domingo, 1 de agosto de 2010

EL ORIGEN / ORIGEN (INCEPTION)


THE ULTIMATE PSYCHOLOGICAL OPERATION?


Esta película es maravillosa porque:
This movie is wonderful because:
1) Muestra el valor de la propaganda y cómo las narraciones audiovisuales anglosajonas son "Caballos de Troya" culturales.

http://www.democraticunderground.com/discuss/duboard.php?az=view_all&address=389x6550443

2) Muestra la necesidad de crear propaganda audiovisual acorde a los intereses nacionales y latinoamericanos.

3) Nos hace preguntarnos si hay una campaña en contra del Perú.

Ejemplos de filmes que brevemente, muy velozmente, sugieren corruptos que visitan el Perú o la presencia de sectas asesinas al interior de las fronteras:

EL AVIADOR / THE AVIATOR
(2004) [dirigida por MARTIN SCORSESE]

INDIANA JONES Y EL REINO DE LA CALAVERA DE CRISTAL / INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008) [dirigida por STEVEN SPIELBERG y producida por GEORGE LUCAS, FRANK MARSHALL & KATHLEEN KENNEDY]

LA MOMIA 3 / THE MUMMY: TOMB OF THE DRAGON EMPEROR
(2008) [dirigida por ROB COHEN]

CREPúSCULO / TWILIGHT
(2008) [dirigida por CATHERINE HARDWICKE]
---
QUANTUM OF SOLACE (2008) [dirigida por MARC FORSTER]
Este filme en principio hubiese atacado la imagen del Perú. Intuitivamente, los pobladores evitaron que se retratara al país bajo un punto de vista poco favorable y se organizaron para recharazar la filmación. La producción se trasladó a Chile.
---

Como el mensaje es veloz y acumulativo, las afirmaciones se toman por verdaderas sin mayor contraste con otras fuentes. Las cuatro narraciones son de presupuesto respetable y tienen aspectos narrativos comunes que las hacen elegibles por asistentes a las salas de cine que se fijan en los protagonistas o en la acción.

Por ejemplo, tomemos el intercambio verbal entre "Howard Hughes" (LEONARDO DICAPRIO) y un senador estadounidense corrupto en EL AVIADOR (THE AVIATOR), dirigida por MARTIN SCORSESE:

http://www.script-o-rama.com/movie_scripts/a/the-aviator-script-transcript.html

"All I'm thinking about are the interests,

the needs of the American passenger.

That's just beautiful. What is that?



What is that? Is that a...?

Is that a yak?

- Some kind of a yak?

- No, that's a llama.

My wife picked that up
when we were in Peru.

Son of a gun.

A real llama.

- From Peru?

- Yeah. From a year ago, I think it was...

- Yeah, it was about a year ago.

- Lunch is served, senator.

Good. Okay.

Come on, let's go have some lunch.

Now, did you...?

Did you actually get to see any llamas?

No, no. My wife just liked the painting.

It's an interesting animal.

I'll have to read up on those.

How do you spell that?

Like...? Like Fernando Lamas?

No, no. It's...

It's the animal, it's got two L's.

Here, come on, have a seat.

(...)

You know, Owen,

I'm still wondering one thing.

- What's that?

- The picture of the llama you got last year?

- Yeah.

- Where'd you sail from?

We didn't sail. We flew.

- You flew?

- Yeah.

Are you sure you want to do this, Owen?"

Esta conversacion resalta, claramente, que el senador estadounidense "corrupto" visita el Perú, lo cual transforma a nuestro país en destino de políticos corruptos a los ojos de los espectadores mundiales.

En el caso de INDIANA JONES Y EL REINO DE LA CALAVERA DE CRISTAL el estudio productor es LUCASFILM LTD.. Cabe preguntarse si GEORGE LUCAS, ex-instructor de INFANTES DE MARINA ESTADOUNIDENSES (MARINES) y ex-empleado de la AGENCIA DE INFORMACIÓN DE LOS ESTADOS UNIDOS (USIA fuera de los E.U.A / USIS [UNITED STATES INFORMATION SERVICE, SERVICIO DE INFORMACIÓN DE LOS ESTADOS UNIDOS] al interior de los E.U.A.) se prestaría a colaborar en un proyecto secreto contra la República del Perú.

http://books.google.com.pe/books?id=Jbm5D44MeLQC&printsec=frontcover&dq=u.s.+information+agency&hl=es&ei=wUFmTPT2FIP78AaphtUZ&sa=X&oi=book_result&ct=result&resnum=7&ved=0CEwQ6AEwBg#v=onepage&q&f=false

Por sus antecedentes, tenemos que pensar que su sentido patriótico (y materialista) lo impulsaría a ser activo ejecutor de tales planes. Dictar un curso para la MARINA ESTADOUNIDENSE y los INFANTES DE MARINA ESTODOUNIDENSES (MARINES) en la UNIVERSIDAD DE CALIFORNIA DEL SUR (UNIVERSITY OF SOUTHERN CALIFORNIA) en 1969 (mientras cursaba estudios de maestría) lo debe llenar de orgullo, con todo derecho. Todos los días los militares estadounidenses necesitan aprender a usar cámaras de cine, especialmente en un país activamente imperialista. La sabiduría estadounidense estableció LOS CUERPOS DE ENTRENAMIENTO DE OFICIALES DE LA RESERVA NAVAL (NAVAL RESERVE OFFICERS TRAINING CORPS):

"Fundados en 1926, Los Cuerpos de Entrenamiento de Oficiales de la Reserva Naval Estadounidense (NROTC) están diseñados para ofrecer a estudiantes universitarios seleccionados los cursos de Ciencia Naval requeridos para calificarlos para comisiones en la Reserva Naval Estadounidense. Inicialmente, unidades NROTC fueron fundadas en seis universidades estadounidenses. Al ser un gran éxito previamente a la Segunda Guerra Mundial, los programas NROTC fueron expandidos a universidades adicionales en todo lo largo de los Estados Unidos de Norteamérica. La unidad NROTC en la Universidad de California del Sur fue creada en 1940 y nuestro batallón "hermano" en la Universidad de California en Los Ángeles (UCLA) fue creado en 1938".

Established in 1926, the Naval Reserve Officer Training Corps (NROTC) is designed to offer selected college students the necessary Naval Science courses to qualify them for a commission in the United States Navy Reserve. Initially, NROTC Units were established at six Universities. Being a great success prior to World War II, the NROTC program was expanded to additional universities across the United States. The NROTC Unit at the University of Southern California was founded in 1940 and our “Sister” Battalion at the University of California at Los Angeles (UCLA) was founded in 1938.
(¿Qué es NROTC?:


DALE POLLOCK describe este programa militar-academico en su libro SKYWALKING: THE LIFE AND FILMS OF GEORGE LUCAS (CAMINADOPORELCIELO: LA VIDA Y FILMES DE GEORGE LUCAS) del siguiente modo (pag. 67):

http://books.google.com/books?hl=es&id=G4A5djW95UsC&dq=gary+kurtz+corps&q=NAVY#search_anchor


"Desde los 1940's, la Universidad de California del Sur (USC), había auspiciado un programa de entrenamiento para realizadores cinematográficos de la Marina. Los entrenados hombres de carrera enlistados para quiene la universidad era una buena excusa para admirar mujeres y beber cerveza. Los profesionales y estudiantes de la USC rechazaban a los hombres de la Marina debido a su aproximación a la realización cinematográfica carente de imaginación".
http://imaginarycinema.com/lucas.html


"THX 1138 (1971) was based on Lucas's earlier short movie Electronic Labyrinth THX 1138 4EB (1967) that told the tale of a man trying to escape from a totalitarian future society. Lucas had used a lot of ingenuity to get the short film made, using a Navy and Marine class he was teaching about film to shoot the project. It attracted a lot of attention when it was screened at film festivals."



Es natural que un estudiante estadounidense de cine muy destacado como GEORGE LUCAS presente una imagen negativa del Perú en su filme de 2008, igual que otro alumno estadounidense muy destacado, MARTIN SCORSESE, presenta una imagen negativa del Perú en su filme de 2004. Y para demostrar cuán destacados eran, indico que la revista TIMES reprodujo sus nombres como muestra de "estudiantes de cine destacados" en su ejemplar del Viernes dos (2) de Febrero de 1968:

http://www.time.com/time/magazine/article/0,9171,837841-4,00.html


TIMES, 2 de Febrero de 1968. TRENDS: THE STUDENT MOVIE MAKERS.

Es curioso notar que en el texto aparecen los nombres de a) JOHN MILIUS (director y adicionalmente guionista junto a KEVIN REYNOLDS [su padre trabajaba para la FUERZA AEREA ESTADOUNIDENSE] del filme anticubano, antinicaraguense y antisoviético AMANERCER ROJO (RED DAWN) [version 1984] [la nueva versión de AMANECER ROJO de este 2010 es antichina] y de b) FRANCIS FORD COPPOLA, pues las tendencias de sus filmes son dignas de analisis político.

El artículo de TIMES menciona que un miembro del jurado del FESTIVAL NACIONAL DE CINE ESTUDIANTIL (NATIONAL STUDENT FILM FESTIVAL) fue IRVIN KERSHNER quien fue empleado del DEPARTAMENTO DE ESTADO ESTADOUNIDENSE (STATE DEPARTMENT) en Irán, y dirigió documentales para la USIA en Grecia, Irán y Turquía (en 1950) además de ser, con anterioridad, docente en la UNIVERSIDAD DE CALIFORNIA DEL SUR (UNIVERSITY OF SOUTHERN CALIFORNIA). Como dato adicional, algo nada sorprendente: trabajó para la FUERZA AEREA ESTADOUNIDENSE como "ingeniero de vuelo" en bombarderos B-52 durante la Segunda Guerra Mundial.

Naturalmente, asumimos que estas relaciones sociales militarizadas son coincidencias inspiradoras, como lo es el hecho de que un buen amigo de GEORGE LUCAS llamado GARY KURTZ, que produjo LA GUERRA DE LAS GALAXIAS, (STAR WARS), EL IMPERIO CONTRAATACA (THE EMPIRE STRIKES BACK) y AMERICAN GRAFFITI habia tenido el hermoso puesto de "camarografo de guerra" (combat cameraman) y director de documentales como miembro de los MARINES ESTADOUNIDENSES. Aun mas agradablemente sorprendente, es que GARY KURTZ realizo su servicio militar (1966-1969) dentro de los ESTADOS UNIDOS DE NORTEAMERICA ("in country") [muy explicable seguramente porque era "objetor de conciencia" y los MARINES ESTADOUNIDENSES son tiernos, afectuosos y comprensivos, unos verdaderos caballeritos].

En el libro SKYWALKING: THE LIFE AND FILMS OF GEORGE LUCAS (CAMINADOPORELCIELO: LA VIDA Y FILMES DE GEORGE LUCAS), el autor, DALE POLLOCK, describe a GARY KURTZ del siguiente modo (pagina 110):

http://books.google.com/books?hl=es&id=G4A5djW95UsC&dq=gary+kurtz+corps&q=roger+corman#search_anchor

"El sirvió por cuatro años en una unidad de fotografía de los marines. Aunque el era un cuáquero y rehusó portar un arma. Kurtz era un hombre solemne, barbado, que hizo ver a Lucas como un extrovertido".

La versión del mismo Sr. KURTZ respecto de su periodo en las fuerzas armadas la encontramos en la siguiente entrevista:

http://movies.ign.com/articles/376/376873p1.html

'It was quite convoluted, actually ... '66 I think it was. It was at the height of the Vietnam War. I was drafted into the Marines, and I spent three years in the Marines as a cameraman, a director of documentaries – even though I was actually a conscientious objector and I never carried a weapon. I carried an empty pistol holster. I was just very lucky, actually, to come through unscathed. I had four or five close friends who were also cameramen who were killed.

That took a big chunk of time out, and I got out in '69, and Easy Rider came out in '69."

Vemos que se le atribuye cuatro años en las fuerzas armadas, él mismo declara tres y en la siguiente página de una empresa para la que trabaja se declaran dos años en los CUERPOS DE MARINA:

http://www.britonventures.com/directors_gary_kurtz.php

"Gary was drafted during the Vietnam War and spent two years as a documentary film-maker for the Marine Corps. He returned to LA and Produced Two Lane Backdrop for Universal and private eye thriller Chandler for MGM."

Ahora veamos que lindas historias nos cuenta MICHAEL RUBIN sobre GEORGE LUCAS y los estudiantes de su clase en su maravilloso texto DROIDMAKER. GEORGE LUCAS AND THE DIGITAL REVOLUTION (EL CREADOR DE DROIDES. GEORGE LUCAS Y LA REVOLUCIÓN DIGITAL).

http://www.droidmaker.com/Droidmaker.Chapter1.pdf

Page 19: Es natural que los estudiantes trabajen para el TIO SAM:


"After graduating in 1966, and exempted from military service, Lucas was unsure of his next move, and took a series of jobs around L.A. One was as an assistant grip for the U.S. Information Agency (USIA), which was cranking out propaganda films as the country was heading into war.12 Other USC students were doing odd jobs in the agency. Bob Dalva,13 a classmate of Lucas’, was assisting on a documentary about President Lyndon Johnson; it was being edited by Verna Fields. Fields was a true insider in Hollywood; she was very cool, and one of the few women in the business. She needed additional help for her Johnson documentary, and Bob Dalva recommended Lucas."

Paginas 19-20. Verna Fields. Y es natural que los estudiantes realicen labores de inteligencia:


"By 1965, with her interest in political issues, she began editing projects for a few government agencies in the Eisenhower administration, including the USIA. While maintaining her projects with the government, she accepted a one-year position teaching film at USC.
“I had this footage of unmarked airports for a USIA film, Journey to the Pacific, so I hired all these kids from USC to find out where these airports were.”

Pagina 20:
"Fields hired Lucas in January 1967, just as he was starting the USC graduate program in film.

