¡UNA DIRECCIÓN ARTÍSTICA INTERESANTE!
INTERESTING ART DIRECTION!
Esta película es maravillosa porque (this movie is wonderful because):
1)
2)
3)
------
domingo, 9 de marzo de 2014
lunes, 17 de febrero de 2014
MPAA LONG-TIME PRESIDENT JACK VALENTI (JACK VALENTI, PRESIDENTE DE LA ASOCIACIÓN DE CINE DE ESTADOS UNIDOS DE NORTEAMÉRICA POR UN LARGO PERÍODO)
MPAA Long-time President Jack Valenti from Texas Monthly Talks on Vimeo.
"Like a exquisitely tailored cat, today's guest has had something approaching nine lives -- and every one of them has put him at the center of some crucial aspect of our lives. Jack Valenti, who turns TK in TK, was the youngest high school graduate in his native Houston. More than 50 combat missions for the Army Air Corps during World War II earned him the Distinguished Flying Cross and other honors, and upon his discharge, he earned an undergraduate degree from the University of Houston and a master's degree in business from Harvard. In 1952 he co-founded an advertising and political consulting firm, which he ran until that fateful day in 1963. Valenti has known and befriended Lyndon Johnson, who asked him to ride in the motorcade through Dealey Plaza in Dallas. Within an hour of JFK's assassination, Valenti was the newly christened special assistant to President Johnson, and there began two-and-a-half years at the white-hot core of American politics. In June of 1966, he resigned his position at the White House to lead the Motion Picture Assocation of America, stepping down as chairman and CEO only last year, though in no way severing his ties to his beloved movie industry -- just ask him. Ask him as well about his opinions on everything from the Hollywood ratings system to violence on the big screen and he'll happily offer his opinion, as you're about to find out." - Evan Smith, Texas Monthly Talks, Broadcast 5.26.05
http://vimeo.com/3744413
¡QUE COMEDIANTE IMPERIALISTA TAN EXTRAORDINARIO! ¡INCREÍBLE!
WHAT A GREAT IMPERIALIST COMEDIAN! UNBELIEVABLE!
lMEJORES ESTRENOS 2014 (BEST MOVIES 2014 IN PERU).
lMEJORES ESTRENOS 2014 (BEST MOVIES 2014 IN PERU).
------
sábado, 15 de febrero de 2014
RUNSVENSKA LEKTION TVÅ I SPRÅKHISTORIA (LA LECCIÓN DE HISTORIA)
¡LA PELÍCULA MÁS MISTERIOSA DE TODOS LOS TIEMPOS!
THE MOST MYSTERIOUS MOVIE EVER!
Esta es una película maravillosa porque:
This a wonderful movie because:
1)
2)
3)
------
viernes, 7 de febrero de 2014
EL LOBO DE WALL STREET (THE WOLF OF WALL STREET)
¡GUERRA FINANCIERA CONTRA LA POBLACIÓN ESTADOUNIDENSE Y DEL MUNDO ENTERO!
FINANCIAL WARFARE AGAINST THE AMERICAN POPULATION AND THE ENTIRE WORLD!
Esta película es maravillosa porque:
This movie es wonderful because:
1)
2)
3)
Título: BANQUEROS Y LAVADÓLARES: EL PAPEL DE LA BANCA INTERNACIONAL EN LA DEUDA DEL TERCER MUNDO, LA FUGA DE CAPITALES, LA CORRUPCIÓN Y EL ANTIDESARROLLO. RELATOS DE DETECTIVISMO ECONÓMICO. Autor: JAMES S. HENRY. Editado por: Tercer Mundo Editores, primera edición en español: abril de 1996, Bogotá, 565 páginas.
Title: DIRTY LAUNDRY: THE ROLE OF INTERNATIONAL BANKS IN THIRD WORLD DEBT, FLIGHT, CORRUPTION, AND ANTI-DEVELOPMENT. Author: JAMES S. HENRY.
Página 67:
"(...). EXIM estaba acostumbrado a financiar exportaciones inmensas para su clientela pesada; en la década del 70, dos terceras partes de sus créditos fueron a sólo siete compañías norteamericanas: GE, Westinghouse, Boeing, Lockheed, McDonnell Douglas, Combustion Engineering y ATT. Pero la planta nuclear de Battam era el mayor préstamo de todos. Tanto la Embajada de EU como el personal directivo del EXIM hicieron recomendaciones en contra de esta transacción por razones económicas. Sin embargo, en noviembre de 1975, su jefe William Casey los desautorizó después de visitar al presidente Marcos de Manila. Un mes más tarde, Casey dejó el EXIM para regresar a su práctica profesional en Rogers y Wells en Nueva York. En 1981, cuando fue nombrado para dirigir la CIA por el presidente Reagan, Casey presentó una lista de sus clientes de Rogers y Wells al senado de EU. Uno de ellos resultó ser una compañía, en San Francisco, de propiedad del testaferro de Marcos, Herminio T. Dinisi.
La otra pieza crucial de la historia financiera fue el sindicato bancario del proyecto. (...)".
Título: "CIA: LA HISTORIA INTERNA". Autor: ANDREW TULLY. Primera edición: octubre 1962. Editorial Brugera S.A., Barcelona. 351 páginas.
