And it's been doing so for years. Entertaining? Sure, but propaganda isn't necessarily wrapped in a straightforward package a la ABC's pitiful "Path to 9/11." Search around a bit on the Web re this topic-- here's just a very small sample:
http://www.nytimes.com/2007/01/12/arts/television/12twen.html?_r=1&oref=sloginTV Review | '24'
Bombers Strike, and America Is in Turmoil. It’s Just Another Day for Jack Bauer.
By ALESSANDRA STANLEY
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Torture, presented with gusto and almost no moral compunction, is an increasingly popular way of gathering intelligence on “24.” If anything,
the new season seems even more intent on hammering home the message that torture is necessary in the war against terror, and that despite what some experts claim, torture works. At one point, Jack plunges a knife into a suspect’s shoulder, then relents, convinced that the man will not talk. A more ruthless associate disagrees and plunges the knife into the captive’s knee, ripping upward until the man screams out the location of his leader.
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Then again, the meddlesome naiveté of civil rights purists is also a leitmotif on “24.” In Season 4, a lawyer for Amnesty Global is dispatched by a terrorist mastermind to free a suspect before he can be interrogated, and the government lets the terrorist walk away. (Jack quit the Counter Terrorist Unit so he could break the suspect’s fingers as a private citizen and leave his bosses plausible deniability.
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The televisions at C.T.U. headquarters and the White House are tuned to Fox News. When a rival cable network is shown, the report is brief and labeled CNB.
For obvious reasons, the series is a favorite of the Bush administration and many Republicans. Last season, Senator John McCain made a cameo appearance (despite his objections to torture), and in June the Heritage Foundation, a conservative research group in Washington, held a panel discussion titled, “ ‘24’ and America’s Image in Fighting Terrorism: Fact, Fiction, or Does It Matter?” The guests included Ms. Rajskub, Rush Limbaugh and Michael Chertoff, the secretary of homeland security.<snip>
http://www.democrats.com/node/2486"24" Hr Thriller Propaganda - On FOX
Submitted by blue planet on January 10, 2005
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They then proceed to whore out and capitalize on last year's shocking beheading footage, just like they pimped out 9/11. (I actually saw one of the beheadings last year on the web and I still can't get the image out of my mind.) They recreated the horror in detail. Even the type of fencing used to restrain the prisoner Secretary of Defense Father figure, is similar to the fence wiring actually used by the foreign terrorists in Iraq, not jail bars that the show typically would have used. The show then ends with a recreated web-cast scene that perfectly re-conjures up the beheadings of last year.
Remember, the propaganda theme of 24 last year was WMD, this year it's beheadings and kidnappings!
Brave New World we live in. Our minds are becoming the latest enemies to the war on terror. Let's not think anymore because it's not conducive to the War on Terror. Even our Entertainment has to have its slant.
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http://www.inthesetimes.com/site/main/article/2481/January 27, 2006
Jack Bauer and the Ethics of Urgency
By Slavoj Zizek
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In the “war on terror,” it is not only the terrorists but the CTU agents who become what philosopher Giorgio Agamben calls homini sacer—those who can be killed with impunity since, in the eyes of the law, their lives no longer count. While the agents continue to act on behalf of a legal power, their acts are no longer covered and constrained by the law—they operate in an empty space within the domain of the law.
It is here that we encounter the series’ fundamental ideological lie: In spite of this thoroughly ruthless attitude of self-instrumentalization, the CTU agents, especially Jack, remain “warm human beings,” caught in the usual emotional dilemmas of “normal” people. They love their wives and children, they suffer jealousy—but at a moment’s notice they are ready to sacrifice their loved ones for their mission. They are something like the psychological equivalent of decaffeinated coffee, doing all the horrible things the situation necessitates, yet without paying the subjective price for it.
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http://www.ourmedia.org/node/152987Jack Bauer, the clever Fox, spins the ethics 24/5
Submitted by CyMeP on January 30, 2006 - 4:00pm.
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Here we see someone torturing people all the time because that sense of urgency is hammered into our brains, but by the nature of this series there will always be an emergency and therewith the justification for the US to torture anyone who stands or maybe only potentially stand in their way. The peak of that logic was found in season 4 where Arabs are the bad guys (yet again, to sustain that simplifying concept of the enemy), a human rights activist or lawyer is seen as nothing but a nuisance in the 'war on terror' , and it is made to look nothing but heroic of Jack to illegaly torture this protected human behind the scenes 'privately'. Next we even see Jack Bauer continuing his illegal mission and the ones who keeps him from doing it is then set out to be an undecisive and weak president - weak because he has moral doubts about violating human rights in the strongest ways possible.
It is important for (the) us to become aware of the fact that such underlying baselines are not the status quo of reality, but hidden propaganda - trying to set the grounds to be able to easily lead the dumb masses - the people who have been too remote from the danger of being tortured themselves, simple minds who like it simple, so they are made to beleive that everyone tortured is bad and therefore deserves it.
This is the logic of the end which justify any means which justifies all evil, from Terorrism to the Nazi-3rd Reich and this is the reason why the USA is increasingly disliked in the world for practising what they seem to condemn.
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http://www.huffingtonpost.com/richard-kim/pop-torture_b_11980.htmlRichard Kim 12/10/2005
Pop Torture
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In casting torture as melodrama, 24 reverses the dehumanizing mode of actual torture and replaces it with something familial and social. So blasé are these victims of torture that they come as close as one can to consenting to it. Less focused on torture's instrumentality, the narrative upshot of torture in this rendition of 24 is that it troubles, deepens and ultimately clarifies personal relationships. In this instance, popular culture construes torture as a humanizing social ritual enmeshed not in war and violence but in the drama of family and love life.
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Following the Abu Ghraib scandal, Rush Limbaugh defended the troops' "emotional release" as just a harmless "good time" that was "no different than what happens at the Skull and Bones initiation." In his independent report, former Defense Secretary James Schlesinger characterized Abu Ghraib as "'Animal House' on the night shift." Abu Ghraib was, of course, no Skull and Bones tomb or National Lampoon's production. Beyond essentially exonerating military command, such analogies ignore the nonconsensual nature of torture and neatly invert its dehumanizing process. In doing so, apologists exploit the uncanny resemblance between torture and intimacy. When one consents to participate in or witness ritualized violence--whether in the bedroom or on the playing field--one expects to emerge from it more fully human,
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