The faculty at USC had been sufficiently impressed with Lucas’ undergraduate films to give him a position teaching a lighting seminar for Navy film students. He taught the course at night and worked for Verna Fields at the USIA all day."
(...)
"For Lucas’ next film project, he started with a short script by Matthew Robbins and Walter Murch about a man escaping from an underground realm and finally emerging from a manhole cover. It was called “Breakout.”
Lucas refined the idea; he called the film THX 1138: 3EB. (He spoke of THX as “Thex”) The story was surreal, cryptic, composed almost entirely of a man running through twisting corridors, escaping the robotic police of the dystopic future. Although USC film students didn’t have access to color film, the Navy guys in the night course did. Lucas used the class he taught to execute his project. It took twelve weeks to shoot and edit."

Muy lindo.

http://www.cambridge.org/us/catalogue/catalogue.asp?isbn=9780521819978&ss=toc

De lo que hay que estar absolutamente convencidos es que MARTIN SCORSESE siempre presenta una firme posición política, pues sus ataques a CHINA, tanto con declaraciones como con la película KUNDUN le valieron ser declarado indeseable en el hermoso país asiático. La Compañía Disney, financista de KUNDUN, saboteó la distribución y promoción de KUNDUN para proteger sus inversiones en CHINA.

http://en.wikipedia.org/wiki/Kundun

---------------
En CREPúSCULO / TWILIGHT (2008) encontramos una sugerencia veloz y evidente a sacrificios humanos en el Perú. A continuación un par de descripciones de la escena:

En castellano:
http://es.answers.yahoo.com/question/index?qid=20090409040436AAPdYJQ

En inglés:
http://newspaperrock.bluecorncomics.com/2009/06/googling-in-twilight-movie.html
En las descripciones se pasa por alto que en el filme, se observa MUY CLARAMENTE, en la pantalla de una computadora, la frase DEMONS OF THE NIGHT ORIGINS AND CHAR y los nombres de CHINA EGYP INDIA PERU PACIFIC NORTHWEST JAPAN y las letras SOUT. El personaje femenino (BELLA) presiona con el cursor de la computadora sucesivamente sobre los nombres EGYPT, INDIA y PERU.
Cuando presiona sobre la palabra PERU aparece una imagen espantosa de cuatro seres que sujetan a un quinto y lo someten, al parecer, a un sacrificio. Es esta imagen, que se relaciona usualmente con los materiales utilizados por las ciencias sociales, la que sugiere que en el Perú se atenta contra los derechos humanos lo cual es, obviamente, absurdo. Por tanto, tenemos que preguntarnos ¿a quién le interesa mancillar la imagen internacional de la gloriosa República del Perú?
Para que los lectores observen que como SECRETARIO GENERAL EMPERADOR del PARTIDO MARXISTA-LENINISTA-PENSAMIENTO PARIS HILTON, soy capaz de someterme a la autocrítica, me imagino que a algunos pocos lectores les gustaría decir algo así como: "Ahora nos vas a decir que la escritora de CREPÚSCULO (TWILIGHT) trabaja para alguna agencia de inteligencia estadounidense o anglosajona...".
A lo anterior, sólo puedo contestar con una carcajada porque pareciese que los lectores (siempre geniales), leen mis pensamientos... . Precisamente, yo tenía intención de afirmar algo parecido: la escritora DEL GUIÓN DE CREPÚSCULO (TWILIGHT) escribió guiones de la serie de televisión LA AGENCIA (THE AGENCY) que trata sobre la AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CENTRAL INTELLIGENCE AGENCY).
La escritora DEL GUIÓN de la película se llama MELISSA ROSENBERG.
Si nos dirigimos a esta página web:
y la examinamos brevemente, podemos observar que en la PRIMERA TEMPORADA (SEASON ONE) de LA AGENCIA (THE AGENCY), se da lo siguiente:

Episodio 3: El Año de Contar Mentiras Peligrosamente (The Year Of Lying Dangerously)


Escrito por MELISSA ROSENBERG.
Episodio 4:
Episodio 8:
Episodio 14:
Episodio 18:
Episodio 22:
--------
LA MOMIA 3 / THE MUMMY: TOMB OF THE DRAGON EMPEROR (2008) [dirigida por ROB COHEN] termina con un letrero en el que se indica que se descubrieron momias en el Perú luego de que uno de los personajes emprende su visita a nuestro territorio, precisamente porque se supone que no existen momias. Naturalmente, en el filme las momias se vinculan a esqueletos que cobran vida, a rituales de magia negra, a asesinatos terribles, a matanzas gigantescas... con lo que se sugiere que eso es lo que se puede esperar que suceda en estas tierras.

El director, ROB COHEN es el encargado de dirigir esa afectuosa pieza de propaganda llamada STEALTH (LA AMENAZA INVISIBLE).

GEORGE LUCAS y ROB COHEN, en uno de los documentales de EPISODIO III, edición DVD de dos discos vendida en Lima, aparecen sentados en el estudio de filmación de la tercera parte de "LA GUERRA DE LAS GALAXIAS" comentando el conjunto de pantallas de plasma utilizado por GEORGE LUCAS para apreciar lo filmado. ROB COHEN le dice a GEORGE LUCAS "te envidio". Interesante que sean colaboradores tan cercanos.
-------
Llegados a este punto tenemos que ligar esas imágenes terribles que se presentan de la República del Perú en las películas foráneas y vincularlas a los acontecimientos políticos del año 2009, en particular a los acontecimientos en la selva peruana, que luego de ocurridos parecieron tratados en el filme AVATAR, que recibió un apoyo publicitario descomunal. Si ligamos estas películas del 2008 con la película del año 2009, pareciese que se intenta convencer a la opinión pública mundial de la presencia de grandes actos de brutalidad en la República del Perú. La pregunta clave es
A) ¿con qué fin o fines se intenta indisponer a la opinión publica mundial contra la vida social en el Perú?.
B) ¿Es tal vez con la finalidad de imponer presiones políticas al Gobierno Peruano que parezcan creíbles?.
C) ¿Es para asegurar, utilizando "levantamientos" prefabricados/programados, el aislamiento de ciertas áreas del territorio peruano que se desean dedicar a fines propios ?.

Aunque estas especulaciones puedan parecer carentes de sustento en un primer momento, hay que recordar que es así, precisamente como se organiza el gran teatro de los acontecimientos mundiales. Basta recordar que en el "Templo de Chavín" se utilizaban cabezas clavas para intimidar a los curiosos. Generar una amenaza falsa, reforzarla con propaganda antes y después de un acontecimiento clave, y explotar todo el suceso políticamente, es una manera de actuar muy frecuente en la vida de la sociedad. Lo verdaderamente extraño sería que tal costumbre se hubiese dejado de lado.
Adicionalmente, tendríamos que examinar el panorama académico foráneo e identificar a los "científicos sociales" que pretenden dar validez a los "actos de brutalidad en Bagua". Seguramente, un análisis de las filiaciones de esos "estudiosos" de la vida social (sociólogos, arqueólogos, antropólogos) nos depararían deliciosas satisfacciones intelectuales y sólo verificaríamos la extensión del paisaje paranoico que se sugiere en estas líneas.
Vemos pues, que el filme EL ORIGEN (INCEPTION), nos permite reflexionar sobre los mecanismos sutiles mediante los cuales las ideas que generan nuestra motivación llegan al interior de nuestra conciencia. En una sociedad sometida a la reproducción industrial de mensajes, las insinuaciones sobre lo que debemos creer y esperar de los acontecimientos comunales nos llega oblicuamente en las más "inocentes películas de entretenimiento". Es prudente (por motivos de seguridad nacional) que seamos conscientes de todos los mensajes propagandísticos que, siendo producidos fuera de las fronteras nacionales, intentan delinear los patrones culturales de nuestro entorno, guiar nuestras percepciones y determinar nuestras experiencias subjetivas para encaminar nuestra conducta hacia fines ajenos a nuestros intereses patrióticos.
--------


4) Los productores y creadores parecen fanáticos seguidores de DON LEÓNIDAS ZEGARRA UCEDA.

Por este motivo le concedemos una posición entre LOS MEJORES ESTRENOS 2010 EN EL PERÚ (BEST MOVIES 2010 IN PERU).


DON LEÓNIDAS ZEGARRA UCEDA (a la izquierda de la imagen): narrador audiovisual paradigmático. Este cineasta extraordinario es el gestor del filme peruano más importante del siglo XX: "DE NUEVO A LA VIDA". Todo lo que hay de bueno, noble y verdadero en la cinematografía peruana está concretizado en este productor, guionista y director cuyas obras magistrales merecen los honores más altos entre las piezas del séptimo arte desarrolladas en el Perú e Iberoamérica. Al centro de la imagen podemos apreciar a la productora general y actriz (de personalidad y belleza deslumbrantes) MARIANA LIQUITAYA, de nacionalidad boliviana, cuyo personaje es fundamental en el filme de culto "300 MILLAS EN BUSCA DE MAMá". En el lado derecho de la imagen tenemos a un cineasta boliviano extraordinario: ANTONIO EGUINO. Como se observa, los genios del séptimo arte tienden a relacionarse entre sí.

VIDAS PARALELAS: maravilloso filme peruano de propaganda del que solamente pueden escribirse halagos inconmensurables para sus creadores. El formato en DVD seguramente ha de aparecer pronto para delicia de todos los espectadores que sienten afecto por su Patria.

LA CIA Y LA GUERRA FRíA CULTURAL. Título original: WHO PAID THE PIPER? THE CIA AND THE CULTURAL COLD WAR (¿QUIéN LE PAGó AL FLAUTISTA? LA CIA Y LA GUERRA FRíA CULTURAL). Editorial DEBATE, Madrid, primera edición: octubre 2001, 639 páginas. Páginas 396,397: "Hopper y Parsons, aunque tal vez no lo supieran, eran "libertistas militantes", frase que se refería a una campaña secreta por parte del Pentágono, la Marina y el Consejo de Seguridad Nacional y del Consejo de Coordinación de Operaciones, para incluir el tema de la "libertad" en las películas americanas. El viernes 16 de diciembre de 1955, se convocó una reunión secreta por parte de los jefes del Estado Mayor Conjunto para discutir cómo Hollywood podía aprovechar la idea de la operación "Militant Liberty". Según un informe alto secreto, "Militant Liberty" estaba pensada para "explicar en palabras sencillas las verdaderas condiciones que se dan bajo el comunismo y explicar los principios en que se fundamenta la forma de vida del mundo libre", y "despertar a las personas libres para que comprendan la magnitud del peligro con se enfrenta el mundo libre; y, por último, generar una motivación para combatir esta amenaza". "La idea era crear un slogan, una frase política pegadiza que casi todo el mundo creyera que había surgido espontáneamente pero que, en realidad, hubiese sido introducida intencionalmente en la cultura", explicaba el historiador de la cultura Christopher Simpson. "Para aquella época se trató de una operación propagandística de gran perfección". Como base de una campaña doctrinal, Militant Liberty fue aprobada en los más altos estamentos. Pero hasta el año siguiente el Pentágono no halló una fórmula concreta mediante la cual lanzar el mensaje. En junio y julio de 1956, representantes del Estado Mayor Conjunto tuvieron varias reuniones en California con un nutrido grupo de figuras de Hollywood dedicadas a erradicar el comunismo: John Ford, Merian Cooper, John Wayne y Ward Bond. / Las reuniones que tuvieron lugar en el despacho de John Ford en la MGM, llegaban a durar seis horas. Según un informe interno de 5 de julio de 1956, "Mr. Wayne dijo que en sus películas, las producidas por él (BacJac Productions), el programa [de Militant Liberty] sería introducido con la máxima atención". Para ver cómo se podría hacer, a la noche siguiente, Wayne invitó a todo el mundo a su casa en 4570 Luoise Avenue, Encino. "Después de la cena se proyectaron las películas They Were Expendable y El Hombre Tranquilo
y fueron estudiadas por Mr. Wayne y Mr. Ford para ver la forma en que se había introducido un punto de vista favorable a la Marina y a los patrones culturales del mundo libre en ambos filmes"".

Descripcion de MILITANT LIBERTY en: THE US GOVERNMENT, CITIZEN GROUPS AND THE COLD WAR: THE STATE-PRIVATE NETWORK (EL GOBIERNO ESTADOUNIDENSE, LOS GRUPOS DE CIUDADANOS Y LA GUERRA FRIA: LA INTERCONEXION ESTATAL-PRIVADA) , editado por Helen Laville y Hugh Wilford (pag. 166 y sucesivas):
http://books.google.com.pe/books?id=9KadfX8jlFkC&pg=PA166&dq=militant+liberty&hl=es&ei=fP5iTNTcCcGB8gbdtoGJCg&sa=X&oi=book_result&ct=result&resnum=9&ved=0CFEQ6AEwCA#v=onepage&q=militant%20liberty&f=false

246 comentarios:

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Anónimo dijo...

http://forum.hyeclub.com/showthread.php?p=276048

Anónimo dijo...

http://www.scribd.com/doc/25665808/Piper-High-Priests-of-War-Secret-History-of-How-America-s-Trotskyites-Came-to-Power-and-Orche

Anónimo dijo...

http://www.spartacus.schoolnet.co.uk/JFKmockingbird.htm

Anónimo dijo...

http://www.fas.harvard.edu/~hpcws/tshaw.htm

Anónimo dijo...

http://en.wikipedia.org/wiki/CIA_influence_on_public_opinion

Anónimo dijo...

http://www.gwu.edu/~nsarchiv/NSAEBB/NSAEBB46/

Anónimo dijo...

http://home.swipnet.se/allez/Eng/FTR78.htm

Anónimo dijo...

http://www.icdc.com/~paulwolf/oss/worldview.htm

Anónimo dijo...

http://www.icdc.com/~paulwolf/oss/foundingfathers.htm

Anónimo dijo...

http://www.questia.com/library/book/science-of-coercion-communication-research-and-psychological-warfare-1945-1960-by-christopher-simpson.jsp

Anónimo dijo...

