Gary James Jason

In this essay, I want to explore one of the most ironic episodes in the history of propaganda, the attempt by various federal agencies to moderate American WWII anti-Japanese propaganda films. My texts will be four films, two produced by the military, and two by Hollywood: December 7th (1943), directed by Gregg Toland and revised by John Ford; Air Force (1943), directed Howard Hawks; Know Your Enemy: Japan (1945), directed by Frank Capra; and Betrayal for the East (1945), directed by William Berke. As all of these films are readily available on YouTube, I will be brief in my description of them. Instead, I will focus on how they served to intensify racial hatred of Japanese in general and Japanese-Americans in particular, and how the federal government tried to control that propaganda—but was limited by its own policies regarding Japanese-Americans.

In a prior article for this journal (Jason 2023), I explored the effectiveness of using film to counter propaganda in film. In this piece, I want to explore the use of video podcasts to counter propaganda in film. I begin by summarizing the theory of propaganda I am introduced earlier, by which propaganda can be reasonable or deceptive on six different scales. I then summarize the 2022 Netflix documentary series Meltdown, about the accident at the nuclear power plant at Three Mile Island (in Central Pennsylvania). This accident was (and is to this day) the biggest nuclear power failure in American history. I discuss how the series was reviewed in the print media. I then turn to two videos that rebutted Meltdown, and show how their explicit and implicit criticisms of the Netflix series fit our criteria for assessing the rationality of propaganda. The first video was made by Jesse Freeston, and had limited viewership. The other was made by science communicator and widely followed podcaster Kyle Hill. I show howeach effectively exposed deceptive messages propagated by Netflix series. I finish the article by suggesting that video podcasts have advantages in rebutting film propaganda that making counter propaganda films lack: video podcasts can be made much more quickly and much less expensively. But when it comes to informing the public about the costs and benefits of a technology as complex as nuclear power, films and videos are of limited use. Unfortunately, this is how citizens typically get their information.

In this article, I explore how efficacious film can be in countering propaganda in film. To set up the discussion, I first sketch out a simple theory of propaganda, under which propaganda can be ranked from completely rational to very irrational, on six different dimensions. These are the degrees to which the propaganda is: evidence-based; truthful; broadly logical; transparent; properly targeted; and transparent. I then review in detail the main propaganda film, Gasland. This film was a highly successful documentary that attacked the production of natural gas by hydrofracturing, called in America “fracking.” Gasland succeeded in organizing domestic opposition to fracking, actually blocking it in the Delaware River Basin system. The film was also influential abroad, leading to fracking bans in France, Bulgaria, and elsewhere in Europe. Next, I review in detail two counter-propaganda films—that is, in this case, two pro-fracking documentaries: Truthland and FrackNation. Truthland is a short documentary that aims at rebutting many of Gasland’s major claims. It was funded by the fracking industry and had limited distribution but it succeeded in refuting much of the longer and better-funded anti-fracking film. A much more successful film in terms of both general distribution and efficacy of rebuttal was the much longer pro-fracking documentary FrackNation. It critiques all of Gasland’s major points, in vivid detail. Since it was crowdfunded, it couldn’t be dismissed on the grounds that it was biased because of being industry-backed. I conclude by explaining why the pro-fracking documentaries did not result in a major change in public opinion.

Cinematic Thoughts: Essays on Film and the Philosophy of Film is an anthology of essays Gary Jason published (mainly) between 2012 and 2018. The book has seven parts. Part One consists of essays on propaganda films. The topics include how the Nazi Regime used film as a tool of propaganda, and its use of radio for propaganda. Part Two contains articles on genocide and film. These include two broad surveys of Holocaust documentaries, ranging from those that were done at the end of WWII to Claude Lanzmann’s work. Also included are pieces reviewing the five major propaganda films the Nazi Regime produced aimed at arousing anti-Semitism in the populace leading up to the Holocaust. Part Three of the anthology concerns ethical theory as explored in film. Included here are three essays surveying how egoism is portrayed in classic movies, as well as one showing how Rossian ethical theory can be used to analyze conflicts of loyalty in classic war movies, and pieces illustrating virtue ethics. Part Four includes various articles on the history of cinema. One of the topics raised was whether the American film industry produced better films under the old, allegedly "monopolistic" studio system. Part Five of the anthology contains articles on the aesthetics of film. The topics here include how creativity can be portrayed in film, and why some great actors never win Oscars. Part Six contains pieces on classical liberalism in film, and Part Seven has miscellaneous articles on topics ranging from artists to criminals.

