, is also its dreams. They are the stories we tell, and they are full of conscious and unconscious meanings. Legends are created by a culture to battle its unspoken fears. Its great hunters and warriors, whether born of a god, risen from the sea or wearing a cape take a society’s terrors and defeat them in a story that is reenacted over and over again to bring courage to the people and remind that all obstacles may be overcome with a strong spirit.

No matter how degenerate a culture may be, its people still need such legends because they still have fears that need calming. The more troubled the time, the more they have need of such legends and the more they may even escape into them to find comfort against the coming of the long night.

The Islamic invasion is only dealt with through such legends where the enemy is reduced to metaphors, as the Soviet Union and the threat of Communism were in earlier generations. In earlier generations, we saw the Nazi on screen, and he is still a reliable villain, but the Communist is a more elusive fellow and the Islamist is more likely to show up in British movies than in American ones. Instead, the Communist became subsumed in stories of pod people and zombies, in depersonalized bombs falling from the sky and enemies with accents but no ideology. Even brainwashing was distanced as a technological trick in the Manchurian Candidate rather than an ideological practice.

If Communists occasionally showed up in movies, Islamists are as rare as white elephants. There is plenty of work for Muslim actors portraying unjustly accused men being persecuted by bigoted and ignorant law enforcement officers. But there is hardly any work for them portraying terrorists. Much as negative portrayals of Communists was Red-Baiting, negative portrayals of Muslims is Islamophobia. And it is better to be afraid of imaginary things than real ones.

About the Author: Daniel Greenfield is an Israeli born blogger and columnist, and a Shillman Fellow at the David Horowitz Freedom Center. His work covers American, European and Israeli politics as well as the War on Terror. His writing can be found at http://sultanknish.blogspot.com/ These opinions do not necessarily reflect the opinion of The Jewish Press.

The author's opinion does not necessarily reflect the opinion of The Jewish Press.

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