"[US Army] Introduction to Psychological Warfare - GF33-27 (1955)"

http://www.youtube.com/watch?v=j2JhdswkO6o

Anónimo dijo...

http://www.fas.harvard.edu/~hpcws/tshaw.htm

"The Politics Of Cold War Culture", review essay by TONY SHAW:

Journal of Cold War Studies, 3:3, Fall 2001, pp. 59-76

"Arguably her most controversial material is the evidence she has unearthed indicating that the CIA was an active component in the machinery that promoted Abstract Expressionism, the dominating Western art form of the 1950s. Saunders goes a few steps further than others who have written on this subject by suggesting that the Museum of Modern Art (MOMA) in New York under the tutelage of its president, Nelson Rockefeller, was the agency's front organization."

Anónimo dijo...

http://isme.tamu.edu/ISME07/Bogle07.html#_ednref30

"Evangelicals in the Military and the Code of Conduct" by Lori Lyn Bogle

Anónimo dijo...

http://de.wikipedia.org/wiki/Militant_Liberty

Anónimo dijo...

http://www.eisenhower.archives.gov/research/Finding_Aids/PDFs/Lilly_Edward_Papers.pdf


Series IV, National Security Council Series, document’s Lilly’s work on the staff of the
National Security Council, first as a strategic planner for the Psychological Strategy
Board and then as a Deputy Executive Assistant in the Operations Coordinating Board.
This series contains, in addition to the ubiquitous news clippings which Lilly seemed to
collect wherever he went, extensive files documenting Lilly’s specialty areas -- doctrinal
and ideological programs, moral and religious factors, the Freedom Academy, Militant
Liberty program, and overseas education. In addition the series contains chronologically
arranged OCB and PSB historical files and an OCB reading file, material on PSB and OCB organizational matters and information on intelligence aspects of psychological
operations including covert activities.

---

Types of documentation in Series IV include correspondence, clippings, memoranda,
minutes of meetings, chronological reading files, draft histories, PSB papers, reports,
memoranda summaries and reference notes. Topics include doctrinal and ideological
programs, religious aspects of psychological operations, relations between the United
States and the Soviet Union, psychological operations in Europe, particularly France and
Italy, Militant Liberty program, particularly in Vietnam, psychological operations involving China and the Far East, Korea and the role of intelligence in psychological
planning.
----------

Motion Picture Bureau (Historical Records) (Administrative) (1)-(4) [includes FDR
letters re use of motion pictures to illustrate problems facing country and government
relief programs; FDR and use of motion pictures during war; Lowell Mellett as
Coordinator of Government Films; films for civilian and defense training; films for war
plants; performance of Bureau of Motion Pictures; message and information content of
films]
Non-Theatrical (1)-(4) [list of OWI films; report on Non-Theatrical Division of OWI
Bureau of Motion Pictures; descriptions of individual films on such topics as Allied
military services, industry and transportation, China, salvage, agricultural contributions,
labor and industry, manpower, college campuses, Nazi propaganda, Henry Browne-
Negro Farmer, Negro colleges, physical fitness, Donald Duck, Brazil, relocation of
Japanese-Americans, flight training, and Japan as an enemy]
----

Anónimo dijo...

http://www.eisenhower.archives.gov/research/Finding_Aids/PDFs/Lilly_Edward_Papers.pdf

(page 37):

OWI Overseas Branch – Overseas Motion Picture Operation [North Africa, Italy,
France, Western Europe, Eastern Europe, China, SE Asia, Philippines, Pacific]

----

(page 55):

Idealogical Education: Freedom Academy: Militant Liberty (interfiled 2/24/2010)

----
(page 55, 56?)
Militant Liberty [doctrinal program aimed at resisting communist influences, attempts
made to apply it in Southeast Asia; John Broger formulated the program; Project Action
was title for government implementation of the program; Vietnam; Vietnamese Village
Defense Corps to combat penetration of Viet Minh in rural areas]

----
(page 57):
Psychological Operations, 1945-1951 (1) [materials which Dr. Lilly used in preparing a
classified history of U.S. psychological operations 1945-51 (see OCB Secretariat Series,
NSC Staff Papers for partially declassified copy of this history); history of PSB; post-
WWII U.S. information and psychological operations; covert activities; topics for
discussion with Secretary of Defense Robert Lovett]
Psychological Operations, 1945-1951 (2) (interfiled 2/24/2010)

---
(page 59):

Psychological Warfare – History – Chapter XI [first 14 pages missing; PSB, State
Department, NSC and doctrinal programs; Ford Foundation; John Broger and Militant
Liberty; Philippines; Orlando Committee; Alan Grant; Vietnam; religion; Militant
Liberty and South Vietnam]
---

Anónimo dijo...

http://www.eisenhower.archives.gov/research/Finding_Aids/PDFs/Lilly_Edward_Papers.pdf

(page 59):

Psychological Warfare Training Program [U.S. Air Force Psychological Warfare
Training Program held at Georgetown University, summer 1951]

----
William Peter Blatty?

(Page 104):

http://aupress.maxwell.af.mil/Books/Haas/Haas.pdf

Anónimo dijo...

COVERT ACTION
"White" Propaganda:
USIA, the Voice of America, and "American" Culture

http://intellit.muskingum.edu/covertaction_folder/cawhite.html

Anónimo dijo...

Film and Foreign Policy: The USIA, 1962-67.
Richard Dyer MacCann

http://www.jstor.org/pss/1225272

Anónimo dijo...

Auteurs of Ideology.
USIA documentary film propaganda in the Kennedy era as seen in Bruce Herschensohn's The Five Cities of June (1963) and James Blue's The March (1964).

Nicholas J. Cull

http://www.jstor.org/pss/3815224

Anónimo dijo...

Cold War Times Jan/Feb 2003 p.10

The USIA - Advocacy of Cultural Diplomacy or Political Propaganda?
The Case of Flight KAL 007

By Terje Olav Almenning
Ullensaker, Norway

Pages 10-39:

http://www.coldwar.org/text_files/jan_feb_03.pdf

Anónimo dijo...

Broadcasting in an insurgency environment : USIA in Vietnam, 1965-1970.

Main author: Hoffer, Thomas William

http://catalog.hathitrust.org/Record/005858170

Anónimo dijo...

U.S.I.A. in Southeast Asia:
a case study of U.S. overseas information, 1965-1970

AAuthor: Boonlert Khampitoon

http://books.google.com.pe/books?id=gSdZAAAAMAAJ&q=inauthor:%22Boonlert+Khampitoon%22&dq=inauthor:%22Boonlert+Khampitoon%22&hl=es&ei=QNFoTPHaBIH78AbZ5vS2BA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCcQ6AEwAA

Anónimo dijo...

ROL DE LOS MEDIOS EN LA GUERRA IMPERIALISTA. La manipulación informativa en el reino del Dios George W. Bush.

Entre la SIP, la CIA y la USIA (p. 16)

http://es.calameo.com/read/0000351124b621cbae8f5

Anónimo dijo...

La política encubierta de Hollywood.

Matthew Alford y Robbie Graham
Global Research

Las corporaciones deciden lo que puedes ver en el cine:

http://chemtrailsevilla.wordpress.com/2009/03/02/la-politica-encubierta-de-hollywood/

Anónimo dijo...

La cultura cinematográfica
en la prensa escrita

Un estudio de la información,
crítica y publicidad de estrenos
en el diario El País

José Luis Sánchez Noriega

http://grupo.us.es/grehcco/ambitos%2015/15noriega.pdf

Anónimo dijo...

Air University Review, January-February 1983

Hollywood and Vietnam

Dr. Lawrence H. Suid

http://www.airpower.maxwell.af.mil/airchronicles/aureview/1983/jan-feb/suid.html

Anónimo dijo...

"The MILITARY in the MOVIES"

PRODUCER: Pres., Center for Defense Information

INITIAL BROADCAST: 26 January 1997

http://www.cdi.org/adm/Transcripts/1020/index.html

Anónimo dijo...

A catalyst for change
Maria Tumarkin
December 29, 2007

http://www.theage.com.au/news/film/a-catalyst-for-change/2007/12/27/1198345160870.html

Anónimo dijo...

Propaganda: The USIA's New Line (6/98)

Nancy Snow

http://towardfreedom.com/home/content/view/362/5/

Anónimo dijo...

http://books.google.ru/books?id=_rVoNLmo7NEC&dq=intelligence%20community%20movies&hl=es&source=gbs_slider_thumb

Russell Earl Shain

An analysis of motion pictures about war released by the American film industry, 1930-1970

Anónimo dijo...

War and cinema: the logistics of perception

Paul Virilio

http://books.google.ru/books?id=1BqRgA9KZXwC&dq=intelligence%20community%20movies&hl=es&source=gbs_slider_thumb

Anónimo dijo...

Hollywood goes to war: how politics, profits, and propaganda shaped World War II movies

Clayton R. Koppes, Gregory D. Black

http://books.google.ru/books?id=_MNa1E9-Zc4C&dq=intelligence%20community%20movies&hl=es&source=gbs_slider_thumb

Anónimo dijo...

The Hollywood propaganda of World War II

Robert Fyne

http://books.google.ru/books?id=sKb-szl1WqcC&dq=intelligence%20community%20movies&hl=es&source=gbs_slider_thumb

Anónimo dijo...

Hollywood fights a war: a comparison of the images of the fighting man of World War II combatants in selected hollywood films produced between September 1, 1939 and December 7, 1941 with those produced between December 8, 1941 and August 15, 1945

Robert Fyne

http://books.google.ru/books?id=z2JZAAAAMAAJ&dq=intelligence%20community%20movies&hl=es&source=gbs_slider_thumb

Anónimo dijo...

Long ago and far away: Hollywood and the Second World War

Robert Fyne

http://books.google.ru/books?id=qsEWAQAAIAAJ&q=inauthor:%22Robert+Fyne%22&dq=inauthor:%22Robert+Fyne%22&hl=es&ei=0padTMPDBsGclge6tKHtAg&sa=X&oi=book_result&ct=result&resnum=2&ved=0CC4Q6AEwAQ

Anónimo dijo...

Mass-Mediated Terrorism: The Central Rol Of The Media In Terrorism And Counterterrorism.

Brigitte Lebens Nacos

http://books.google.ru/books?id=xvvPh-ob6OQC&pg=PA37&dq=terrorism+hollywood&hl=es&ei=SpedTMruNYL6lwecpIzoCg&sa=X&oi=book_result&ct=result&resnum=6&ved=0CEUQ6AEwBQ#v=onepage&q=terrorism%20hollywood&f=false

Anónimo dijo...

Terrorism in American cinema: an analytical filmography, 1960-2008

Escrito por Robert Cettl

http://books.google.ru/books?id=nV4BvL8AqEwC&pg=PA40&dq=terrorism+hollywood&hl=es&ei=6pidTPPeAoWClAec8rGrCg&sa=X&oi=book_result&ct=result&resnum=2&ved=0CC0Q6AEwATgK#v=onepage&q=terrorism%20hollywood&f=false

Anónimo dijo...

El Nuevo Hollywood: del imperialismo cultural a las leyes del marketing

Toby Miller

http://books.google.ru/books?id=qisnPQAACAAJ&dq=inauthor:%22Toby+Miller%22&hl=es&ei=OZmdTP3MLIP6lwfLwMjCCg&sa=X&oi=book_result&ct=result&resnum=5&ved=0CDwQ6AEwBDgK

Anónimo dijo...

Global Hollywood: No. 2 [Paperback]

Toby Miller (Author), Nitin Govil (Author), John McMurria (Author), Ting Wang (Author), Richard Maxwell (Author)

http://www.amazon.com/Global-Hollywood-No-Toby-Miller/dp/1844570398

Anónimo dijo...

http://www.lawrencesuid.com/journal.html

Lawrence H. Suid
Journal Articles

“Battle Scar,” TimeOut New York” July 24-31, 2003

“Windtalkers Sends Wrong Message,” Naval History, October, 2002

“Hollywood, the Marines, and the Korean War,” Marine Gazette, March, 2002

“A Terrible Resolve,” Naval Institute Proceedings, December, 2001

“Pearl Harbor, More or Less,” Air Power History, Fall, 2001

“The Date of Infamy on Screen,” After the Battle, September, 2001

“Pearl Harbor: Bombed Again,” Naval History, August, 2001

“Pearl Harbor Comes to the Big Screen,” Naval History, June, 2001

“U-571, Plausible Fiction?” Naval History, October, 2000

"Hollywood Goes to Annapolis," Naval History, September, 1995

"Kennedy, Apollo, and the Columbus Factor," Spaceflight, London, England, July, 1994

"Man in Space, Images and Reality," Spaceflight, London, 1989

"Lights! Camera! NASA," Space World, June, 1987

"Hollywood and the Bomb," Air University Review, January-February, 1986

"TV's 'Call to Glory’: The Air Force's Hollywood Comeback," Air University Review, November/December, 1984

"Hollywood and Vietnam," Air University Review, January-February, 1983

"Oppenheimer and Television History," Air University Review, November /December, 1982

"King Kong and the Military," American Classic Screen, July/August, 1977

"Hollywood Pentagon," High Times, December 1976

"The Making of The Longest Day," Journal of Popular Film, Nos. 3 & 4, 1976

Anónimo dijo...

http://www.lawrencesuid.com/newspaper.html

Lawrence H. Suid
Newspaper Articles

"Historians Dissect War in Iraq," The San Francisco Chronicle, October 29, 2004

“U-571 and Appropriating History,” The Los Angeles Times, April 25, 2000

“When Germans Were Enlisted For an Image War,” The Washington Post, November 8, 1998

"The Bomb's Fallout on the Public," The Los Angeles Times, August 4, 1985

“Beating the Grim Reaper in Hollywood, “ Newsletter, The Washington Film Council, Feb., 1984

"History By Television, Believe It or Not," The Washington Post, June 27, 1982

"Military Shoots Down Inchon,” The Cleveland Plain Dealer, August 30, 1981

"Hollywood on Vietnam: Lost War in Celluloid," The Washington Star," October 7, 1979

"Light at End of Tunnel for Apocalypse Now," The Cleveland Plain Dealer, August 19, 1979

"A Fascination with the Old C&O Canal," The Boston Globe, February 18, 1979

"Walk in Quiet Wilderness Along the Towpath of the Old C&O Canal," The Los Angeles Times, July 30, 1978

"War Films--The Sword Cuts 2 Ways," The Los Angeles Times, July 30, 1978

"Hollywood and Vietnam: The Pentagon is Nervous," The Boston Globe, July 9, 1978

"Enola Gay Awaiting a Home in History," Kansas City Star, June 29, 1978

"Pentagon Reviewing Assistance Policy for War Films," The Los Angeles Times, June 25, 1978

"The Celluloid Cold War," The Washington Post, June 25, 1978

"Military is Firmly Entrenched," The Cleveland Plain Dealer, May 14, 1978

"Coppola Stages His Vietnam War," The Los Angeles Times, October 23, 1977

"The Air Force Just Couldn't Be a Villain and Kill Kong," The San Francisco Chronicle, December 5, 1976

"What Part Does the Pentagon Play?" New York Times, June 13, 1976

Anónimo dijo...

http://www.youtube.com/watch?v=jK25P3KgCDI

Reel Military - RECON - Part 3

A look into the relationship between Hollywood and the Military

Recon, an original Pentagon Channel series, is a monthly half-hour informational television program providing an in-depth look on a variety of topics from real world operations, missions, military events / history and other subjects highlighting the accomplishments of U.S. military men and women.