Páginas 55, 56 (acerca de Allen Dulles):
" (...). Necesitaba más dinero para mantener a su familia, y sabía donde conseguirlo. Por primera vez en su vida de adulto se convirtió en ciudadano privado, uniéndose a la poderosa firma Legal Internacional de Nueva York de Sullivan and Cromwell, en la que John Foster Dulles era copartícipe. Sin embargo, aún tomó parte en el servicio público. Estuvo como consejero legal para las delegaciones americanas en la Conferencia Naval de los Tres Poderes en 1927, y en la Conferencia del Desarme de Ginebra de 1932 y 1933. Llegó a ser nombrado director y después presidente del Consejo de Relaciones Extranjeras.
Curiosamente, para un hombre que había librado una guerra de espionaje contra los alemanes, y libraría una segunda, el trabajo de Dulles con Sullivan y Cromwell le incorporó a la órbita de los grandes industriales alemanes. Se sentó entre el cuadro de directores de las ramas filiales americanas de una gran firma bancaria alemana.
Sin embargo, como un abogado tiene el derecho, tanto constitucional como moral, de servir a los clientes sin ocuparse de las ideas políticas, y aunque los críticos de Dulles han hecho hincapié en sus conexiones con los ángeles financieros nazis, no hay razón para creer que estuvo en ningún momento influenciado por sus espantosas y pueriles teorías. (...)".
Páginas 120, 121:
"Pero el Shah no había hecho más que las primeras tentativas conducentes a rescatar a su pueblo del oscurantismo en que se había movido durante el siglo pasado, cuando el viejo y astuto Mossadek irrumpió en la escena internacional. El Shah en 1951 se vio forzado a nombrar primer ministro a Mossadek durante un período de ferviente nacionalismo en el Irán, y Mossadek apartó al rey de reyes de los primeros términos del campo político, mientras él procedía, virtualmente a recortar la cola del león británico. Específicamente, Mossadek expropió las propiedades de la Anglo Iranian Oil Company, perteneciente a Inglaterra, cuyos derechos de explotación habían apoyado la economías del Irán por espacio de medio siglo.
Los recursos del Irán incluyen una evaluación del 13 por 100 de las reservas mundiales de petróleo, y ya en 1870 este pozo de riqueza había atríado la atención particular de Inglaterra. En dicho año, el barón Reuter - fundador del servicio de información que todavía lleva su nombre - obtuvo una concesión que le dio el monopolio sobre la industria de Irán. Las condiciones del país y del mundo entero, impidieron que el barón Reuter pudiere llevar adelante la explotación de aquella concesión hasta 1900. Pero en este momento formó una compañía con varios personajes europeos, industriales y financieros, para organizar el Banco Industrial de Persia, que llegó a ser el agente financiador de la Anglo Iranian Oil Company.
En los años subsiguientes, algunos críticos de Allen Dulles han señalado que una de las firmas mancomunadas en esta poderosa sociedad era la banca alemana, en cuyo cuadro de directores americanos figuró Allen Dulles durante sus años de abogado. También se ha dicho que Frnak C. Tiarks, uno de los directores junto con Dulles en el imperio bancario alemán era director de la Anglo Iranian Oil Company, y que Sullivan y Cromwell, la firma neoyorquina de abogados en la que eran socios Dulles y su hermano John Foster, era la consejera legal de dicha compañia petrolífera. La implicación es que cuando Mossadek expropió a la Anglo Iranian, las medidas que tomó Allen Dulles para destituir a Mossadek se vieron influenciadas por todas estas relaciones. Esto parece innecesariamente imputable a un hombre cuya dedicación al servicio público siempre ha sido de la mayor profundidad.
Cuando Mossadek anunció la expropiación de la Anglo Iranian Oil y la nacionalización de los campos petrolíferos del Irán, se elevó un estruendoso clamor internacional. Mossadek no podía proceder así, y los banqueros occidentales se lo probarían. El petróleo iranés fue, virtualmente, boicoteado. (...)".
Página 222:
"(...). Pero aun cuando Rusia se limitase solamente a conseguir el petróleo de Irán, el mundo occidental hubiese quedado debilitado por todo el Oriente Medio, y el prestigio de Rusia se hubiese acrecentado. Naturalmente, también resultaba claro que la Anglo Iranian Oil arriesgaba billones de dólares, y cuando una empresa privada de tal magnitud está vinculada a un departamento de Estado y a la política exterior, éstos reaccionan más sensitivamente.
Había pues, llegado el momento para los Estados Unidos de entablar una partida internacional. (...)".
------
domingo, 2 de febrero de 2014
DON LEÓNIDAS ZEGARRA UCEDA: ¡FELIZ CUMPLEAÑOS 2014!
¡DON LEÓNIDAS ZEGARRA UCEDA AMA AL CINE!
LEONIDAS ZEGARRA LOVES FILMMAKING!
------
jueves, 30 de enero de 2014
LOS OVNIS DE HOLLYWOOD Y SENDERO LUMINOSO: ¿GUERRA DE GUERRILLAS, CONFLICTO DE BAJA INTENSIDAD U OPERACIÓN PSICOLÓGICA? (THE UFOS FROM HOLLYWOOD AND THE SHINING PATH: GUERRILLA WARFARE, LOW INTENSITY CONFLICT OR PSYCHOLOGICAL OPERATIONS [PSYOP / MISO]?)
DE ESPIONAJE ESTADOUNIDENSE Y EL CAPITALISMO TOTALITARISTA YANQUI ESTÁN MANIPULANDO NUESTRAS MENTES, EXPECTATIVAS, VOLUNTADES Y CONDUCTAS?
ARE THE U.S. INTELLIGENCE COMMUNITY AND THE AMERICAN TOTALITARIAN CAPITALISM MANIPULATING OUR MINDS, EXPECTATIONS, WILL, AND BEHAVIORS?
