Al Qaeda never existed, Invented by Bush Administration! The Power Of Nightmares documentary by Adam Curtis

"The Power Of Nightmares" documentary by Adam Curtis


Al Qaeda = the base + i arabic word = the data base
al qaeda is basically just a database of names of jihads who fought the commies in afghanistan in the 80s !





"The Power Of Nightmares" documentary by Adam Curtis

Part 1 of 6


"The Power Of Nightmares" documentary by Adam Curtis

Part 2 of 6


"The Power Of Nightmares" documentary by Adam Curtis

Part 3 of 6


"The Power Of Nightmares" documentary by Adam Curtis

Part 4 of 6



"The Power Of Nightmares" documentary by Adam Curtis

Part 5 of 6



"The Power Of Nightmares" documentary by Adam Curtis

Part 6 of 6



The Power of Nightmares, subtitled The Rise of the Politics of Fear, is a BBC documentary film series, written and produced by Adam Curtis. Its three one-hour parts consist mostly of a montage of archive footage with Curtis's narration. The series was first broadcast in the United Kingdom in late 2004 and has subsequently been broadcast in multiple countries and shown in several film festivals, including the 2005 Cannes Film Festival.

The films compare the rise of the Neo-Conservative movement in the United States and the radical Islamist movement, making comparisons on their origins and claiming similarities between the two. More controversially, it argues that the threat of radical Islamism as a massive, sinister organised force of destruction, specifically in the form of al-Qaeda, is a myth perpetrated by politicians in many countries—and particularly American Neo-Conservatives—in an attempt to unite and inspire their people following the failure of earlier, more utopian ideologies.

The Power of Nightmares has been praised by film critics in both Britain and the United States. Its message and content have also been the subject of various critiques and criticisms from conservatives and progressives.



Part 1: "Baby It's Cold Outside"
The first part of the series explains the origin of Islamism and Neo-Conservatism. It shows Egyptian civil servant Sayyid Qutb, depicted as the founder of modern Islamist thought, visiting the U.S. to learn about the education system, but becoming disgusted with what he saw as a corruption of morals and virtues in western society through individualism. When he returns to Egypt, he is disturbed by westernisation under Gamal Abdel Nasser and becomes convinced that in order to save society it must be completely restructured along the lines of Islamic law while still using western technology. He also becomes convinced that this can only be accomplished through the use of an elite "vanguard" to lead a revolution against the established order. Qutb becomes a leader of the Muslim Brotherhood and, after being tortured in one of Nasser's jails, comes to believe that western-influenced leaders can justly be killed for the sake of removing their corruption. Qutb is executed in 1966, but he inspires the future mentor of Osama bin Laden, Ayman al-Zawahiri, to start his own secret Islamist group. Inspired by the 1979 Iranian revolution, Zawahiri and his allies assassinate Egyptian president Anwar Al Sadat, in 1981, in hopes of starting their own revolution. The revolution does not materialise, and Zawahiri comes to believe that the majority of Muslims have been corrupted by their western-inspired leaders and thus may be legitimate targets of violence if they do not join him.

At the same time in the United States, a group of disillusioned liberals, including Irving Kristol and Paul Wolfowitz, look to the political thinking of Leo Strauss after the perceived failure of President Johnson's "Great Society". They come to the conclusion that the emphasis on individual liberty was the undoing of the plan. They envisioned restructuring America by uniting the American people against a common evil, and set about creating a mythical enemy. These factions, the Neo-Conservatives, came to power under the Reagan administration, with their allies Dick Cheney and Donald Rumsfeld, and work to unite the United States in fear of the Soviet Union. The Neo-Conservatives allege the Soviet Union is not following the terms of disarmament between the two countries, and, with the investigation of "Team B", they accumulate a case to prove this with dubious evidence and methods. President Reagan is convinced nonetheless.[1]


Part 2: "The Phantom Victory"
In the second episode, Islamist factions, rapidly falling under the more radical influence of Zawahiri and his rich Saudi acolyte Osama bin Laden, join the Neo-Conservative-influenced Reagan Administration to combat the Soviet Union's invasion of Afghanistan. When the Soviets eventually pull out and when the Eastern Bloc begins to collapse in the late 1980s, both groups believe they are the primary architects of the "Evil Empire's" defeat. Curtis argues that the Soviets were on their last legs anyway, and were doomed to collapse without intervention.