Anónimo dijo...

Pentagon Pays Screenwriters, Eyes Craigslist

http://defensetech.org/2007/01/03/pentagon-pays-screenwriters-eyes-craigslist/

Anónimo dijo...

Hollywood: The Pentagon's new advisor

http://news.bbc.co.uk/2/hi/programmes/panorama/1891196.stm

Anónimo dijo...

The truth about Jessica

John Kampfner
The Guardian, Thursday 15 May 2003 08.27 BST

http://www.guardian.co.uk/world/2003/may/15/iraq.usa2

Anónimo dijo...

THE RISE OF THE MILITARY-ENTERTAINMENT COMPLEX.
Will it make us indifferent to warfare?
Manjeet S. ardesi
27 October 2004

http://www.rsis.edu.sg/publications/Perspective/IDSS542004.pdf

Anónimo dijo...

Pentagon/Hollywood secret ties

http://www.mail-archive.com/libertarian@yahoogroups.com/msg19342.html

Anónimo dijo...

s post
Next post
Hollywood’s Secret Meet

* By Sharon Weinberger
* March 16, 2007 |
* 7:41 am

http://www.wired.com/dangerroom/2007/03/foiled_by_foia_/#ixzz11w7dm9yM

http://www.wired.com/dangerroom/2007/03/foiled_by_foia_/

Anónimo dijo...

The Hollywood War Machine: U.S. Militarism and Popular Culture

* Carl Boggs
* Tom Pollard

Description

In this unique book, the authors provide a hard-hitting, radical critique of the growing culture of American militarism, focusing on the post–Cold War years. Analyzed in historical context and drawing on a broad mix of theoretical, political, and cultural sources, The Hollywood War Machine explores the U.S. film industry and its deepening impact on the popular and political culture. Through the lens of filmmakers like Steven Spielberg, Michael Bay, Jonathan Mostrow, Edward Zwick, Tony Scott, and John Woo, the volume deconstructs the narratives and images of nearly 200 combat and war-related movies, along with related consumer fare such as television and video games, in the context of the permanent war economy, security state, recurrent military interventions abroad, and the expansion of U.S. global power. Topics include cinematic representations of terrorism, the return of “good war” motifs, the phenomenon of disguised militarism, the relationship between cinema and technowar, depictions of the Gulf War and the current war in Iraq, and general media spectacles of warfare as well as unique perspectives on films related to World War II, the Cold War, and Vietnam.

Anónimo dijo...

La política encubierta de Hollywood

Matthew Alford y Robbie Graham

http://www.rebelion.org/noticia.php?id=81573

Anónimo dijo...

Are You Sure You Want to Watch TV?

Homeland Security is Brainwashing You!

Homeland Security-Hires-Hollywood Liaison

US Homeland Security Department hires liaison to work with movie makers: report

http://www.jesus-is-savior.com/Evils%20in%20Government/Police%20State/homeland_security_brainwashing.htm

Anónimo dijo...

May 2005

Department of Homeland Security
Hires Hollywood Liaison

Salary: GS-15 (over $100,000)

http://webcache.googleusercontent.com/search?q=cache:sbY_rcQ8xWsJ:hensarling.house.gov/RSC/doc/100406_hollywood_liaison.doc+Bobbie+Faye+Ferguson&cd=16&hl=es&ct=clnk&gl=pe&client=firefox-a

Anónimo dijo...

"Homeland Security USA"

http://www.thedemocraticstrategist.org/strategist/2009/01/homeland_security_usa.php

Anónimo dijo...

A Homeland Security Job in Hollywood

http://lists.extropy.org/pipermail/extropy-chat/2004-March/005167.html

DEPARTMENT OF HOMELAND SECURITY
Office of Public Affairs
Entertainment Liaison Office

JOB ANNOUNCEMENT #DHSHQYR04-150

Director, Office of Public Affairs, Entertainment Liaison

Anónimo dijo...

Kal Penn tackles a new role: White House liaison
The star of 'House' and 'Harold & Kumar' agrees to serve as associate director of the White House Office of Public Liaison.
April 10, 2009|TINA DAUNT

http://articles.latimes.com/2009/apr/10/entertainment/et-cause10

Anónimo dijo...

Critics denounce DHS decision to search for entertainment liaison

Douglas Quenqua
March 29, 2004

http://www.prweekus.com/pages/login.aspx?returl=/critics-denounce-dhs-decision-to-search-for-entertainment-liaison/article/49204/&pagetypeid=28&articleid=49204&accesslevel=2&expireddays=0&accessAndPrice=0

Anónimo dijo...

Department of Homeland Security
Management Directive System
MD Number: 2231
Issue Date> 02/28/2995

Participation of the Department of Homeland Security with Film and Television Productions

http://www.dhs.gov/xlibrary/assets/foia/mgmt_directive_2231_participation_of_the_department_of_homeland_security_with_film_and_television_productions.pdf

Anónimo dijo...

U.S. DEPARTMENT OF JUSTICE
DRUG ENFORCEMENT ADMINISTRATION
TARGET AMERICA:
TRAFFICKERS, TERRORISTS & YOUR KIDS

A NATIONAL SYMPOSIUM ON NARCO-TERRORISM
Hosted by the DEA Museum & Visitors Center

Tuesday, December, 4, 2001
10:04 a.m.

DEA Headquarters
700 Army Navy Drive
Arlington, Virginia

http://www.targetamerica.org/downloads/symposium_transcript.pdf

P R O G R A M
PAGE
Welcoming Remarks
William Alden, President, AFFNA DEA Museum
Museum 3
Asa Hutchinson, DEA Administrator 5
General Remarks
Congressman Mark Souder 9
Opening Remarks
Moderator: Mr. Robert Novak 20
Panelist Remarks
Mr. Raphael Perl, Policy Analyst,
Congressional Research Service 23
Mr. Steven Casteel, Assistant
Administrator for Intelligence, DEA 32
Mr. Larry Johnson, Principal,
Berg Associates, LLC 44
General Jose Rosso Serrano, Retired,
Colombian National Police 53
Mr. Stephen Pasierb, President,
Partnership for a Drug-Free America 62
Mr. Brian Dyak, President, Entertainment
Industries Council 75
Opening Questions & Discussion with
Panelists 85
Questions & Discussion with Audience
Members 98
Conclusion and Future Plans
Peter Bensinger, Former DEA Administrator 120

Anónimo dijo...

Meme Warfare in the Movies

Behind the magic of film lurks the dark power of corporate public relations.

* Matthew Alford
* Robbie Graham
* 22 May 2009

https://www.adbusters.org/magazine/83/meme_warefare_in_movies.html

Anónimo dijo...

The Entertainment Industry's Dystopia of the Future
Commentary by Richard Esguerra

April 14th, 2010

http://www.eff.org/deeplinks/2010/04/entertainment-industrys-dystopia-future

"Federal agents working on Hollywood's clock

The planned release of a blockbuster motion picture should be acknowledged as an event that attracts the focused efforts of copyright thieves, who will seek to obtain and distribute pre-release versions and/or to undermine legitimate release by unauthorized distribution through other channels. Enforcement agencies (notably within DOJ and DHS) should plan a similarly focused preventive and responsive strategy. An interagency task force should work with industry to coordinate and make advance plans to try to interdict these most damaging forms of copyright theft, and to react swiftly with enforcement actions where necessary.

This is perhaps the most revealing of the proposals: big Hollywood studios deputizing the FBI and Department of Homeland Security to provide taxpayer-supported muscle for summer blockbuster films. Jokes have been made about SWAT team raids on stereotypical file-sharers in college dorm rooms — but this entertainment industry request to "interdict...and to react swiftly with enforcement actions" brings that joke ridiculously close to reality. "

Anónimo dijo...

FEDERAL BUREAU OF INVESTIGATION
WASHINGTON FIELD OFFICE (WFO)

Working with the Office of Public Affairs

http://washingtondc.fbi.gov/opa.htm

The Office of Public Affairs in the Washington Field Office (WFO) supports the FBI’s operational priorities by facilitating publicity that encourages helpful public action and that increases public awareness to prevent or solve acts of terrorism or crimes. It also coordinates and develops relationships with the news media and with the publishing, motion picture, television, radio and entertainment industries to promote Bureau accomplishments and ensure that depictions of the FBI are accurate and factual in regard to our policies and practice.

Anónimo dijo...

http://www.roryoconnor.org/blog/2007/06/06/fbi-101/

FBI 101

“LOCK UP THE DATE!” the invitation commanded — clear evidence that at least someone in the bowels of the federal bureaucracy has a sneaky sense of humor. The event in question — “FBI 101” — promised “Essentials for Writers,” an “exciting and informative” interactive workshop for writers being offered to members of my union — the Writers Guild of America, East – by the FBI Office of Public Affairs and FBI New York.

In addition to the usual motley assemblage of scruffy WGAE ne’er-do-wells, attendees from the Bureau included experts in evidence response, crisis management, counterterrorism, and weapons of mass destruction, among other disciplines. The seminar’s stated purpose was to “learn how to accurately depict today’s FBI and how we can help you with your script or screenplay.”

Anónimo dijo...

page 108

Book Reviews
Lessons from the Silver Screen: Must-See Movies for Military Lawyers
Major Ann B. Ching

http://www.loc.gov/rr/frd/Military_Law/pdf/01-2010.pdf

Anónimo dijo...

http://www.ejumpcut.org/archive/onlinessays/JC09folder/ColdWarFilms.html

The film industry responds to
the Cold War, 1945-1955
Monsters, spys, and subversives

by Lawrence L. Murray

from Jump Cut, no. 9, 1975, pp. 14-16
copyright Jump Cut: A Review of Contemporary Media, 1975, 2004

Movies which expressed the film industry’s recognition of and response to the cold war came in a variety of forms and guises, which can be grouped together under four general headings. Common to all the films regardless of category was intense chauvinism coupled with strident anti-communism, factors which a content analysis of various productions will show.

Anónimo dijo...

http://www.fbi.gov/news/stories/2008/october/writers_100608

From Fact to Fiction
Giving Writers an Inside Look at the FBI

10/06/08

Imagine you’re a writer working on a film or television script about the FBI, but you really know very little about us beyond what you’ve seen in other movies or TV shows.

What do you do? For decades, you’ve been picking up the phone and calling us. Every year, in fact, we get calls from hundreds of writers, directors, and producers seeking our advice and guidance.

We are happy to help, because we understand that the entertainment industry plays a key role in educating the public about our mission to keep the nation safe from terrorists and criminals. And we know that the more educated people are about the Bureau, the more likely they will help us solve—and prevent—crimes and terror attacks.

Any writer or producer can ask about our procedures, our history, and our cases in the public domain. They are not required to consult with us, though, and we don’t edit or approve their work. As a result, some story lines about the FBI are relatively accurate, while others, well, not so much.

Anónimo dijo...

Militarizing the Homeland
Thursday 06 August 2009
by: Dahr Jamail and Jason Coppola,
t r u t h o u t | Perspective

http://www.truth-out.org/080609A

Anónimo dijo...

CIA-SENDERO LUMINOSO: GUERRA POLÍTICA

Autor: Andreo Matías.

http://xa.yimg.com/kq/groups/8741562/1582680706/name/CIA

Anónimo dijo...

CIA-SENDERO LUMINOSO: GUERRA POLÍTICA

Autor: Andreo Matías.

http://xa.yimg.com/kq/groups/8741562/1582680706/name/CIA

Anónimo dijo...

CIA: The Forbidden Fruit of Hollywood

Josh Black

http://webcache.googleusercontent.com/search?q=cache:Z8MwdG70gBsJ:perplexcitywiki.com/wiki/Tales_From_Earth:CIA_The_forbidden_fruit_of_Hollywood+intelligence+community+hollywood&hl=es&client=firefox-a&gl=pe&strip=1

Anónimo dijo...

http://www.c4i.org/spysats.html

A LOOK AT . . . Spy Satellites & Hollywood

By Dwayne A. Day
Sunday, July 2, 2000; B03
The Washington Post

Originally posted at: http://www.washingtonpost.com/wp-dyn/articles/A33942-2000Jul1.html

Anónimo dijo...

http://www.airpower.maxwell.af.mil/airchronicles/aureview/1983/jan-feb/suid.html

Air University Review, January-February 1983
Hollywood and Vietnam

Dr. Lawrence H. Suid

Anónimo dijo...

http://ics.leeds.ac.uk/papers/pmt/exhibits/2072/Hollywood.pdf

PROPAGANDA TOOL: THE HOLLYWOOD WAR MOVIE AND ITS USURPATION BY TV

Liutenant Colonel Bob Osborne, SC

Liutenant Colonel R. Eiserman
Project Advisor

CHAPTER III:
HOLLYWOOD---WARTIME PROPAGANDA MACHINE...15
Hollywood and Government Influence...16
Intravention and Preparedness...18
Hollywood As A Weapon...21

Anónimo dijo...

