Who Paints the Image?

TE GS HE EE SRA CET ESTES SN Wy SS NY NY Who Paints

In Belgium, as in nearly all nations except the United States, radio-TV is a government monopoly. There are two TV bands only, one for the French-speaking half of the popula- tion, the other for the Flemish. A couple of months ago the French “Program pre- sented a major feature, “‘Con- Craestes On American influ- ence in Belgium. Technically the production was first-rate. Its pri- mary themes were: 1) the United States is vulgar and barbaric, without any true culture; 2) the United States is a militaristic aggressor; 3) Ameri- can investments in foreign countries (and in Belgium specifically) are a new form of colonialism. Contrastes presented the non-cul- ture theme visually by a suitably edited choice of scenes from contem- porary American life. There were shots of black-jacketed motorcyclists, way-out beatniks, writhing rock-’n’- rollers, headline-screaming tabloids, sex magazine covers, and so on. The viewers were spared any complicat- ing sight of America’s multiplying symphony orchestras, art museums, repertory theaters, research labora- tories, superb new buildings, college campuses, adult education centers or the applications of advanced tech- nology by which literature, science, music and painting have been made accessible to everyone.

JB

About the Author

James Burnham

Featured Tags

TE GS HE EE SRA CET ESTES SN Wy SS NY NY Who Paints

In Belgium, as in nearly all nations except the United States, radio-TV is a government monopoly. There are two TV bands only, one for the French-speaking half of the popula- tion, the other for the Flemish. A couple of months ago the French “Program pre- sented a major feature, “‘Con- Craestes On American influ- ence in Belgium. Technically the production was first-rate. Its pri- mary themes were: 1) the United States is vulgar and barbaric, without any true culture; 2) the United States is a militaristic aggressor; 3) Ameri- can investments in foreign countries (and in Belgium specifically) are a new form of colonialism. Contrastes presented the non-cul- ture theme visually by a suitably edited choice of scenes from contem- porary American life. There were shots of black-jacketed motorcyclists, way-out beatniks, writhing rock-’n’- rollers, headline-screaming tabloids, sex magazine covers, and so on. The viewers were spared any complicat- ing sight of America’s multiplying symphony orchestras, art museums, repertory theaters, research labora- tories, superb new buildings, college campuses, adult education centers or the applications of advanced tech- nology by which literature, science, music and painting have been made accessible to everyone.