SENDERO LUMINOSO / OVNIS [THE SHINING PATH / UFOs]
1) Perros colgados / Mutilación de ganado [Hanged dogs / Cattle mutilation]
2) Secuestros políticos / Abducciones [Political kidnappings / MILABS, abductions]
3) Pintas / Círculos en los campos de maíz [Political graffiti / Crop circles]
4) Apagones, cortes de fluído eléctrico / Apagones, los aparatos eléctricos dejan de funcionar [Blackouts / Blackouts, electrical appliances stop working]
5) Uso de pasamontañas / Grandes ojos [They wear balaclava helmets, ski masks / The E.T.s have huge eyes]
6) Ideología de la predestinación: materialismo dialéctico / Ideología de la predestinación: El Movimiento de la Nueva Era [Ideology of predestination: Dialectic Materialism / Ideology of predestination: The New Age Movement]
7) Cantidad inusual de titulares en cierta clase de diarios / Cantidad inusual de titulares en cierta clase de diarios [Unusual amount of headlines in a particular kind of newspapers / Unusual amount of headlines in a particular kind of newspapers]
8) Subversión de los marcos culturales de referencia / Tiempo perdido, recuerdos borrosos [Subvertion of the cultural frames of reference / Missing time, abduction memories, memory erase]
9) Anonimato de sus miembros / Anonimato de sus tripulantes [Anonymity of its members / Anonymity of the crew members]
10) Incendios, cóctel mólotov / Quemaduras en la piel y sensación de quemadura en los ojos [Fires, molotov cocktail / skin burns, eyes burning]
11) Vidas secretas, desensibilización emocional / La invasión de los ladrones de cuerpos [Secret lives, desensitization / The Body Snatchers]
12) Huelga forzada ("Paro Armado") / Parálisis [Armed strike / Paralysis]
13) Amenazas personales a autoridades y ciudadanos particulares / Los Hombres de Negro [Personal threats to authorities and private citizens / The Men In Black (MIB)]
14) Pretendido "cambio social" / Portales a otros mundos y dimensiones [Intended social change / Gates and portals to other worlds and dimensions]
15) Sendero Luminoso es un "sendero" que es "luminoso" / Los OVNIS son "Objetos Voladores No Identificados" muchas veces "luminosos" [The Shining Path is a "path" that "shines" / Many times the UFOs are Unidentified Flying Objets that "shine".
11) Vidas secretas, desensibilización emocional / La invasión de los ladrones de cuerpos [Secret lives, desensitization / The Body Snatchers]
12) Huelga forzada ("Paro Armado") / Parálisis [Armed strike / Paralysis]
13) Amenazas personales a autoridades y ciudadanos particulares / Los Hombres de Negro [Personal threats to authorities and private citizens / The Men In Black (MIB)]
14) Pretendido "cambio social" / Portales a otros mundos y dimensiones [Intended social change / Gates and portals to other worlds and dimensions]
15) Sendero Luminoso es un "sendero" que es "luminoso" / Los OVNIS son "Objetos Voladores No Identificados" muchas veces "luminosos" [The Shining Path is a "path" that "shines" / Many times the UFOs are Unidentified Flying Objets that "shine".
Conclusiones
A) Si existe alguna realidad tras los fenómenos de Sendero Luminoso y los OVNIS, podemos reconocer lo siguiente: es evidente que no era posible que Sendero Luminoso alcanzara los objetivos que estableció abiertamente mediante de los intrumentos que solía aplicar. Por tanto, era una empresa particular, un negocio, en el cual los líderes serían los más beneficiados. De esta modo, podemos imaginar que el fenómeno OVNI debería tener un objetivo conocido bien establecido aunque, a la vez, podemos notar que su desarrollo no conduce a ningún resultado definido. Entonces, podemos asumir que también es un negocio, una empresa privada, que proporciona beneficios principalmente a los líderes políticos tras él. Así que debería ser sencillo identificar a tales líderes políticos en ambos casos.
Conclusions
A) If there is any reality behind the Shining Path and the UFO phenomena, we can notice the following: it is evident that it was not possible that the Shining Path could achieved its openly stated goals through the means that it used to apply. Thus, it was a private enterpresive, a business, where the leaders would benefit the most. Thus, we can imagine that the UFO phenomenon should have a definite stated goal but, at the same time, we can notice that its development leads nowhere. So, we can assume that it is also a business, a private enterprise, that provides benefits mainly to the political leaders behind it. Then, it shouldn´t be that difficult to recognize who are those political leaders in both cases.
Título / Title: LOS EXTRATERRESTRES ESPACIALES DEL DEPARTAMENTO DE DEFENSA ESTADOUNIDENSE (EL PENTÁGONO): LOS PLATILLOS VOLADORES SON MÁQUINAS ELÉCTRICAS HECHAS POR EL HOMBRE (SPACE ALIENS FROM THE PENTAGON: FLYING SAUCERS ARE MAN-MADE ELECTRICAL MACHINES). Autor / Author: WILLIAM R. LYNE.
LA CONSPIRACIÓN SENDERISTA EXTRATERRESTRE: LA HISTORIETA QUE LOS "TERRORISTAS DEL ESPACIO EXTERIOR" Y LA COMUNIDAD DE ESPIONAJE ESTADOUNIDENSE NO QUIEREN QUE LEAS [THE E.T. - SHINING PATH CONSPIRACY: THE COMIC BOOK THAT THE "TERRORIST FROM OUTER SPACE" AND THE U.S. INTELLIGENCE COMMUNITY DON'T WANT YOU TO READ].