"GIGANTIC ENGINES OF PROPAGANDA": THE 1941 SENATE INVESTIGATION OF HOLLYWOOD.
Historian, Summer, 2001, by John E. Moser

http://ics.leeds.ac.uk/papers/vp01.cfm?outfit=pmt&folder=933&paper=1129

Anónimo dijo...

We'll always have the movies: American cinema during World War II

Escrito por Robert L. McLaughlin

http://books.google.ru/books?id=_FhXmwiyHqAC&pg=PA21&lpg=PA21&dq=motion+picture+committee+cooperative+for+national+defense&source=bl&ots=3WXyqLKjUF&sig=USRTVAhPr1nK7ztlsPPZ3gXd9tI&hl=es&ei=_HQWTd6fNIX6lwfS1tXsAg&sa=X&oi=book_result&ct=result&resnum=4&ved=0CCsQ6AEwAw#v=onepage&q=motion%20picture%20committee%20cooperative%20for%20national%20defense&f=false

Anónimo dijo...

The Motion Picture Industry During World War II - Hollywood and Washington, Entertaining the Troops, Foreign Markets, The Antitrust Campaign, Labor


http://encyclopedia.jrank.org/articles/pages/2921/The-Motion-Picture-Industry-During-World-War-II.html

Anónimo dijo...

CONFESSIONS OF A HOLLYWOOD PROPAGANDIST: HARRY WARNER, FDR AND CELLULOID PERSUASION.

Por NANCY SNOW

http://www.learcenter.org/pdf/WWSnow.pdf

Anónimo dijo...

Mendez, Antonio J., "A Classic Case of Deception", Stud. Intel. Winter 1999/2000:1-16, PDF [1.3MKB*]

https://www.cia.gov/library/center-for-the-study-of-intelligence/kent-csi/vol43no3/pdf/v43i3a01p.pdf

o...

http://www.dtic.mil/cgi-bin/GetTRDoc?Location=U2&doc=GetTRDoc.pdf&AD=ADA525147

Anónimo dijo...

http://books.google.com/books?id=hPwdhDUGsqcC&printsec=frontcover&dq=American+films+abroad:+Hollywood%27s+domination+of+the+world%27s+movie+screens&hl=es&ei=3dYbTba6IsX_lgfTp8mKDA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCcQ6AEwAA#v=onepage&q&f=false

American films abroad: Hollywood's domination of the world's movie screens ...

Escrito por Kerry Segrave

Preface:
This book traces the history of American films abroad from the late 1890s to 1995, concentrating on how the U.S. industry came to control the world's film screens and how it maintained that domination. Emphasis is on the cartel formed by the eight major Hollywood studios - its leadership, its philosophy, its block booking practices, its control over both the exhibition and the distribution sectors and its relationship with the government deparments of State and Commerce. While the cartel has long proclaimed that the industry functions without government subsidy, it has received massive indirec goverment aid in various ways. This book tells how other nations have tried to fight U.S. domination over the years and how the cartel has responded.

Anónimo dijo...

http://www.veteranstoday.com/2010/12/27/edmund-connelly-the-evil-among-us-liam-neeson-in-%E2%80%9Ctaken%E2%80%9D/

Edmund Connelly: The Evil Among Us: Liam Neeson in “Taken”

December 27, 2010

GOOD FILM, BAD INTENT…MOVIES AS PSYOPS

Anónimo dijo...

https://secure.gn.apc.org/members/www.bilderberg.org/phpBB2/viewtopic.php?p=5319&sid=01c396d97758f3c3d9606ccb8f3bba78

Hidden Secrets of the Alpha Course by John D. Christian in New Zealand

excerpt (from page 29):

British Control of Hollywood

Anónimo dijo...

http://educationforum.ipbhost.com/index.php?showtopic=13699

The CIA and Hollywood

Anónimo dijo...

http://www.ubcpress.com/company/sampleproposal2.pdf

"The New Imperial Cultural Industry"

Anónimo dijo...

http://www.holocaustdenialvideos.com/bsources.html

Buchenwald Flyer Sources

WWII: The Holocaust Hoax by American Psychological Warfare Units.
-------------
Holocaust Denial Videos
9 hours of free web video about how the holocaust is a hoax.

http://www.holocaustdenialvideos.com/

Anónimo dijo...

http://science.dodlive.mil/2010/05/20/pentagons-entertainment-office-brings-military-science-to-hollywood/

Written on MAY 20, 2010 AT 7:39 AM by JOHN OHAB
Pentagon’s Entertainment Office Brings Military Science to Hollywood

Anónimo dijo...

http://www.defense.gov/news/newsarticle.aspx?id=45674


DoD, USO Pay Tribute to Film Industry

By Linda D. Kozaryn
American Forces Press Service
BEVERLY HILLS, Calif., Dec. 4, 2000

– Military entertainers took the spotlight here in late November, turning the tables on some of the Hollywood stars who've entertained America's troops for nearly 60 years.

DoD and the USO joined forces to host a military concert Nov. 30 at the Beverly Hilton Hotel. Defense Secretary William S. Cohen, his wife, Janet Langhart Cohen, and United Services Organization President retired Army Gen. John H. Tilelli paid tribute to the Hollywood film industry.

Johnny W. Grant, ceremonial mayor of Hollywood and veteran of 54 USO shows, served as master of ceremonies. "In six decades, literally hundreds, perhaps thousands, of professional entertainers have generously shared their talents with our GIs," he said.

...

Anónimo dijo...

http://www.lettersfromhollywood.army.mil/lfh/


Hello Troops
It's been my very good fortune to meet so many of you, the men and women in uniform serving our country. I've seen first hand the great work you do all around the world under dangerous and often very challenging conditions. I'm extremely grateful for the sacrifices you and your families make every day to keep America safe.

I've come across many other people in show business who also support you. Quietly appreciate the admirable reasons you volunteered and the ideals you uphold. And that's what Letters From Hollywood is all about. Giving some of these folks a way to reach you.

Every week, you're going to hear from a different person. Actors, writers, directors, technicians. Patriots. People who GET what you do. And want to say thanks. Because what you're doing deserves it.

D.B. Sweeney

Anónimo dijo...

http://www.defense.gov/speeches/speech.aspx?speechid=852

Presentation of Civilian Patriot Award to Jack Valenti, President of the Motion Picture Association of America

Remarks as Delivered by Secretary of Defense William S. Cohen, Beverly Hilton Hotel, Beverly Hills, California, Thursday, November 30, 2000

(...)
I would like to take this evening to express our thanks to all the members of the armed forces who are with us, including our dedicated military liaisons. They serve as the bridge between Washington and Hollywood, and I’d like to have them stand as we say thanks to you as well. [Applause.]

(...)

The film industry plays a critical role. On the way in, a number of the television reporters were asking us, "Why are you doing this? Why are you here in Hollywood?" Well, Hollywood has played a role in the security of this country throughout our history. If you go back to World War I, it was the movie star celebrities who were helping to push those Liberty Bonds. If you look at World War II, many of the celebrities were raising over $1 billion to support that war effort. And then there are the film clips that we have seen here tonight—Saving Private Ryan by Steven Spielberg, U-571, The Perfect Storm, [and] Top Gun that Jerry Bruckheimer produced earlier. And we are going to witness another movie produced by Jerry with Michael Day, Pearl Harbor, coming out on Memorial Day. And, of course, there’s another great tribute to our military by Cuba Gooding, Jr. in Men of Honor.

The film industry is important in shaping what people think about our military and supporting them, and we wanted to be here to say something to Hollywood you don’t hear very often, and that’s "Thank you." Thank you for all that you do in portraying the men and women who serve us, their patriotism, their courage, their sense of honor. On behalf of all of us, we in the Pentagon want to say thank you to Hollywood. [Applause.]

(...)

We are celebrating a patriot in Jack Valenti. He is a veteran who flew 50 combat missions over Italy in World War II, who went on to public service in the White House with President Johnson, who has continued his service to this film industry but also to this country. And you know that he’s a man of great language and literature and passion and commitment. He has been a strong advocate on behalf of the men and women who are serving us in the military. So if we’re looking for a citizen patriot, at the very top of the list we take Jack Valenti for all that he represents.

(...)

Anónimo dijo...

http://www.usoshows.co.uk/
U.S.O. HISTORY
In 1941, the U.S. Army made a plea for entertainment for troops preparing for the war in training camps around the country. The Citizens Committee for the Army and Navy responded and, in May1941, sent out seven traveling show buses, bringing entertainment to service men in Army camps east of the Rockies.

Meanwhile, a Hollywood committee financed by agents and producers, and with the cooperation of the Screen Actors Guild, put on several large shows at military camps in California. But the demand for entertainment continued to increase.

Later that year, the Citizens Committee for the Army and Navy, the USO and show business representatives met to come up with a solution. The result was USO Camp Shows, Inc., officially launched Oct. 30, 1941, as a separate corporation affiliated with and supported by the USO. USO Camp Shows, Inc., was designated by the War and Navy Departments as the ”Official Entertainer” of the men and women of the armed forces. The USO’s tradition of bringing entertainment to service members around the world was born.

During the peak of action in 1945, USO Camp Shows were presenting 700 shows a day, with more than 300,000 performances overseas and in the United States, to an audience totaling more than 173 million. From 1941 to 1947, more than 7,000 performers put on 428,521 shows of all kinds. The entertainers included stars of screen, stage, radio and the concert stage, as well as vaudevillians and “unknown” entertainers who wanted to show their support for the troops.

(...)

Anónimo dijo...

http://www.uso.org/

See photos of Mark Wahlberg's visit overseas, gift-bearing convoys to Southwest Asia USOs, USO center celebrations and more.

Anónimo dijo...

http://www.pentagonchannel.mil/commandperformance/cp_aerosmith.shtml

COMMAND PERFORMANCE
Command Performance features military journalists taking you backstage with today's top entertainers for conversations with a uniquely military perspective.

Anónimo dijo...

JOHN FRANKENHEIMER

Esudios en
La Salle Military Academy

http://www.kirjasto.sci.fi/jfrank.htm

Fue parte del
2 Photographic Squadron
localizado en
Lockheed Air Terminal, Burbank, CA (CALIFORNIA), 1 Apr-16 Jun 1952

http://www.afhra.af.mil/factsheets/factsheet.asp?id=16315

Su servicio en la U.S. Air Force fue entre 1951 y 1953.

http://www.tcm.com/tcmdb/participant.jsp?spid=65276

Entre sus filmes:
"El Candidato de Manchuria" (1962) y "Domingo Negro" (1977).

Posible progenitor de MICHAEL BAY

http://www.foxnews.com/story/0,2933,57234,00.htm

Anónimo dijo...

http://www.whale.to/b/depraved_spies.html

The Depraved Spies and Moguls of the CIA's Operation MOCKINGBIRD

by Alex Constantine

Anónimo dijo...

http://www.eldiariointernacional.com/spip.php?article1148&var_recherche=cine

Los amos de la prensa I.
EL CONTROL DE LA PRENSA, RADIO Y TELEVISIÓN DE EEUU
Por: Ernesto Carmona.

Anónimo dijo...

HOLLYWOOD:THE AD

The techniques and the cartoon-like moral vision of television advertising are exerting more and more influence over American moviemaking

By Mark Crispin Miller

http://www.theatlantic.com/magazine/archive/1990/04/hollywood-the-ad/5005/

Anónimo dijo...

http://www.davidstuff.com/general/hollywood.htm

Real Hollywood Heros

WHAT HAPPENED TO THE WW II MOVIE STARS

Anónimo dijo...

http://www.jamesewise.com/about_james_wise.htm

James E. Wise Jr. became a naval aviator in 1953 following graduation from Northwestern University. He served as an intelligence officer aboard USS America and later as the commanding officer of various naval intelligence units. Since his retirement from the U.S. Navy in 1975 at the rank of captain, he has
held several senior executive posts in private-sector companies in the Washington, D.C. area. A resident of Alexandria, Virginia, Wise is the coauthor of many books published by the Naval Institute Press, including Shooting the War: The Memoir and Photographs of a U-boat Officer in World War II, Stars in Blue, Stars in the Corps, Stars in Khaki, and International Stars at War, which he coauthored with Scott Baron. His other Books include U-505 The Final Journey, Sole Survivors of the Sea, Sailor's Journey into War, and James Arness an autobiography that he helped Arness write.

Anónimo dijo...

http://www.usmccca.org/m/bios/hatch-norm

Norman T. Hatch
Alexandria, Virginia

Over 64 years experience in the photographic/public information professions with local, national and international responsibilities. Have studied and worked with “Time-Life”, “March of Time” in New York,
at Warner Bros. Studios, 20th Century Fox Studios, Technicolor Labs and Disney Studios in Hollywood.

Responsibilities included public information specialist, motion picture cameraman, film & TV producer, photographic industry representative to government, Chief, AV Division, OASD(PA) & 15 years as the senior audio visual advisor to the Secretary of Defense. A consultant to the White House Press Office during four administrations and to the House and Senate Photo and Television Galleries in the National Capital. Through all of these diversified assignments the requirements demanded that policy development, planning, management and implementation of knowledge and resources be extensive and politically astute!

Some past and present clients: Universal Studios, Hollywood; Nagai Institute of Special Studies, Japan; Radio Television Suisse Romand; Austrian TV; One Way Productions, Hollywood; General Mills; World Photo Press, Tokyo, Interarms, Alexandria, VA. and Benelli USA.

Military Service: Active 1939 – 1946, United States Marine Corps, English instructor, Marine Corps Institute; Assistant Editor, Leatherneck Magazine; Information Assistant, U.S. Navy Department, Office of Public Information; Combat cinematographer, Photographic Officer for 2nd and 5th Marine Divisions; Director of Photography for the Marine Corps, Headquarters, USMC. Total 41 years active regular and reserve service. Engagements – Tarawa, November 1943 and Iwo Jima, February 1945, Occupation of Japan (Nagasaki) September 1945. Retired as a Major, USMCR.

Awards: 1944 Academy Award, Most Outstanding Documentary Short, “With the Marines at Tarawa.”
Award presented to USMC. Was primary combat cinematographer.
1944 Navy Commendation for Tarawa
1945 Bronze Star for Iwo Jima
1946 National Headliners Award for combat photography in WWII
1979 Secretary of Defense Meritorious Award

Anónimo dijo...

http://english.aljazeera.net/programmes/empire/2010/12/2010121681345363793.html

Empire
Hollywood and the war machine
Empire examines the symbiotic relationship between the movie industry and the military-industrial complex.

