You can learn a lot about Steve Bannon by watching the films he made
I was familiar with Bannon’s work as a filmmaker, having reviewed his 2011 documentary, “The Undefeated,” about Sarah Palin.
.. Although Bannon has produced the occasional fiction feature, most of his creative energy has gone into making nonfiction agitprop designed to whip viewers into a froth of either adulation or rage, but always into passionate political action
.. His most recent film, “Torchbearer,” features “Duck Dynasty” patriarch Phil Robertson delivering an hour-long sermon about the existential necessity of a Judeo-Christian republic, his long gray beard and booming voice lending Old Testament gravitas to the oratory. In the 2012 film “Occupy Unmasked,” the late Andrew Breitbart — whose website, Breitbart News, Bannon took over that year — debunks the Occupy Wall Street movement as the cynical product of an organized Left “hellbent on the nihilistic destruction of everything the American people care for.”
.. Distinct Manichaean themes emerge within Bannon’s collected works, echoing the same urgent, apocalyptic anti-globalism he’s espoused in speeches and on Breitbart News. Contemptuous of the “permanent political class,” crony capitalism, hippies and community organizers (who “hate this country . . . hate the Constitution [and] hate freedom”), Bannon doesn’t see the world in terms of partisan politics as much as a cage-match clash of civilizations
.. it seems that Trump is clearly a fan of the Bannon canon: His recent policy actions, particularly the travel ban on refugees from seven majority-Muslim countries, can be traced, directly or at least philosophically, to the views espoused in Bannon’s films.
.. There’s “a major war brewing, a war that’s already global,” he said during a Skype call from his Los Angeles office. “Every day that we refuse to look at this as what it is — and the scale of it, and really the viciousness of it — will be a day where you will rue that we didn’t act.”
.. In other words, Bannon is as reflexively attuned to the spectacle as the substance of the “major war” that he and his boss are girding themselves to wage. The paradigm shift he craves is less about constitutional norms and democratic institutions — which have a tendency to bog down the second act — than the kind of propulsive provocations he has specialized in as a consummate showman.