Título: "LOS OVNIS DE HOLLYWOOD, SENDERO LUMINOSO Y LA COMUNIDAD DE ESPIONAJE ESTADOUNIDENSE". Autor: JORGE VILLACORTA SANTAMATO. Propuesta de Portada.
Title: "THE UFOs FROM HOLLYWOOD, THE SHINING PATH, AND THE U.S. INTELLIGENCE COMMUNITY." Author: JORGE VILLACORTA. Cover proposal.
"PATHS OF GLORY" (1957). Directed by Stanley Kubrick. Genre: WAR. It is an American film.
"THE SHINING" (1980). Directed by Stanley Kubrick. Genre: HORROR. It is a British-American film.
THE SHINING - PATHS OF GLORY
Both movies directed by Stanley Kubrick
Long term psychological operations (PSYOP) promote specific names and ideas through the movies along the decades. Stanley Kubrick also directed "2001: A SPACE ODYSSEY". 2001 was the year of the so called "terrorist" attack in New York on September the 11th. HORROR and WAR together: THE SHINING PATHS OF GLORY.
"PATHS OF GLORY" was released in the 50's. Few years after WWII the American military began to support a specific kind of militarization in Peru. "THE SHINING" was released in May the 23rd, 1980; the same year and month the Shining Path "began" its terrorist activity in the Peruvian territory in May the 17th. Six days after that the movie would begin to popularize half of its name in the English language. That part of the name would be related to a specific kind of emotion: horror. Coincidence or a carefully calculated propaganda campaign designed to support an entity that would become an "omnipotent" and "powerful terrorist organization"?
"PATHS OF GLORY" was released in the 50's. Few years after WWII the American military began to support a specific kind of militarization in Peru. "THE SHINING" was released in May the 23rd, 1980; the same year and month the Shining Path "began" its terrorist activity in the Peruvian territory in May the 17th. Six days after that the movie would begin to popularize half of its name in the English language. That part of the name would be related to a specific kind of emotion: horror. Coincidence or a carefully calculated propaganda campaign designed to support an entity that would become an "omnipotent" and "powerful terrorist organization"?
Title: STANLEY KUBRICK AND THE SHINING PATH. A serious investigation. Author: JORGE VILLACORTA.
Inesperado y misterioso corte de electricidad el Martes 4 de Febrero de 2014. ¿Error o demostración de poder? Se verifica lo sencillo que es afectar la vida de millones de personas cuando se mantiene una posición de ventaja en la generación y distribución de electricidad. ¿Por qué no se incentiva las producción casera de electrícidad? ¿El poder político se escurriría de algunas manos si los hogares pudiesen satisfacer sus necesidades eléctricas de modo independiente y ultraeconómico? ¡Por supuesto que sí!
What movie was directed by Stanley Kubrick following "THE SHINING" (1980)? It was "FULL METAL JACKET", released June the 26th, 1987. Almost one year before, between June the 18th and 19th, 1986 (the golden ratio?) around 300 (tau?) prisoners acussed of being terrorists (the same as saying that they belonged to the "SHINING PATH") were massacred. They had taken coordinated control of three different prisons and, in order to submit them, kind Peruvian military personnel was deployed. Well, "FULL METAL JACKET" teaches the spectator how the American soldiers are trained and how they fight in conditions of URBAN WARFARE, killing the enemy, that is the Viet Cong. The film critic Michael Ciment states that this movie reminds him of "PATHS OF GLORY" and STANLEY KUBRICK pretended that the book in which the film is based deals with "the way things are." Also, Mr. KUBRICK wanted a documentary look for this movie. So, "FULL METAL JACKET" (1987) in the context that has been described works as a justification to the current interaction between the Peruvian military and "THE SHINING PATH" in Peru at the time. If we think that "THE SHINING" (1980) appeared almost at the same time that "THE SHINING PATH" developed its first "official" "act of war", then it is not a surprise that there was a military coup d'état in Peru, supported by the elected President and the Peruvian right wing in 1992, only five years after the released of "FULL METAL JACKET" (1987) and six years after that massacre of alleged members of "THE SHINING PATH" that "saved" us from their actions. A long-term psyschological operation (military information support operation) works like that: coordinating ideas an actions that support a pre-elected result. It is not a surprise then, that the coup d'état happened in April the 5th, 1992 and that the same year 1992, in September the 12th, the "leader of the terrorist group" was "captured." Also, between 1992 and 1999, 228 strategic companies that belonged to Peru and were managed by the government were sold to private companies at extremely low prices. Probably a positive output for some forces plotting and working behind the curtains... :-) [Who bought those companies?]
One of the rejected posters designed for "THE SHINING" (1980). It was designed by Raul Bass. Why would Mr. Bass depict a stylized "eye" as the theme? Is it an indication of the "gang" behind the name of the movie? Source:
The end of "THE SHINING" shows this picture. "July 4th", "1921". It is easy to notice that "July the 4th" is a reference to the "Independence Day" in America, so the text is about that date. Since 1921 is not related to the American "Independence Day" it has to be related to any other " independence day". All "independent" countries celebrate their independence day once per year since their independence. So, 1921 must be a number very important in relation to "independence day." Which country became independent in 1921? I do not know. Stanley Kubrick would not allow the writing of the actual year of independence because it would have been too obvious. Anyway, it had to be noticeable for whoever was looking at it. OK. Think again: we are talking about "THE SHINING" and its potential relation to the Shining Path. Where is the Shining Path from? Allegedly, it is from Peru. When the Peruvian "independence" happened? It happened in July the 28th, 1821. So, Mr. Kubrick is telling us that the crazy guy from "The Shining" is related to Peru. The picture we see is an old one. Thus, we are watching an "old picture." What picture is that? It is "PATHS OF GLORY." We see "THE SHINING" but we must relate it to a former (motion) picture, a (motion) picture from the past. This way we understand what he means: "THE SHINING" - PERU. The old (motion) picture with the character that has the same age as now is the other part of the name: "PATHS OF GLORY." The whole name: "THE SHINING", "PATHS OF GLORY" is a reference to THE SHINING PATH FROM PERU. The actor resembles Baphomet, thus, all that is a subtle curse, jinx, hex or execration against the Peruvian population and the Peruvian destiny because of the theme of each movie: war and horror.