However, the Islamists see it quite differently, and in their triumph believe that they had the power to create 'pure' Islamic states in Egypt and Algeria. However, attempts to create perpetual Islamic states are blocked by force. The Islamists then try to create revolutions in Egypt and Algeria by the use of Terrorism to scare the people into rising up. However, the people are terrified by the violence and the Algerian government uses their fear as a way to maintain power. In the end, the Islamists declare the entire populations of the countries as inherently contaminated by western values, and finally in Algeria turn on each other, each believing that other terrorist groups are not pure enough Muslims either.

In America, the Neo-Conservatives' aspirations to use the United States military power for further destruction of evil are thrown off track by the ascent of George HW Bush to the presidency, followed by the 1992 election of Bill Clinton leaving them out of power. The Neo-Conservatives, with their conservative Christian allies, attempt to demonise Clinton throughout his presidency with various real and fabricated stories of corruption and immorality. To their disappointment, however, the American people do not turn against Clinton. The Islamist attempts at revolution end in massive bloodshed, leaving the Islamists without popular support. Zawahiri and bin Laden flee to the sufficiently safe Afghanistan and declare a new strategy; to fight Western-inspired moral decay they must deal a blow to its source: the United States.[2]


Part 3: "The Shadows in the Cave"

The Neo-Conservatives use the September 11th attacks, with al-Fadl's description of al-Qaeda,[citation needed] to launch the War on Terror.The final episode addresses the actual rise of al-Qaeda. Curtis argues that, after their failed revolutions, bin Laden and Zawahiri had little or no popular support, let alone a serious complex organisation of terrorists, and were dependent upon independent operatives to carry out their new call for jihad. The film instead argues that in order to prosecute bin Laden in absentia for the 1998 U.S. embassy bombings, US prosecutors had to prove he was the head of a criminal organisation responsible for the bombings. They find a former associate of bin Laden, Jamal al-Fadl, and pay him to testify that bin Laden was the head of a massive terrorist organisation called "al-Qaeda". With the September 11th attacks, Neo-Conservatives in the new Republican government of George W. Bush use this created concept of an organisation to justify another crusade against a new evil enemy, leading to the launch of the War on Terrorism.

After the American invasion of Afghanistan fails to uproot the alleged terrorist network, the Neo-Conservatives focus inwards, searching unsuccessfully for terrorist sleeper cells in America. They then extend the war on "terror" to a war against general perceived evils with the invasion of Iraq in 2003. The ideas and tactics also spread to the United Kingdom where Tony Blair uses the threat of terrorism to give him a new moral authority. The repercussions of the Neo-Conservative strategy are also explored with an investigation of indefinitely-detained terrorist suspects in Guantanamo Bay, many allegedly taken on the word of the anti-Taliban Northern Alliance without actual investigation on the part of the United States military, and other forms of "preemption" against non-existent and unlikely threats made simply on the grounds that the parties involved could later become a threat. Curtis also makes a specific attempt to allay fears of a dirty bomb attack, and concludes by reassuring viewers that politicians will eventually have to concede that some threats are exaggerated and others altogether devoid of reality.[3]





Political reaction

Progressive observers were particularly pleased with the film. Common Dreams had a highly positive response to the film and compared it to the "red pill" of the Matrix series, a comparison Curtis has apparently appreciated.[26][38] Commentary in the Village Voice was also mostly favorable, noting: "As partisan filmmaking it is often brilliant and sometimes hilarious - a superior version of Syriana."[39] The Nation, while offering a detailed critique on the film's content, said of the film itself "[it] is arguably the most important film about the 'war on terrorism' since the events of September 11".[40]

