The Right Wing's New War for Culture

The new conservative mediamakers are shedding the baggage of culture war hangups, freeing up energy to infiltrate culture industries and attack the left.

March 6, 2011  |  

 

“You looking for Hollywood? Come on in!”

I walked into a small but packed room at this year's Conservative Political Action Conference (CPAC) for a primer on entering show business stage right. It was the panel’s second year at the annual convention, and the young people gathered were planning to skip the D.C. internships and look for jobs in film, music and television.

The movement is shifting away from the outright opposition to popular culture that defined the culture wars of the 1990s. They have embraced a two-pronged strategy to get their message out: making their own films and music, and using Tea Party or church networks to distribute them; and working inside the mainstream entertainment industry to release films and other products with movement themes into the mass market.

The prospect of political action and personal fame proves alluring for a generation where online celebrity meshes easily with real-world political power. A young man canvassed the room--“who does video?”--saying that he helps young videographers plug into local campaigns as he passed out his business card. Young men discussed their Twitter feeds, and two others tried to understand Obama through the prism of Star Wars.

Larry O’Connor, editor-in-chief at Andrew Breitbart’s Breitbart.tv (of ACORN and Shirley Sherrod political character assassination fame), delivered an insider account. Before coming to the right-wing web-o-sphere, O’Connor worked as a production manager on Broadway and in Los Angeles. Wearing square-frame glasses, with untucked dress shirt, jacket, and jeans, salt and pepper stubble, and a proclivity to strike a sardonic tone, I would have easily mistaken him for a liberal.

“If you’re thinking about coming to Washington to be in politics or you’re thinking of working for some congressperson and be their aide,” an animated O’Connor told the room, “there are a hell of a lot of people who can do that already...We need conservatives in Hollywood...The culture and what happens in Hollywood and in the entertainment industry is a driving factor for what happens in our country and, frankly, for what happens in Washington.”

“Politics is downstream of popular culture,” moderator Kevin McKeever chimed in. “That’s one of the reasons why we do this panel.”

Presenters encouraged the eager young attendees to paddle upstream. One suggested that young conservatives become “sleeper agents” in the entertainment world: establish yourself doing high quality but conventional work as an actor, agent or producer. Keep quiet on politics until you have established influence and power.

Remarkably, John Nolte, editor-in-chief of Big Hollywood (another Breitbart enterprise), pointed to the gay rights movement as an example of the power of (what conservatives tend to call) “the culture.”

“Look at the issue of gay marriage,” he said, arguing that it was an important case study whatever your position was. (This was itself supporting evidence for his argument, as his comments reflected an important shift: gay rights have become a seriously contested issue at CPAC and throughout the conservative movement.) “Look how far we’ve come on gay marriage in 10 years. In the '90s, we were saying ‘are we gonna' do civil unions, are we okay with that as a country?’ Now we’re one vote away probably from legalizing gay marriage throughout the country. And that’s not politics. That’s the culture. That’s television, and movies, and music changing the way we think, and changing what we believe.”

The new conservative film movement has two main currents: the political documentary and the Christian moral narrative. Fahrenheit 9/11 was a wake-up call for right-wing documentarians eager to match the power of progressive documentary. Mel Gibson’s The Passion of Christ sent the opposite message to conservatives and to Hollywood at large: we have a market.

In popular culture as in politics, conservatives don’t openly defend the oppressor against the oppressed. They deny that any such injustice exists--particularly when it comes to race. The overall goal is simple: more movies with clearly defined good and evil. Less moral ambiguity.

Producer Ralph Winter, who made The Fantastic Four and the X-Men trilogy, is an evangelical. He also produced the film versions of the best-selling “Left Behind” book series--the plot of which is: what happens when Jesus comes back? He throws all the non- or wrong-believers into a lake of fire. He has also made a number of “small-budget, direct-to-video movies based on popular Christian novels.”

“I think things are changing in Hollywood,” said Nolte. “You do have a better environment to walk into than there was five years ago. Andrew Breitbart has a lot to do with that...For your country, I think it’s a very patriotic thing to be willing to go in there.”

Megachurches are also tapping their substantial resources to produce sophisticated media in-house. Evangelical producer Dallas Jenkins, the son of one of the “Left Behind” series’ two authors, is now director of visual media at Harvest Bible Chapel in Chicago and is planning to produce feature films directly out of the church. This is a remarkable feat of vertical integration.

The Chronicles of Narnia and even Lord of the Rings strike religious notes in the guise of fantasy. One Baptist writer, though acknowledging that the “Hobbit habit of ingesting mushrooms and smoking ‘pipe weed" got translated into drug use for counter-culture readers,’ was pleased that the Christian J.R.R. Tolkien had set out “the reality of evil and the task to struggle against it."

After a major delay caused by Chapter 11, MGM is planning to release its remake of the Cold War classic Red Dawn. The original Soviet invasion of the U.S. will be Chinese in the new version.

The biggest, most recent and utterly surprising coup for the religious right is the 3-D “documentary” of tween idol Justin Bieber, whose mother is a devout evangelical Christian. Paramount has a Christian outreach plan with special church screenings, which a St. Louis Post-Dispatch article calls “a page torn from the Passion of the Christ marketing playbook.” (Though Wonkette notes that Focus on the Family is worried that Bieber has fallen prey to an “entertainment industry [that] is a sexual and political minefield” thanks to an ambiguous comment about pre-marital sex.

Hollywood is a complicated thing for the right, which hates it for sex and moral ambiguity but celebrates or declines comment on the glorification of war and crass commercialism. And they blame liberals for everything, including stuff that most liberals dislike. Left-wing forces cannot be held responsible for the music video of 17-year-old pop star Miley Cyrus writhing on a bed in her underwear. The conservative hysterics about Hollywood ignore the role big business plays in keeping the system conservatives so cherish up and running.