"OVERLOOK" means "to fail to see or notice something", "to pay no attention to something." Then, the name "OVERLOOK HOTEL" or "overlook" is an order to the spectators: this way they will see the reference without understanding its meaning but the people behind this plot will say that they "warned" us! Plausible deniability is everything in this kind of operation, isn't it?
Why the 100 years difference between 1821 and 1921? It would have been easy to write 1821 and show an image that matched the image. Well, there we find a reference to another movie directed by Stanley Kubrick that is a PSYOP: 2001. Also, 19 has the same digits as 911. If we remember the golden ratio (1.618), the digits 18-19 do not look so strange. And, 00 is well known as "license to kill" due to the James Bond franchise [James Bond is the agent 007]. As a consequence, 1821 plus 100 years is equivalent to giving permission to destroy the Peruvian political independence.
JOHN ALCOTT, BSC and STANLEY KUBRICK
The typical "satanic human sacrifice" that is found in every British-American psychological operation (a subject linked to the so called "mysteries") can be found in relation to the promotion of the international image of the mythical SHINING PATH. In this case the human sacrifice would be JOHN ALCOTT. John Alcott was the cinematographer of "2001: A SPACE ODDYSEY" (196 ) [this was the very first mainstream movie he worked for], "BARRY LYNDON" (19 ), "A CLOCKWORK ORANGE" (197 ) and, of course, THE SHINING.(1980). Mr. Alcott officially passed away on July the 28th, 1986. July the 28th is the day when the Peruvians celebrate their "independence." Was the look of the mythical leader of the also mythical SHINING PATH designed after the appearance of STANLEY KUBRICK? Is the man that is called by the Peruvian and international press ABIMAEL GUZMÁN REYNOSO a look alike of STANLEY KUBRICK? The clues are there: Q-BRICK / QABALAH-BRICK : (KUBRICK); G-MAN / UZ-MAN / OZ-MAN (GUZMÁN).
AMERICAN CINEMATOGRAPHER. March 1987. Cover.
AMERICAN CINEMATOGRAPHER. March 1987. Page 60.
AMERICAN CINEMATOGRAPHER. March 1987. Page 65.
AMERICAN CINEMATOGRAPHER. March 1987. Page 66.
------
sábado, 18 de enero de 2014
ACADEMY FILM SCHOLARS PROGRAM 2013
Shawn
Guthrie mail@grantapplication.com 5:58 PM
(14 minutes ago)
to me
Dear Mr.
Villacorta:
Recently, the Academy’s Grants Committee met to select the recipients of the Academy Film Scholars Grants. Out of 127 applications received, the Committee members were pleased and excited to discover a number of exceptional proposals. After a great deal of discussion including praise for a number of the proposals, the committee ultimately selected two. Regrettably, your proposal was not selected.
The recipients of this year’s Academy Film Scholars Grants are Laurence Kardish for his proposal "Shirley Clark: The Original Chelsea Girl" and James Naremore for his project "The Cinema of Charles Burnett".
The committee asked me to inform the applicants how much they enjoyed reading the proposals and how worthy many of them seemed. They anticipate that a good number of the proposals will come to fruition.
Best of luck in all your future endeavors.
Sincerely,
Shawn Guthrie
Grants Coordinator
Recently, the Academy’s Grants Committee met to select the recipients of the Academy Film Scholars Grants. Out of 127 applications received, the Committee members were pleased and excited to discover a number of exceptional proposals. After a great deal of discussion including praise for a number of the proposals, the committee ultimately selected two. Regrettably, your proposal was not selected.
The recipients of this year’s Academy Film Scholars Grants are Laurence Kardish for his proposal "Shirley Clark: The Original Chelsea Girl" and James Naremore for his project "The Cinema of Charles Burnett".
The committee asked me to inform the applicants how much they enjoyed reading the proposals and how worthy many of them seemed. They anticipate that a good number of the proposals will come to fruition.
Best of luck in all your future endeavors.
Sincerely,
Shawn Guthrie
Grants Coordinator
-----------------
-----------------
http://www.amazon.es/Comparing-Capabilities-Performance-Frequency-Follow-On-ebook/dp/B0065LU4EA
http://www.fas.org/spp/military/program/nssrm/initiatives/ufo.htm
Academy of Motion Picture Arts & Sciences mail@grantapplication.com
to me
Thank you
for your submission. Your application has been submitted
successfully, and the tracking number is 24437. You will be receiving more
information on the status of your application shortly. For your
records, here is a copy of the contents of your application.