War is hell, but for Hollywood it has been a Godsend, providing the perfect dramatic setting against which courageous heroes win the hearts and minds of the movie going public.

The Pentagon recognises the power of these celluloid dreams and encourages Hollywood to create heroic myths; to rewrite history to suit its own strategy and as a recruiting tool to provide a steady flow of willing young patriots for its wars.

What does Hollywood get out of this 'deal with the devil'? Access to billions of dollars worth of military kit, from helicopters to aircraft carriers, enabling filmmakers to make bigger and more spectacular battle scenes, which in turn generate more box office revenue. Providing they accept the Pentagon's advice, even toe the party line and show the US military in a positive light.

So is it a case of art imitating life, or a sinister force using art to influence life and death - and the public perception of both?

Empire will examine Hollywood, the Pentagon, and war.

Joining us as guests: Oliver Stone, the eight times Academy Award-winning filmmaker; Michael Moore, the Academy Award-winning filmmaker; and Christopher Hedges, an author and the former Middle East bureau chief of the New York Times.

Our interviewees this week are: Phil Strub, US Department of Defense Film Liaison Unit; Julian Barnes, Pentagon correspondent, LA Times; David Robb, the author of Operation Hollywood; Prof Klaus Dodds, the author of Screening Terror; Matthew Alford, the author of Reel Power; Prof Melani McAlister, the author of Culture, Media, and US Interests in the Middle East.

This episode of Empire can be seen from Wednesday, December 22 at the follwing times GMT: Wednesday: 1900; Thursday: 1400; Friday: 0300; Saturday: 1900.

Anónimo dijo...

http://www.youtube.com/user/AlJazeeraEnglish#p/search/0/sQSpHi7OOHA

Empire - Hollywood: The Pentagon calls the shots

Hollywood and the war machine: A look at the Pentagon's influence on the film industry

Anónimo dijo...

http://www.youtube.com/user/AlJazeeraEnglish#p/search/2/9yVH-cFXTYo

De: AlJazeeraEnglish | 23 de diciembre de 2010 | 2707 reproducciones

Empire - Hollywood: Chronicler of War

Empire looks at the Hollywood chronicling wars and asks if it is a case of art imitating life, or a sinister force using art to influence life and death - and the public perception of both?

Anónimo dijo...

http://books.google.ru/books?id=Nj3aVxRaZuwC&pg=PA202&lpg=PA202&dq=firefox+movie+air+force&source=bl&ots=Tjk3jGfOom&sig=WQl9b861Y7NvJDtgAvIX_OrSwKs&hl=es&ei=K7tITdyrOoWglAfq06CTBA&sa=X&oi=book_result&ct=result&resnum=4&ved=0CC0Q6AEwAzgU#v=onepage&q=firefox%20movie%20air%20force&f=false

Clint Eastwood: a cultural production Escrito por Paul Smith

Eastwood:
"the military cooperated with the making of the film, so we thought that a benefit would be appropriate"

Anónimo dijo...

http://www.usamilitarybenefits.com/military-bases/edwards-afb.html

The movies, The Right Stuff and Firefox, both filmed scenes at Edwards AFB.

Anónimo dijo...

http://www.coastcomp.com/av/fltline2/avmovie.htm

Military Aviation Movie List

Initially Compiled by Marshall Cram

HTML Conversion by Michael Brunk

Additional material and formatting by Bob McKellar

Anónimo dijo...

http://www.airspacemag.com/history-of-flight/x15-movie.html

HISTORY OF FLIGHT
X-15: The Hollywood Version
Charles Bronson starred. The Pentagon had a few minor corrections.
By airspacemag.com
Air & Space Magazine, August 01, 2007

"
(...)
In September 1960, producer Hank Sanicola at Essex requested access to X-15 footage. At this point, Lazzarino was in the middle of a rewrite, presumably to add the latest X-15 data. The final shooting script is dated April 7. Richard Donner (best known today for the Lethal Weapon and Superman franchises) directed. Narrator Brigadier General James Stewart introduced the film to moviegoers.

The following letter shows just how involved the Pentagon was in helping the producers do justice to the subject.

Department of the Air Force, Washington
Office of the Secretary
18 November 1958
Memorandum for Chief, Production Branch Audio-Visual Division, Office of News Services
Subject: “Exit”

Objections

1. The story outlines placing a man in orbit on a crash basis because of a desire on the part of the government to “top” the Russian Sputnik. Neither promise does credit to the government or the U.S. Air Force and the latter is no longer valid. We recommend that some other premise be established and suggest that the reason for the fast pace is a breakthrough in propellants which makes space flight possible.

2. The participating pilots appear to add very little to the program except their presence. They are tested, probed and finally given the seal of approval with almost no evidence of having contributed to the program itself. This trend is noted in the following dialogue. Scene 132, page 67: Dr. Anthony says, “I’ll have someone ready by Saturday.” Scene 134, page 67, Dr. Anthony again says, “If anything at all goes wong before the drop…I want you to abort the mission.” The pilot answers, “Right, Sir, thank you!” The total impression is that the pilot is another piece of complicated equipment that is to be modified, perfected, and then brought out to take its place at the right time with the rest of the machinery. We believe this downgrades our pilots to a great extent considering the fact that they are engineers and have worked with the factory throughout the production of the aircraft. In addition the pilot’s tests seem solely to be concerned with their physical aptitude and ability. Nothing indicates either a mental aptitude, ability, or any contribution which they had made to the project.

(...)"

Anónimo dijo...

http://www.thefreelibrary.com/Filming+The+Longest+Day%3A+conflicting+interests+%281%29.-a0140835702

"The production of The Longest Day depended on cooperation from four governments and four militaries to accurately re-present D-Day. As Cornelius Ryan himself predicted, the film's view of D-Day will never be matched because in future years the equipment used on both sides will not be available (Ryan to Crouch). Working with four militaries involved intricate negotiations, with Zanuck constantly assuring each of them that the others were firmly supportive of his plans. Zanuck was in a strong position as a World War II veteran who was on a first-name basis with many high-ranking American, British, and French officers. Also, Twentieth Century-Fox had a positive and mutually beneficial relationship with the US Department of Defense. Fox's main liaison with the DOD was Frank McCarthy, later the producer of Patton, who had been an assistant to General George C. Marshall during World War II. For The Longest Day, Zanuck launched his bid for American cooperation by contacting General Lauris Norstad, the American commander of NATO, rather than going through channels in Washington (Norstad to Sylvester). This caused some resentment within the Department of Defense but also showed that Zanuck had a powerful patron. Substantial cooperation was granted by DOD, including the use of consultants, equipment, and soldiers as well as permission to film a US Navy exercise off Corsica (Norstad to Secretary of Defense)."

Anónimo dijo...

http://www.michaelyon-online.com/images/pdf/media.pdf

JUL 2 2010

Anónimo dijo...

http://www.ratical.org/ratville/JFK/JohnJudge/linkscopy/CBD.html

Collateral Brain Damage?
The Hollywood Propaganda Ministry

by Alex Constantine, Scheduled for the July 2002 issue of High Times

Anónimo dijo...

http://www.lewrockwell.com/orig/sardi12.html

Hollywood's New War Flicks

by Bill Sardi

Anónimo dijo...

http://www.reelbadarabs.com/synopsis.html

Reel Bad Arabs: How Hollywood Vilifies a People

"SYNOPSIS

This groundbreaking documentary dissects a slanderous aspect of cinematic history that has run virtually unchallenged from the earliest days of silent film to today's biggest Hollywood blockbusters. Featuring acclaimed author Dr. Jack Shaheen, the film explores a long line of degrading images of Arabs--from Bedouin bandits and submissive maidens to sinister sheikhs and gun-wielding "terrorists"--along the way offering devastating insights into the origin of these stereotypic images, their development at key points in US history, and why they matter so much today.

Shaheen shows how the persistence of these images over time has served to naturalize prejudicial attitudes toward Arabs and Arab culture, in the process reinforcing a narrow view of individual Arabs and the effects of specific US domestic and internationl policies on their lives. By inspiring critical thinking about the social, political, and basic human consequences of leaving these Hollywood caricatures unexamined, the film challenges viewers to recognize the urgent need for counter-narratives that do justice to the diversity and humanity of Arab people and the reality and richness of Arab history and culture."

ABOUT DR. JACK SHAHEEN

"Internationally acclaimed author and media critic, Dr. Jack G. Shaheen, is a committed internationalist and a devoted humanist. A Pittsburgh native and former CBS news consultant on Middle East Affairs, Shaheen’s lectures and writings illustrate that damaging racial and ethnic stereotypes of Asians, blacks, Native Americans and others injure innocent people. He defines crude caricatures, explains why they persist, and provides workable solutions to help shatter misperceptions."

http://www.reelbadarabs.com/ReelBadArabs_PressKit.pdf

Anónimo dijo...

http://newpolitics.mayfirst.org/node/220

Carl Boggs
Summer 2006
Vol:XI-1 Whole #: 41

Anónimo dijo...

http://www.digitalhistory.uh.edu/modules/ww2/wartimehollywood.html#top

Anónimo dijo...

http://www.filmreference.com/encyclopedia/Romantic-Comedy-Yugoslavia/World-War-II-HOLLYWOOD-GOES-TO-WAR.html

Anónimo dijo...

http://pijamasurf.com/2010/09/psywar-historia-de-la-propaganda-o-como-te-han-lavado-el-cerebro/

Anónimo dijo...

http://findarticles.com/p/articles/mi_m0HZY/is_201001/ai_n52373658/

Anónimo dijo...

http://books.google.ru/books?id=EFy_OzhWq-EC&pg=PA80&lpg=PA80&dq=USIA+FILMMAKERS&source=bl&ots=PfljB3W0IX&sig=2ZHQXyQ18gAisO1WhTzRvJvKjZ0&hl=es&ei=UR9pTcyiO8T6lwfc8vSBAg&sa=X&oi=book_result&ct=result&resnum=7&ved=0CEkQ6AEwBg#v=onepage&q=USIA%20FILMMAKERS&f=false

ANTIHERO.
Award-winning documentaries about controversial subjects have been roadblocked by the US Information Agency, while films that tow the conservative line get the right-of-way- The courts call it censorship.

Column by Susanna Styron

Anónimo dijo...

http://articles.latimes.com/1988-05-17/news/mn-2972_1_cultural-film

USIA's Film Export Rules Declared Unconstitutional
May 17, 1988|Associated Press

Anónimo dijo...

http://muse.jhu.edu/journals/the_moving_image/v009/9.1.horne.html

The Moving Image
Volume 9, Number 1, Spring 2009
E-ISSN: 1542-4235 Print ISSN: 1532-3978
DOI: 10.1353/mov.0.0026
Experiments in Propaganda
Reintroducing James Blue’s Colombia Trilogy
Jennifer Horne

Anónimo dijo...

http://cisupa.proquest.com/ksc_assets/catalog/3445.pdf

A Guide to the Microfilm Edition of
INFORMATION CONTROL
AND PROPAGANDA:
RECORDS OF THE
OFFICE OF WAR
INFORMATION

Part I:
The Director's Central Files
1942-1945
Edited by
David H. Culbert
Guide compiled by
Janice H. Mitchell
A microfilm project of
UNIVERSITY PUBLICATIONS OF AMERICA, INC.
44 North Market Street • Frederick, Maryland 21701

Anónimo dijo...

http://www.voltairenet.org/article124110.html

Guerra Fría psicológica
Las ciencias de la dominación mundial
por Denis Boneau*

Denis Boneau
Periodista francés, miembro de la sección francesa de la Red Voltaire.

Anónimo dijo...

http://americanhistory.si.edu/victory/victory6.htm

Fighting For An Ideal America

Whether created by government or by corporations, the production-incentive posters conveyed social, economic, and political ideas through imagery. Throughout the war, the imagery on such posters celebrated the middle-class home, the traditional nuclear family, consumerism, and free enterprise. Pictures of men and women conveyed assumptions about the roles of each in victory and offered a vision of life in an ideal postwar period.

The Sheldon-Claire Company, a Chicago ad agency, produced a series of wartime posters extolling an idealized America.

http://americanhistory.si.edu/victory/index.htm#Contents

PRODUCE FOR VICTORY

Posters on the American Home Front (1941-45)

This exhibition was organized by the National Museum of American History, Smithsonian Institution, and the Smithsonian Institution Traveling Exhibition Service (SITES). It was designed, edited, and produced by the Office of Exhibits Central, Smithsonian Institution. This exhibition is no longer on view at the National Museum of American History. Please check the tour schedule for locations and dates for the traveling exhibition.

Anónimo dijo...

http://www.voltairenet.org/article126492.html#article126492

Estudio sobre las redes estadounidenses de influencia
Cuando la CIA financiaba a los intelectuales europeos

por Denis Boneau*

Anónimo dijo...

Hollywood Goes to War: How Politics, Profits and Propaganda Shaped World War II Movies

Escrito por Clayton R. Koppes,Gregory D. Black

http://books.google.com.pe/books?id=_MNa1E9-Zc4C&printsec=frontcover&dq=Hollywood+Goes+to+War:+How+Politics,+Profits+and+Propaganda+Shaped+World+War+II+Movies}&hl=es&ei=kcpzTcn2C8L6lwfi3ewo&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCcQ6AEwAA#v=onepage&q&f=false

Anónimo dijo...

http://www.whale.to/b/rosenberg_h.html

Albert G. Rosenberg

Anónimo dijo...

http://www.whale.to/b/buchenwald_v.html

BUCHENWALD A Dumb Dumb Portrayal Of Evil.

