Tuesday, May 02, 2006
The political theater
10). The control of images. The event itself had more planning than a Superbowl half-time show. The former ABC television producer, Andrew Sforza, who had become Bush's Leni Riefenstahl, arranged all of the details: the multiple camera angles, the lighting, the staging of the sailors, the direction of each shot, the mise en scène, nothing was left to chance. Sforza had a team of nearly one hundred production technicians on the ship preparing (or "advancing") for the President's triumphal landing. Sforza, who is famous for contracting expensive lighting rigs from Europe set on barges that bathed the Statue of Liberty in light as a backdrop for one of Bush's photo-ops, hired associate producers, set builders, grips, lighting and sound specialists, assistant directors, and managers who worked with the major television networks to provide direct feeds and other accommodations. Sforza's set designers dictated the specific colors each of the lines of sailors would wear, the colors of the air deck smoke that was used, the monumental music played. end quote.
So the dress of the sailors was dictated, and that indicates that their presence was ordered because, and this follows.
They also made sure there were plenty of black, Latino, and female faces in the frame.
What is indicated is that this event was one sailors were forced to attend. I wonder what would have happened if even one had said: this is political theater and I am a sailor or military person. I don't play political games. Period. I'd love to see what happens.