------------------------------------------------------------------
Applicant Information
|
||
Prefix
|
||
Mr.
|
||
First Name
|
||
Jorge
|
||
Middle Name or Initial
|
||
Luis
|
||
Last Name
|
||
Villacorta
|
||
Suffix
|
||
Street Address
|
||
Los Halcones 563. Urb. Sta. Cecilia. Bellavista.
|
||
City
|
||
Callao
|
||
State
|
||
Select
N/A if this field is not applicable to you.
|
||
N/A
|
||
Zip Code
|
||
02
|
||
Country
|
||
If you do
not see your country listed select "Other" from the drop-down and
enter your country in the Street Address field above.
|
||
Peru
|
||
Phone
|
||
(511) 4514334
|
||
Mobile Phone
|
||
E-mail Address
|
||
Co-Applicant Information
|
||
Prefix
|
||
First Name
|
||
Middle Name
|
||
Last Name
|
||
Suffix
|
||
Address
|
||
City
|
||
State
|
||
Postal Code
|
||
Phone
|
||
Mobile Phone
|
||
E-mail
|
||
Last Name
|
||
Villacorta
|
||
Proposal Information
|
||
Project Title
|
||
Hollywood
And Project Blue Beam: Predictive Programming, Subliminals, And Information
Operations.
|
||
Project Statement Summary
|
||
(One or
two paragraphs summarizing the project)
|
||
Hollywood
is the U.S. Intelligence Community propaganda machine. It is a tool that
actively defends and promotes the interests of the American Military -
Industrial -Congressional Complex and the American capitalism. As a weapon,
it is used to develop Information Operations through the use of several
techniques, among them predictive programming and subliminal messages. If we
observe how both of them were used in relation to the event known as 9/11 (the
controlled demolition of the World Trade Center and Building 7) it is
possible to recognize the patterns of the development of new Information
Operations identified by the name 'Project Blue Beam.'
|
||
Project Type
|
||
(i.e.
book, multi media presentation, dvd rom, curatorial project, website)
|
||
Book.
|
||
College/University Affiliation
|
||
(List for
both if there are two applicants)
|
||
Projected Project Completion Date
|
||
11/09/2014
|
||
Anticipated
Use of Grant Funds
|
||
(e.g.,
research travel, time off, book photos, etc.)
|
||
1) to buy
movies (dvd format) 2) to buy essential books
|
||
Attachments
|
||
UPLOAD
INSTRUCTIONS
1. Choose the Title from the drop down menu of the file you wish to attach. 2. Click the Browse button to search for the file you wish to upload. Click the file you want to attach then click the Open button. 3. Click the Upload button to attach the file to this application. 4. Then return to the Title drop down to repeat Steps 1-3 for the next document. |
||
Project Statement
|
||
(up to five pages)
|
||
Bibliography
|
||
(up to three pages)
|
||
C.V.
|
||
Project Statement
HOLLYWOOD AND
PROJECT BLUE BEAM: PREDICTIVE PROGRAMMING, SUBLIMINALS AND INFORMATION
OPERATIONS.
1. Description of the
project
1.a. Objective
To study the American movies that depict UFOs
and extraterrestrials as tools of Information Operations. The movies will be
analyzed from the perspective of two techniques: predictive programming and the
use of subliminal messages.
1.b. Methodology
We will analyze American movies decade by decade
identifying main themes and probable intentions for their use. Also, we will
identify the visual and auditory information that belongs to the area of
subliminal messages. We will do all this by watching the movies and taking
notes on what we recognize as the probable patterns of Information Operations
at work.
2. The context of the
project
2.a. Academic context
A usual restriction in communication research
is the study of events that have already happened, without understanding the
messages in the media as stages of long-term Information Operations. For
example, “A History of Government Management of UFO Perceptions through Film
and Television,” written Matthew Alford and Robbie Graham, do not attemp to
identify what is the ulterior goal of de phenomenon that they describe. We can
read in page 19 of that paper:
Still,
the pattern of the US government’s perception management relating to UFO-based
entertainment is hitherto barely known and under-researched. Overall, this
pattern indicates that for over six decades national security institutions, or
at least powerful factions within them – in contrast to their publicly stated
disinterest in UFOs – have closely observed and altered television and film
depictions of the phenomenon, typically in line with broader government
objectives in an attempt to prevent UFOs from gaining greater legitimacy or
political currency[1].
In order to reocognize those “broader
government objectives” a broader theoretical frame of reference is needed:
Information Operations can be that frame. While Tricia Jenkins has recently informed
us about how the Central Intelligence Agency deals with the film industry[2]
and Senator James William Fulbright described “The Pentagon Propaganda Machine”[3]
in 1970, a more militarized viewpoint might allow us to understand better the social
process behind this specific kind of movie. Theses like “Strange Bedfellows:
Cooperation Between Hollywood And The Pentagon“[4]
and “The Development Of Hollywood’s Relationship With The Military: A Guide For
Filmmakers And Military Entertainment Liaison Officers“[5]
show us the surface of how the Military – Industrial – Congressional Complex works. With an study
like “Hollywood And Project Blue Beam: Predictive Programming, Subliminals And
Information Operations” we can recognize that the weaponization of the American
film industry has deeper levels.
2.b. Professional
contex
In the American film industry filmmakers and
military and intelligence officers are using techniques like predictive
programming and subliminal messages in the context of Information Operations. Having
a panoramic view of a specific case (movies that portrait UFOs and
extraterrestrials) would allow them to become more creative and refine their
skills. Thus, reflexion on this subject is needed.