Anónimo dijo...

http://www.whale.to/b/skin_lamp_q.html

'Human skin' lampshades and Nazi shrunken heads psyop

Anónimo dijo...

http://books.google.com/books?id=OpQOAAAAQAAJ&pg=PA177&dq=U.S.+Army%27s+Psychological+Warfare+Division+billy+wilder&hl=es&ei=aUZ6Tc-JFZOJ0QH7mPjnAw&sa=X&oi=book_result&ct=result&resnum=8&ved=0CEQQ6AEwBzgK#v=onepage&q&f=false

The Political re-education of Germany & her allies after World War II

Escrito por Nicholas Pronay,Keith M. Wilson

Anónimo dijo...

http://regainyourbrain.org/regain_articles/FINAL%20REGAIN%20UNLINKED/psy%20ops%20ref%20books.htm

PSYCHOLOGICAL OPERATIONS
REFERENCE BOOKS

Anónimo dijo...

http://american_almanac.tripod.com/griffith.htm

D. W. Griffith and "The Birth of A Monster"
How The Confederacy Revived The KKK and Created Hollywood

by Mark Calney
Printed in The American Almanac, January 11, 1993

Anónimo dijo...

http://letsrollforums.com/beyond-dispute-intelligence-agencies-t23916.html

Anónimo dijo...

http://www.marxists.org/subject/africa/nkrumah/neo-colonialism/ch01.htm

Neo-Colonialism, the Last Stage of imperialism

Kwame Nkrumah 1965

Anónimo dijo...

http://globalresearch.ca/articles/CHO301A.html

This text is Part I in a two part series. Part II focuses on "Fabricating an Enemy"

by Michel Chossudovsky

Anónimo dijo...

http://en.wikipedia.org/wiki/Office_of_Strategic_Influence

Anónimo dijo...

http://news.bbc.co.uk/2/hi/americas/1830500.stm

By Tom Carver
Washington correspondent

Anónimo dijo...

http://www.fair.org/index.php?page=1859

Challenging Media Bias & Censorship Since 1986

Press Release

11/27/02

Anónimo dijo...

http://www.telegraph.co.uk/culture/8050580/Unsung-heroes-of-the-film-industry.html

Anónimo dijo...

Total Cold War: Eisenhower's Secret Propaganda Battle at Home And Abroad [Hardcover]
Kenneth Osgood (Author)

http://www.amazon.com/Total-Cold-War-Eisenhowers-Propaganda/dp/0700614451/ref=sr_1_1_title_1_h?s=books&ie=UTF8&qid=1300679482&sr=1-1

Anónimo dijo...

The Pentagon's battle for the American mind: the early Cold War
Escrito por Lori Lyn Bogle

http://books.google.ru/books?id=_FaHecxwFbQC&printsec=frontcover&dq=battle+la+propaganda+pentagon&source=bl&ots=AGR-d4cR8f&sig=yGYBxsM5v7Gp_1YldjiIEo_hRns&hl=es&ei=aM-GTfO7N6G00QHn84HLCA&sa=X&oi=book_result&ct=result&resnum=6&ved=0CEAQ6AEwBTgU#v=onepage&q=battle%20la%20propaganda%20pentagon&f=false

Anónimo dijo...

http://www.ety.com/HRP/letters/trenchmaf.htm

"The Trench Coat Mafia was made in Hollywood"

Anónimo dijo...

http://members.iimetro.com.au/~hubbca/media.htm

Anónimo dijo...

http://www.army.gov.au/ahu/docs/The_Korean_War_1950_1953_Badsey.pdf

THE KOREAN WAR 1950-53:
A 50 YEAR RETROSPECTIVE

PROPAGANDA, THE MEDIA, AND PSYCHOLOGICAL OPERATIONS: THE KOREAN WAR

By Stephen Badsey

Anónimo dijo...

http://es.scribd.com/doc/38026466/The-media-controls-how-and-what-we-think

Anónimo dijo...

http://www.sa.org.au/index.php?option=com_k2&view=item&id=4124:propaganda-parading-as-journalism&Itemid=543&tmpl=component&print=1

6 Dec 2010
Propaganda parading as journalism
John Pilger

Anónimo dijo...

http://www.globalissues.org/article/584/hearts-minds-and-dollars

Anónimo dijo...

http://old.disinfo.com/archive/pages/article/id1463/pg1/index.html

film melodrama and sociological propaganda
by Alex Burns
August 06, 2001

Anónimo dijo...

http://www.drlenhorowitz.com/Hollywood_and_Horowitz.htm

Hollywood and Horowitz

The Politics and Propaganda Behind the Silver Screen

Anónimo dijo...

http://vigilantcitizen.com/vigilantreport/mind-control-theories-and-techniques-used-by-mass-media/

Anónimo dijo...

http://blog.javidiani.com/2008/03/hollywood-propaganda-machine-of-us-in.html

Anónimo dijo...

http://iparte.com/forums/topic/120/it-s-not-just-science-fiction-i

It's Not Just Science Fiction, It's Military Propaganda

16 de marzo de 2011 19:19:03 EDT
Report

by Aaron Franz

Anónimo dijo...

http://www.forfurtherdetails.net/chronicles-of-conflict/termpapers/HaikeSchattka.pdf

THE DEPICTION OF THE WAR CORRESPONDENT IN HOLLYWOOD'S VIETNAM MOVIES

Oliver Koehler

Anónimo dijo...

http://es.scribd.com/doc/36251358/CIA-Covert-Warfare-amp-US-Foreign-Policy

CIA Covert Warfare & US Foreign Policy

Anónimo dijo...

http://www.uaff.us/0300066112.pdf

Secret Agencies
U.S. INTELLIGENCE IN A HOSTILE WORLD
Loch K. Johnson

Anónimo dijo...

http://sub-lim.blogspot.com/

Anónimo dijo...

http://www.programmingthenation.com/about.shtml

Anónimo dijo...

http://www.artistmike.com/Temp/SubliminalAd.html

Anónimo dijo...

Subliminal Messages and Bono 1of 6

http://www.youtube.com/watch?v=L87iNkFzR4k&list=PL4A27F828974F2CD5

Anónimo dijo...

http://www.upo.es/export/portal/com/bin/portal/departamentos/ghyf/contenidos/Areas/areas/HisAme/carpetarevistaamericania/numero1/1299675255199_la_ford_foundation_y_la_guerra_fria_cultural.benedetta_calandra.pdf

Anónimo dijo...

http://ciudadtecnicolor.files.wordpress.com/2010/08/0262013479-affecta.pdf

Steve Goodman
The MIT Press
Cambridge, Massachusetts
London, England
SONIC WA R FA R E
Sound, Affect, and the Ecology of Fear

Anónimo dijo...

http://www.sleeplearning.com/html/subliminal_message.htm

Anónimo dijo...

http://webcache.googleusercontent.com/search?q=cache:3tek0XKGJsMJ:www.marines.mil/unit/divpa/lapa/Pages/FAQ.aspx+liaison+office+motion+picture&cd=17&hl=es&ct=clnk&gl=ru&source=www.google.ru

Anónimo dijo...

http://www.marinecorpstimes.com/news/2009/01/marine_movie_010309w/

Anónimo dijo...

http://www.fastcodesign.com/1443804/inside-the-ied-battle-drill-how-hollywood-is-prepping-soldiers-for-roadside-attacks

Anónimo dijo...

http://www.defense.gov/news/newsarticle.aspx?id=46352

Military, Hollywood Team Up To Create Realism, Drama on Big Screen

By Donna Miles
American Forces Press Service

Anónimo dijo...

http://www.conspiracyarchive.com/Blog/?p=1077

An Offer They Couldn’t Refuse
The CIA is often credited with ‘advice’ on Hollywood films, but no one is truly sure about the extent of its shadowy involvement. Matthew Alford and Robbie Graham investigate

Matthew Alford - November 14 2008

Anónimo dijo...

http://www.icdc.com/~paulwolf/oss/ossmo.htm#arts

OSS - The Psychology of War

MORALE OPERATIONS BRANCH

Motion Pictures and the Arts

Communication Channels (1), June 8, 1943
----
MORALE OPERATIONS BRANCH
MODUS OPERANDI

Provisional Basic Field Manual
Use of Rumors
Bribery, Blackmail and Subsidy
Forged Documents
Airborne Leaflets
Poison Pen Letters
Coordination with OWI
Planting False Information in the News Media
Black Radio
Motion Pictures and the Arts
Other

Anónimo dijo...

http://www.icdc.com/~paulwolf/oss/ossrna.htm#subconscious

OSS - The Psychology of War

RESEARCH AND ANALYSIS BRANCH (R&A)

Morale and the Subconscious

Anónimo dijo...

http://www.icdc.com/~paulwolf/oss/motionpicturedraft.htm

THE MOTION PICTURE AS A WEAPON OF PSYCHOLOGICAL WARFARE

Anónimo dijo...

http://www.oilempire.us/mediacia.html

Media and CIA

Anónimo dijo...

http://www.whale.to/a/deserano.html

Information Control For Social Manipulation

The news and entertainment we consume, and thus our thoughts and opinions, are shaped not just by the media and entertainment corporations but by governments, their agencies and the military-industrial complex.

Extracted from Nexus Magazine, Volume 11, Number 2 (February-March 2004)

© 2003 by David B. Deserano, MS

Anónimo dijo...

http://www.fas.org/sgp/news/2001/05/nyt050601.html

The New York Times
May 6, 2001

Cameras Are Being Turned On a Once-Shy Spy Agency
By ELAINE SCIOLINO

Anónimo dijo...

A Look Back … Budd Schulberg: Documenting the Horrors of the Holocaust

https://www.cia.gov/news-information/featured-story-archive/budd-schulberg.html

Imagine having the opportunity to use your talent to bring to justice those who have committed horrifying crimes against humanity. Writer Budd Schulberg was presented with and seized such an opportunity when he served with the Field Photographic Branch of the Office of Strategic Services (OSS) — the forerunner of today’s CIA — during World War II. Schulberg helped gather evidence of the atrocities committed in Nazi concentration camps to present during the Nuremberg trials.


A Hollywood Prince

Schulberg was born Seymour Wilson Schulberg on March 27, 1914 in New York City. He was the son of B.P. Schulberg, head of Paramount Pictures. Schulberg spent most of his childhood in Hollywood, surrounded by movie stars.

During his adolescence, Schulberg returned to the East Coast to attend school at Deerfield Academy and Dartmouth College. During his college years, Schulberg was actively involved with The Dartmouth — the college newspaper — and The Jack-O-Lantern humor magazine. Schulberg graduated in 1936.

Three years later, he returned to Dartmouth to work with author F. Scott Fitzgerald on a screenplay set during Dartmouth’s Winter Carnival. Schulberg later wrote about this experience in his novel, “The Disenchanted,” which was published in 1951.

Schulberg’s first novel and most famous work, “What Makes Sammy Run?” was published in 1941. The novel tells the story of Sammy Glick’s rise from copy boy at a newspaper to production chief at a major Hollywood studio. Glick’s ambitions lead him to betray and backstab his way to success. The book won high praise from critics, but was loathed by Hollywood. As a result, Schulberg was shunned by the film industry.

(CONTINUA...)

Anónimo dijo...

A Look Back … Budd Schulberg: Documenting the Horrors of the Holocaust (continuation)

Capturing the War on Film

With the start of World War II, Schulberg joined the Navy. He was assigned to the OSS, where he worked with Hollywood director John Ford’s documentary unit. Film had not been used extensively during a war before, but with the beginning of World War II, it became apparent that it could serve a number of purposes:

* Boost propaganda and morale,
* Train the troops,
* Provide intelligence, and
* Record historical events.

During his time serving with the Field Photographic Branch in Europe, Schulberg helped document U.S. combat operations from D-Day to the liberation of the concentration camps.

Following the surrender of Nazi Germany, Schulberg was among the first American servicemen to enter the concentration camps. During the summer and fall of 1945, he worked with the Office of the Military Government – United States (OMGUS) to confiscate film footage. OMGUS had an office whose primary responsibility was to gather films and books from archives and libraries as part of denazification.

The confiscated film footage served as evidence for the Nuremberg trials of the horrendous war crimes that were committed in the concentration camps. Schulberg and his colleagues in the Strategic Services Unit — what remained of the OSS after it was disbanded in September 1945 — worked through 10 million feet of film to gather and coordinate the necessary material. The end result was a four-hour documentary created using only original Nazi films. Schulberg was instrumental in producing the film, which was used as evidence during the Nuremberg trials.


Building a Legacy in Hollywood

After the war, Schulberg returned to Hollywood. In 1947, Schulberg published his novel, “The Harder They Fall,” which exposed corruption in the sport of boxing. The novel was made into movie starring Humphrey Bogart in 1955.

In 1951, Schulberg testified as a “friendly witness” before the House Un-American Activities Committee. Schulberg identified other Hollywood figures as members of the Communist Party USA. Schulberg joined the Communist Party in 1934 at the age of 20 and broke his ties with the party when Stalin agreed to a pact with Hitler in 1939.

In the early 1950s, Schulberg teamed up with director Elia Kazan to create “On the Waterfront,” which told exposed violence and corruption among longshoremen. The film was released in 1954 and won eight Academy Awards, including Best Screenplay.

In 1957, Schulberg worked with Kazan again to produce the film “A Face in the Crowd.” The film was adapted from one of Schulberg’s short stories about an aimless country singer’s rise and fall. In 2008, “A Face in the Crowd” was selected by the United States National Film Registry to be preserved as a “historically significant” film.

Throughout his life, Schulberg continued to write. In fact, he became the chief boxing correspondent for Sports Illustrated. Schulberg became such a well-known boxing authority that he was inducted into the Boxing Hall of Fame in 2003.

Schulberg passed away on August 5, 2009 at his home in Westhampton Beach, New York. He was 95 years old.

Anónimo dijo...

A Look Back … Robert Carey Broughton: From Walt Disney to War Movies

https://www.cia.gov/news-information/featured-story-archive/robert-carey-broughton.html

What do Walt Disney Studios and the Office of Strategic Services—the predecessor of today’s CIA—have in common? Accomplished camera effects artist Robert Carey Broughton created award-winning films for both organizations.


From Math to Magic

Broughton was born on September 17, 1917, in Berkeley, California. He spent most of his childhood in Glendale, California, where he attended Glendale High School and Glendale Junior College. Broughton also attended the University of California, Los Angeles, where he studied chemistry, physics, math and optics.