Among conservative and neoconservative critics in the United States, The Power of Nightmares has been described as "conspiracy theory", anti-American or both. David Asman of FoxNews.com said, "We wish we didn't have to keep presenting examples of how the European media have become obsessively anti-American. But they keep pushing the barrier, now to the point of absurdity."[41] His views were shared by commentator Clive Davis, concluding his commentary on the film for National Review with "British producers, hooked on Chomskyite visions of 'Amerika' as the fount of all evil, are clearly not interested in even beginning to dig for the truth".[42] Other observers variously described the films as pushing a Conspiracy theory. Davis and British commentator David Aaronovitch both explicitly labelled the film's message as a conspiracy theory, with the latter saying of Curtis "his argument is as subtle as a house-brick".[42][43] Attacks in this vein continued after the 7 July 2005 London bombings, with CBN referencing the film as a source for claims by the "British left" that "the U.S. War on Terror was a fraud" and the Australia Israel & Jewish Affairs Council calling it "the loopiest, most extreme antiwar documentary series ever sponsored by the BBC".[24][44] In The Shadows in the Cave, Curtis stressed that he did not discount the possibility of any terrorist activity taking place, but that the threat of terrorism had been greatly exaggerated.[3] He responded to accusations of creating a conspiracy theory that he believes that the alleged use of fear as a force in politics is not the result of a conspiracy but rather the subjects of the film "have stumbled on it".[26]

Peter Bergen, writing for The Nation, offered a detailed critique of the film. Bergen wrote that even if al-Qaeda is not as organised as the Bush Administration stresses, it is still a very dangerous force due to the fanaticism of its followers and the resources available to bin Laden. On Curtis's claim that al-Qaeda was a creation of neo-conservative politicians, Bergen said: "This is nonsense. There is substantial evidence that Al Qaeda was founded in 1988 by bin Laden and a small group of like-minded militants, and that the group would mushroom into the secretive, disciplined organisation that implemented the 9/11 attacks."[45] Bergen further claimed that Curtis's arguments serve as a defence of Bush's failure to capture bin Laden in the 2001 invasion of Afghanistan and his ignoring warnings of a terror attack prior to September 11.[46]

Additional issues have been raised over Curtis's depiction of the Neo-Conservatives. Davis's article in National Review showed his displeasure with Curtis's depiction of Leo Strauss, claiming, "In Curtis's world, it is Strauss, not Osama bin Laden, who is the real evil genius."[42] Peter Bergen claimed the film exaggerated the influence of Strauss over Neo-Conservatism, crediting the political philosophy more to Albert Wohlstetter.[47] A 2005 review on Christopher Null's Filmcritic.com took issue with The Phantom Victory 's retelling of the attacks on Bill Clinton, crediting these more to the American Religious Right than the "bookish university types" of the Neo-Conservative movement.[48]

Daniel Pipes, a conservative American political commentator and son of Richard Pipes who was interviewed in the film, wrote that the film dismisses the threat posed by Communism to the United States as, in Pipes words, "only a scattering of countries that had harmless Communist parties, who could in no way threaten America." Pipes noted that the film adopts this conclusion without mentioning the Comintern, Julius and Ethel Rosenberg, Klaus Fuchs or Igor Gouzenko.[49]

There are also allegations of omissions in the history described by the film. The absence of discussion of the Israeli-Palestinian conflict was noticed by observers.[21][39] Davis claimed that Leo Strauss's ideas had been formed by his experiences in Germany during the Weimar Republic and alleged the film's failure to mention this was motivated by a wish to display Strauss as concerned with American suburban culture, like Qutb.[42]

Media Lens criticised the film for failing to explore the role of big business in the situation it described.[50]



Comparisons to Fahrenheit 9/11

After its release, The Power of Nightmares received multiple comparisons to Fahrenheit 9/11, American film-maker Michael Moore's 2004 critique on the first four years of George W. Bush's presidency of the United States. The Village Voice directly named The Power of Nightmares as "the most widely discussed docu agitprop since Fahrenheit 9/11".[39] The Nation and Variety both gave comments ranking Curtis's film superior to Fahrenheit and other political documentaries in various fields; the former cited Curtis's work being more "intellectually engaging" and "historically probing" while the latter cited "balance, broad-mindedness and sense of historical perspective".[33][40] Moore's work has also been used as a point of comparison by conservative critics of Curtis.[42]

Curtis has attempted to distinguish his work from Moore's film, dismissing him as "a political agitprop film-maker".




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