3. How my professional
experience is relevant to the project
As a Marketing And Event Manager for a Peruvian
publishing company I understand that the Military – Industrial – Congressional
Complex uses the movies as advertising to promote its own interests; thus, I
think that I can watch the movies more objectively than other viewers. Also, I
have had experience in the filmmaking arena through the movie “María Y Los
Niños Pobres”(2010). This was a low budget / no budget Peruvian – Bolivian
production written, directed and produced by the Peruvian filmmaker Leonidas
Zegarra, the greatest film director in the history of the human kind. I
collaborated with production of the movie as an actor, assistant director,
sound assistant, editor, gofer and sponsor. Later, we exhibited the movie after
renting a theater in Puno (Peru). This experienced taught me how the movies are
produced in a capitalist economy. Also, it became evident to me, that they are
wonderful tools for propaganda purposes. After this experience, Mr. Zegarra
produced two more movies, this time with the financial help of a Catholic
organization. The storylines of these
two movies and “María Y Los Niños Pobres” promote Catholic ideals. Thus, I can
understand that the stories about UFOs and extraterrestrials belong to a
particular ideology and I would like to know more about the agenda behind that
ideology. This interest motivates me to pay close attention to the subject of
this project.
4. Significance of the
project
4.1. Significance to
the field
Each year, new research on the American film
industry as a propaganda tool provides valuable information. We are reaching a
point where we can see through the propaganda veil and understand the real
motivations of the stories we are told by Hollwood. A project like “Hollywood
And Project Blue Beam: Predictive Programming, Subliminals, And Information
Operations” might give us a method to see into those areas of secretive
government policy that stay classified.
4.2. Significance to
my own professional development.
In Peru we do not have specialists that study the
American film industry as a propaganda tool. Paying attention to this subject
is an easy way of becoming a prestigious scholar. The year 2012 my article
“Hollywood Y La Comunidad de Espionaje Estadounidense” (“Hollywood And The U.S.
Intelligence Community) was published by the journal of the Department of Social Communication of the
University of San Marcos. This project is an extension of the ideas explained
in that article.
Also, after learning more about the movies that
depict UFOs and extraterrestrials I might produce and direct a low budget / no
budget movie about the subject.
[1] Alford,
Matthew and Robbie Graham (2011). History
of Government Management of UFO Perceptions through Film and Television,
49th Parallel, Volume 25,
Spring. Retrieved September 30, 2013, from http://www.49thparallel.bham.ac.uk/back/issue25/Graham-and-Alford.pdf
[2] Jenkins,
Trica (2012), The CIA In Hollywood: How
The Agency Shapes Film And Television, Austin, TX: University of Texas
Press.
[3] Fulbright,
James William (1970), The Pentagon
Propaganda Machine, New York: Liveright.
[4] Zhakova,
Olga, “Strange Bedfellows: Cooperation between Hollywood and the Pentagon”
(2011). Theses and Dissertations. http://preserve.lehigh.edu/etd/1328
[5] Gregory,
James, “The development of Hollywood’s relationship with the military: a guide
for filmmakers and military entertainment liaison officers” (2008). Thesis.
uscthesesreloadpub_Volume32/etd-Gregory-2471.pdf
--------------
Select Bibliography
HOLLYWOOD AND
PROJECT BLUE BEAM: PREDICTIVE PROGRAMMING, SUBLIMINALS, AND INFORMATION
OPERATIONS
Alford, Matthew and Robbie Graham (2011). History of Government Management of UFO Perceptions through Film and
Television, 49th
Parallel, Volume 25, Spring. Retrieved September 30, 2013, from http://www.49thparallel.bham.ac.uk/back/issue25/Graham-and-Alford.pdf
Boyd, Judith K. (2008), Introducing The Future Now: Using Memetics
And Popular Culture To Identify The Post 9/11 Homeland Security Zeitgeist, Monterey,
California: Naval Postgraduate School.
Brophilius, Aidan (2012), Project Blue Bean – The Quest For A New
World Order And The Rule Of The Antichrist, Kindle Edition.
Cantril, Hadley (1944), Gauging Public Opinion, Princeton:
Princeton University Press.
Cantril, Hadley (1960), Soviet Leaders And Mastery Over Man, New
Brunswick, NJ: Rutgers University.
Cantril, Hadley (1940), The Invasion From Mars: A Study In The
Psychology Of Panic, Princeton, NJ: Princeton University Press.
Cantril, Hadley (1941), The Psychology Of Social Movements, New
York: J. Wiley & Sons.
Clarke, Arthur C. (1953), Childhood’s End, New York: Ballantine
Books.
Clemence, Gerald M. (Chairman) and National Academy of Sciences (1969), Review Of The University Of Colorado Report
On Unidentified Flying Objects, Springfield, VA: Clearinghouse for Federal
Scientific & Technical Information.
Commander X (1997), Incredible
Technologies Of The New World Order: UFOs – Tesla – Area, New Brunswick,
NJ: Global Communications.
Crandal, Richard P. (2003), They All Told The Truth: The Antigravity
Papers, Victoria, B.C.: Trafford.
Engel, Joel (1994), Gene Roddenberry: The Myth And The Man Behind
Star Trek, New York: Hyperion Books.
Fulbright, James William (1970), The
Pentagon Propaganda Machine, New York: Liveright.
Gregory, James, “The development of Hollywood’s relationship with the
military: a guide for filmmakers and military entertainment liaison officers”
(2008). Thesis.
uscthesesreloadpub_Volume32/etd-Gregory-2471.pdf
Gurdjieff, Georges Ivanovitch (1950), All And Everything Or
Beelzebub’s Tales To His Grandson, London: Routledge & Kegan Paul.
Hartung, William D. (2011), Prophets Of War: Lockheed Martin And The
Making Of The Military – Industrial
Complex, New York: Nation Books.