In 1937, Broughton got a job at Walt Disney Studios delivering mail. It wasn’t long before he was pulled to work in the camera department. He started out as an assistant in the test camera department, where he worked on Snow White and the Seven Dwarfs. Broughton’s job was to shoot the test camera to check for continuous action of the animation before finalizing the film.

Next, Broughton worked with the animation camera, which led to operating Disney’s famous multi-plane camera. It was used to create depth in animated featured films, including Pinocchio, Fantasia, Bambi, and many more.

Broughton was very involved with the production of Fantasia. His work on this film and his eye for detail earned him a promotion to camera department supervisor.


Filming the War

With the start of World War II, Broughton answered the call to service by joining the U.S. Army. He was assigned to the Field Photographic Branch of the OSS.

Film had not been used extensively during a war before, but with the beginning of World War II, it became apparent that it could serve a number of purposes:

* Boost propaganda and morale,
* Train the troops,
* Provide intelligence, and
* Record historical events.

During his time with the OSS, Broughton worked with Hollywood director John Ford to create documentary films about the war. Together, the two men produced The Battle of Midway, which won an Academy Award for best documentary in 1942. Broughton photographed most of the footage and Ford directed the film.

The OSS institutionalized using film in intelligence with the OSS Intelligence Photographic Documentation Project. Its purpose was to establish a worldwide photographic intelligence file of areas of strategic importance.


Creating Magic

After the War, Broughton returned to Disney as an assistant to legend Ub Iwerks—co-creator of Mickey Mouse. Under Iwerks, Broughton began to work on live-action motion pictures, such as Mary Poppins. He helped create the illusion that Dick Van Dyke was dancing with penguins by using Color Traveling Matte Composite Cinematography. This award-winning technology combined live action and animation on film.

In 1982—with 45 years of work at Disney under his belt—Broughton retired. He was known for his passion. Even after retiring, his enthusiasm lived on in his coordination of the retiree club, The Golden Ears.

Broughton was honored as a Disney Legend in 2001. This annual award honors an individual whose creativity and talent have contributed to producing magical films for children of all ages. Each Disney Legend receives an award cast in bronze and a plaque bearing their name, hand prints and signature at the Studios in California.

Broughton passed away on Monday, January 19, 2009. He was 91. Broughton is survived by two sons, five grandchildren, and three great-grandchildren.

(Posted: Sept 04, 2009)

Anónimo dijo...

http://www.lewrockwell.com/orig3/cummings3.html

Art and the CIA

by Richard Cummings

Anónimo dijo...

http://motherjones.com/politics/2007/12/hollywood-and-cia-spook-stays-picture

Anónimo dijo...

http://dca.lib.tufts.edu/features/murrow/exhibit/usia.html

The Life and Work of Edward R. Murrow. An archives exhibit.

Murrow at the United States Information Agency (USIA) (1961 - 1964)

"In its overt and covert propaganda programs - the latter programs were more believable abroad because they were not identified with the U.S. government - USIA began to resemble certain CIA operations. In fact, USIA closely collaborated with the CIA.

Under Murrow's directorship, USIA projects came to reflect the two major theoretical underpinnings of Kennedy's presidency: modernization and counterinsurgency theories. USIA worked with the Business Council for International Understanding as well as with Alliance for Progress programs in Latin America. It became involved in not only counter-insurgency work, but also counter-insurgency (guerilla) courses taught at the Foreign Service Institute, at war colleges, and at the U.S. Army Special Warfare School at Fort Bragg, NC., among other locations. The agency also became involved in the events unfolding in Southeast Asia by helping with the propaganda work for the counterinsurgency in Northeast Thailand, and coordinating psychological war programs and chairing the Psychological Coordinating Committee in Laos and Vietnam. The USIA was also a member of the Counterinsurgency Committee/Special Group initiated by General Maxwell Taylor, and was responsible for planning covert actions. During these years USIA also sat on the interdepartmental Vietnam Taskforce. And for the first time in its history, USIA was involved in making propaganda for a foreign regime, namely president Ngo Dinh Diem's Republic of Vietnam in 1962.

When policy makers were discussing the use of defoliants (e.g. agent orange) to destroy vegetation cover for Vietnamese opponents in the Vietnam War, Murrow repeatedly warned against their use by the U.S. government. In the end, he reluctantly agreed to its initially quite limited use in 1962."

Anónimo dijo...

http://www.eisenhower.archives.gov/research/Subject_Guides/PDFs/Propaganda_Psychological_Warfare.pdf

PROPAGANDA, INFORMATION AND PSYCHOLOGICAL WARFARE:
COLD WAR AND HOT
A List of Holdings
Dwight D. Eisenhower Presidential Library

Compiled by:
David J. Haight
April 2008

Page 8:

"Collins, J. Lawton: Papers, 1896-1975
Box 28 Lansdale, Edward G. (Colonel) (1)(2)
Box 29 Militant Liberty Plan
Box 31 United States Information Agency
Box 33 Advisory Committee on Non-military Instruction-DOD, 1962 (1)(2)"

Anónimo dijo...

http://en.wikipedia.org/wiki/Militant_Liberty

Militant Liberty: A Program of Evaluation and Assessment of Freedom

Anónimo dijo...

http://www.uel.br/pos/letras/EL/vagao/EL6Art1.pdf

THE PROPAGANDA OF VIOLENCE: EARLY HOLLYWOOD WAR FILMS
A PROPAGANDA DA VIOLÊNCIA: FILMES DE GUERRA DE HOLLYWOOD
Tom Burns (UFMG)

Anónimo dijo...

http://www.totalvideogames.com/Mercenaries-Playground-of-Destruction/news/LucasArts-Announce-Mercenaries-5178.html

LucasArts Announce Mercenaries News
Submitted by Chris Leyton on March 16 2004 - 00:00

Anónimo dijo...

http://www.cotsjournalonline.com/articles/view/100781

COTS JOURNAL.
The Journal of Military Electronics & Computing.

TECH RECON.
Military Simulations Get Real.
Using Digital Molecular Matter (DMM) simulation, wood breaks like wood, metal bends and tears like metal, and glass shatters like glass. The result is more realistic military simulation and training programs.

March 2008.

"LucasArts..."

Anónimo dijo...

http://en.wikipedia.org/wiki/LucasArts#Military_simulations

LucasArts
From Wikipedia, the free encyclopedia

"Military simulations

In the late 1980s and early 1990s, Lucasfilm Games developed a series of military vehicle simulation games, the first of which were the naval simulations PHM Pegasus in 1986 and Strike Fleet in 1987.[9] These two titles were published by Electronic Arts for a variety of computer platforms, including PC, Commodore 64 and Apple II.

In 1988, Battlehawks 1942 launched a trilogy of World War II air combat simulations, giving the player a chance to fly as an American or Japanese pilot in the Pacific Theater. Battlehawks 1942 was followed by Their Finest Hour: The Battle of Britain (1989), recreating the battle between the Luftwaffe and RAF for Britain's air supremacy. The trilogy ended with Secret Weapons of the Luftwaffe in 1991, in which the player could choose to fly on either the American or German side. The trilogy was lauded for its historical accuracy and detailed supplementary material—Secret Weapons of the Luftwaffe, for instance, was accompanied by a 224-page historical manual.

The World War II trilogy was created by a team led by Lawrence Holland, a game designer who later founded Totally Games. Totally Games would continue to develop games almost exclusively to LucasArts, the most noted outcome of the symbiosis being the X-Wing series. They were also responsible for LucasArts' 2003 return to the aerial battles of World War II with Secret Weapons Over Normandy, a title released on PlayStation 2, Xbox and PC."

Anónimo dijo...

http://www.lucasarts.com/company/release/news20040315.html

LucasArts to Deploy Mercenaries.
London UK. March 2004.

"Set in North Corea"
"More than 30 real-world military weapons"
"More than 20 authentic ground and air vehicles including helicopters, trucks and tanks"
"Embedded journalists"

Company "created in 1982 by George Lucas"

Anónimo dijo...

http://www.wsws.org/articles/2002/feb2002/hawk-f19.shtml

"Black Hawk Down: naked propaganda masquerading as entertainment"

By Ann Talbot
19 February 2002

Anónimo dijo...

http://www.progress.org/drc41.htm

Drug War Propaganda Invades Movies
movies cinema film

Interview with Mike Farrell: Movie Payola, Death Penalty

Anónimo dijo...

http://www.westminster.ac.uk/__data/assets/pdf_file/0016/35125/WPCC-Vol6-No2-Matthew_Alford.pdf

A Propaganda Model for Hollywood
Matthew Alford
University of Bath

Anónimo dijo...

https://journals.ku.edu/index.php/amerstud/article/viewFile/2632/2591

humphrey bogart's Sahara
propaganda, cinema and
the american character
in world war ii
theodore kornweibel, jr.

Anónimo dijo...

http://www.cas.umn.edu/assets/pdf/WP924.PDF

American Cultural Diplomacy, the Cinema, and the Cold War in Central Europe
Reinhold Wagnleitner Professor, Department of History University of Salzburg April 1992 Working Paper 92-4

Anónimo dijo...

http://www.units.muohio.edu/havighurstcenter/conferences/documents/shcherbenok.pdf

Andrey Shcherbenok
Columbia University

Asymmetric Warfare:
Cold War Cinema in the Soviet Union and the United States

Anónimo dijo...

http://drum.lib.umd.edu/bitstream/1903/7147/1/umi-umd-4400.pdf

“AN UNPLEASANT WARTIME FUNCTION”:
RACE, FILM CENSORSHIP, AND THE
OFFICE OF WAR INFORMATION, 1942-1945
Jessica Lauren Wagner, Master of Arts, 2007

Anónimo dijo...

http://www.learcenter.org/pdf/WWBraudy.pdf

Entertainment Or Propaganda?

Leo Braudy

Anónimo dijo...

http://cisupa.proquest.com/ksc_assets/catalog/1708_FBIFilesCommActsEntertain.pdf

A Guide to the Microfilm Edition of
Federal Bureau of Investigation
Confidential Files
COMMUNIST ACTIVITY
IN THE
ENTERTAINMENT INDUSTRY

Anónimo dijo...

http://www.medialens.org/alerts/10/101021_hollywood_the_weaponised.php

october 7, 2010
HOLLYWOOD - WEAPONISED DREAM FACTORY

AN INTERVIEW WITH MATTHEW ALFORD, AUTHOR OF REEL POWER
Where They Have Holes In Their Souls

Anónimo dijo...

http://www.sourcewatch.org/index.php?title=Matthew_Alford

Matthew Alford MPhil[B], PhD is an independent scholar working on issues of power and politics in the screen entertainment industry. He has taught at the Universities of Bath and Bristol.

Anónimo dijo...

http://www.psiopradio.com/2011/03/psiop-radio-with-guest-matthew-alford-on-military-media-manipulation/

Anónimo dijo...

http://rt.com/usa/news/captain-america-hollywood-propaganda/

Anónimo dijo...

http://www.consciousbeingalliance.com/2011/08/captain-america-war-hollywood-actorvism/

CAPTAIN AMERICA, CAPTAIN NORWAY

War, Hollywood, and the Saviors and Slaughterers of Freedom
keith harmon snow
1 August 2011

Anónimo dijo...

http://www.swans.com/library/art17/barker78.html

May 9, 2011

The Reality Of American Supremacy In Hollywood

by Michael Barker

Anónimo dijo...

http://globalchangespiritualview.org/john-levoff.html

John Levoff has spent the last 25 years working as a senior creative executive, producer and writer in the entertainment industry with executive tours of duty at ABC Entertainment (Director, Dramatic Series Development), Columbia Pictures Television (Director, Dramatic and Comedy Series Development), MGM Television (Vice President, Current Series and Movies For Television) and the United Paramount Network (Vice President/Executive Producer, Movies For Television). As an independent producer, he has developed, written and produced narrative drama for HBO, Showtime, CBS, NBC and UPN.

(...)

Mr. Levoff has written and produced narrative drama supporting cultural respect and understanding for a variety of clients within the Department of Defense and the intelligence community. He most recently led the reality enhancement effort for the U.S. Army at the National Training Center, Ft. Irwin, California.

Anónimo dijo...

http://www.centerfornationalpolicy.org/ht/d/sp/i/16405/pid/16405

CENTER FOR NATIONAL POLICY

Daniel Glickman - Board of Directors
Dan Glickman became Chairman and CEO of the Motion Picture Association of America (MPAA) on September 1, 2004. (...).

(...)

Before his appointment as Secretary of Agriculture, Glickman served for 18 years in the U.S. House of Representatives, representing Kansas' 4th Congressional District. During that time, he served as a member of the House Agriculture Committee, including six years as chairman of the subcommittee that had jurisdiction over most federal farm policy issues. Moreover, he was an active member of the House Judiciary Committee, where he was a leader on technology issues. In addition to his focus on agriculture, he was a leading congressional expert on general aviation policy (where he wrote landmark legislation providing product liability protection for small airplane manufacturers), and also served as chairman of the House Permanent Select Committee on Intelligence.

Before his election to Congress in 1976, Glickman served as president of the Wichita School Board, was a partner in the law firm of Sargent, Klenda and Glickman and worked as a trial attorney at the U.S. Securities and Exchange Commission. He received his B.A. in history from the University of Michigan and his J.D. from The George Washington University. He is a member of the Kansas and District of Columbia Bars.

Glickman currently serves on the board of directors of the American Film Institute; Chicago Mercantile Exchange; Hain Celestial Group; Communities in Schools; Food Research and Action Center, a domestic anti-hunger organization; National 4-H Council; William Davidson Institute at the University of Michigan; and the Center for U.S. Global Engagement. He is also a member of the Genocide Prevention Task Force, chaired by Secretaries Madeleine Albright and Bill Cohen; a member of the Council on Foreign Relations; a member of the Academy of Motion Picture Arts and Sciences; the Chicago Council on Foreign Relations co-chair on Global Agricultural Development, which has recently published a major report on global agriculture and world hunger; and vice chair of the Friends of the World Food Program. Glickman is the author of "New Tactics to Feed the Hungry," published in Foreign Affairs magazine (May/June 2009).

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