In Purchase, Power, and Persuasion: Essays on Political Philosophy, Gary Jason brings together his articles on political and economic philosophy between 2004 and 2018. These articles touch on issues surrounding two contrasting political systems: a completely totalitarian system—the paradigm case of which was Nazi Germany—versus a classically liberal system. In Part One of the anthology, the essay topics include the breadth of the Nazi Regime’s propaganda machine, as well as the nature and ethics of propaganda. In Part Two, the essay topics include the nature and variety of genocides, as well as how the Nazi Regime bought the support of the German citizens, and whether National Socialism was indeed a form of socialism. In Part Three, the essay topics include: what ‘classical liberalism’ means; common myths about the nature of capitalism; the nature of ‘happiness economics’; the basic ideas of Public Choice economics; Adam Smith’s life and work; the legitimacy of secession in America today; and how the American economy compares to European ones. In Part Four, the topics include the ethics of a nation restricting the emigration of trained professionals, Gary Becker’s proposals for immigration reform, and my own proposals for immigration reform. Finally, in Part Five, the topics include business ethics; the nature of American charity today; the economic contributions of Smith, Marx, and Keynes; the spread and value of liberal think-tanks; and the anti-Malthusian economics of Julian Simon.

_The Critical Thinking Book_ covers not only standard topics such as definitions, fallacies, and argument identification, but also other pertinent themes such as consumer choice in a market economy and political choice in a representative democracy. Interesting historical asides are included throughout, as are images, diagrams, and reflective questions. A wealth of exercises is provided, both within the text and on a supplemental website for instructors. The author also offers additional exercises, videos, and other teaching and study materials that can be digitally integrated into Learning Management Systems.

This essay is my analysis of Eamonn Butler’s fine book, Public Choice: a Primer. I suggest that Butler’s book is especially useful for philosophers, most of whom are to this day unfamiliar with public choice theory. This body of economics studies the role that universal self-interest plays in politics. This is an unpleasant truth for many philosophers, who have the Hegelian view of government as the realm of disinterested charity. Butler reviews the history of public choice economics, discusses the various schools of the theory, and the major areas of application.

This essay is my extended review of Eamonn Butler’s outstanding primer, Classical Liberalism. In his book, Butler notes that the phrase “classical liberal” encompasses a wide spectrum of views, from conservatism to libertarianism. Butler lays out 10 principles that characterize classical liberalism, sketches its history, and discusses the value classical liberals place on freedom and toleration. He also examines the classical liberal views of politics, government, and society, and some useful compendia for the reader.

This essay is focused upon the question raised by the economic historian Andrei Znamenski: was National Socialism really socialist? I lay out his answer—that indeed it was—and explore it. I introduce the notion of neo-socialism as a way to characterize the Nazi regime, and fascist regimes more generally. I explore the key role played in the development of this ideology a number of thinkers called by Jeffrey Herf “reactionary modernists”: Ferdinand Tonnies; Werner Sombart; Hans Freyer; Martin Heidegger; Ernst Junger; Carl Schmitt; and (to a lesser degree) Oswald Spengler. I conclude the essay by explaining the role of the uniquely virulent Nazi anti-Semitism—as well as the changes of the breakout of the war in 1939—played in the decision to exterminate the Jews.

In this essay I take up the later major anti-Semitic propaganda pieces, all of them released in 1940. They were produced under Goebbels explicit orders to each of the three Nazi-controlled studios to produce an anti-Semitic film. The three films produced were: The Rothschilds Share at Waterloo; Jud Suss; and The Eternal Jew. These films were much more powerful propaganda pieces in intensifying anti-Semitic feelings—those feelings of difference, disgust, and danger. For each film, I point to the scenes that arouse the feelings even more profoundly than did the earlier films. The Rothschilds’ Shares at Waterloo put forward the conspiracy theory (widespread to this day) that Jewish bankers form a conspiratorial cabal bent upon world domination. Jew Suss (which was presented as historically true) pushes the narrative of Jews using money to take power, and of their boundless lust for young Christian women (hence the danger of “racial pollution”). Of all the anti-Semitic propaganda films the regime produced, the top regime figures considered this to be the most powerful—about 40% of German adults of the time saw this film. It is banned in Germany to this day. Finally, The Eternal Jew—perhaps the most infamous of the group—is presented as a truthful documentary. While this sham documentary was a comparative box office flop, it was widely used as a training film.

Dialectic, as commonly approached, is not an analytic study, as the notion is defined in the paper. Where it is analytically approached, the result is pragmatic in nature, as well as syntactic and semantic. This paper lays the foundations of a purely formal analysis of conversations. This study is accordingly called "Conversation Theory". The key notions of "conversation", "dialogue", "conversation game", "rules of response", "epistemic community" and "channel of informations" are defined precisely, and an analysis of how these notions fit together is given. Particular attention is given to distinguishing conversation theory from standard logic. The paper concludes by analysing a few sample conversation-games, indicating areas needing further research, by pointing out the simplification inherent in the sample games.