Jenkins, Trica (2012), The CIA In
Hollywood: How The Agency Shapes Film And Television, Austin, TX:
University of Texas Press.
LaViolette, Paul A. (2008), Secrets
Of Antrigravity Propulsion: Tesla, UFOs,
And Classified Aerospace Technology, Rochester, VT: University of
Texas Press.
McGowan, David (2014), Weird Scenes Inside The Canyon: Laurel Canyon,
Covert Ops & The Dark Heart Of The Hippy Dream, New York: Headpress.
Monast, Serge (1994), NASA’ Project Blue Bean, Quebec:
International Free Press. [transcript of taped presentation]
Mowthorpe, Matthew (2004), The
Militarization And Weaponization Of Space, Lanham, MD: Lexington Books.
Perkins Jr., Clifton E. (1991), A
Comparison Of The UFH Follow-ON And Milstar Sattelite Communication Systems,
Monterey, CA: Naval Postgraduate School.
Robb, David L. (2004), Operation
Hollywood: How The Pentagon Shapes And Censors The Movies, Amherst, NY:
Prometheus Books.
Rux, Bruce (1998), Hollywood VS.
The Aliens: The Motion Picture Industry’s Participation In UFO Disinformation,
Berkeley, CA: Frog Ltd.
Sheffield, Clayton Odie and Army
Command And General Staff College – Fort Leavenworth, Kansas (2001), The War Film: Historical Perspective Or Simple
Entertainment, Fairfax County, VA: Fort Belvoir Defense Technical
Information Center.
Sherman, Harold M. (1946), The
Green Man: A Visitor From Space, Chicago: Century Publications.
Sherman, Harold M. (1979), The
Green Man And His Return: An Amazing UFO Pre-Vision Of The Coming Of The Space
People, Amhers, MA: Amherst Press.
United States, Joint Chiefs of Staff (2009), JP 1-05 Religious Affairs In Joint
Operations, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 2-03 Geospatial Intelligence In Joint
Operations, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 3-13 Information Operations,
Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 3-13.1 Electronic Warfare,
Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2010), JP 3-13.2 Psychological Operations,
Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2011), JP 3-13.2 Military Information
Support Operations, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 3-13.3 Operations Security,
Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 3-13.4 Military Deception, Washington,
DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2013), JP 3-14 Space Operations,
Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2010), JP 3-61 Public Affairs, Washington,
DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 6-01 Joint Electromagnetic Spectrum
Management Operations, Washington, DC: Joint Chiefs of Staff.
Zhakova, Olga, “Strange Bedfellows: Cooperation between Hollywood and
the Pentagon” (2011). Theses and
Dissertations.
http://preserve.lehigh.edu/etd/1328
---------------
Title / Título: COMPARING THE CAPABILITIES AND PERFORMANCE OF THE ULTRA HIGH FRECUENCY FOLLOW-ON SYSTEM WITH THE MOBILE USER OBJECTIVE SYSTEM. Author / Autor: CHRISTOPHER K. MATASSA.
http://www.amazon.es/Comparing-Capabilities-Performance-Frequency-Follow-On-ebook/dp/B0065LU4EA
http://www.fas.org/spp/military/program/nssrm/initiatives/ufo.htm
Title / Título: HOLLYWOOD VS. THE ALIENS. THE MOTION PICTURE'S INDUSTRY PARTICIPATION IN UFO DISINFORMATION (HOLLYWOOD CONTRA LAS CRIATURAS DEL ESPACIO EXTERIOR. LA PARTICIPACIÓN DE LA INDUSTRIA CINEMATOGRÁFICA ESTADOUNIDENSE EN LA DESIFORMACIÓN RELATIVA A LOS OVNIS). Author / Autor: BRUCE RUX.
---------------
Jorge Villacorta jorgevillacorta1@gmail.com 10/29/13
to public-inquiri.
NASA
Public Outreach
Charles F. Bolden, Jr.
Administrator
Dear Sir,
I am a Peruvian scholar. My name
is Jorge Villacorta. This year I sent a research project proposal to the
Academy Film Scholars Program. This program is organized by the Academy of
Motion Piicture Arts and Sciences. Due to the subject of my proposal, I thought
that you would be interested in learning about my project. Thus, I am sending
it to you, too.
I thank you so
much for sparking the imagination of so many Americans...
Best regards
Jorge Villacorta
---
HQ-Public Inquiries hq-public-inquiries@nasa.gov 10/29/13
to me
Dear Mr.
Villacorta:
Thank for your email to Administrator Charles Bolden.
NASA thanks you for your comments and suggestions as they are very important to
us.
To learn about the exciting work NASA is doing you are encouraged to
visit www.nasa.gov. NASA also invites you to consider using one or more of the
following easy and convenient communications tools for receiving NASA Updates.
- Subscribe to E-mail Delivery
– Simply go to www.nasa.gov, enter your e-mail address, set your delivery preferences, and choose your area(s) of interest.
- Receive Updates by RSS
(Really Simple Syndication) – NASA RSS Feeds are available at http://www.nasa.gov/rss/index.
html.
Your interest in NASA is appreciated.
Sincerely,
Public Communications Program
Public Outreach Division
Office of Communications
From: Jorge Villacorta [mailto:jorgevillacorta1@
Sent: Tuesday, October 29, 2013 2:06 PM
To: HQ-Public Inquiries
Sent: Tuesday, October 29, 2013 2:06 PM
To: HQ-Public Inquiries
Subject: Fwd: Your Application Submission
NASA
----------------
------
Suscribirse a:
Entradas (Atom)
