ESTADOS UNIDOS DE NORTEAMÉRICA: PAÍS IMPERIALISTA
UNITED STATES OF AMERICA: IMPERIALIST COUNTRY
UNITED STATES OF AMERICA: IMPERIALIST COUNTRY
Este filme es maravilloso porque:
This movie is wonderful because:
1) Reconoce que los Estados Unidos de Norteamérica es un país imperialista.
En una escena inicial muy notable por su contenido político, la narración muestra a soldados de Corea del Norte que acusan a una "mujer de negocios estadounidense" de AGENTE DEL IMPERIALISMO YANQUI.
Como muestra el filme, EVERLYN SALT (ANGELINA JOLIE), LA "MUJER DE NEGOCIOS ESTADOUNIDENSE" es realmente una agente de la AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CENTRAL INTELLIGENCE AGENCY).
Obviamente, una declaración política tan contundente respecto de las "operaciones encubiertas" (cover action) como parte de la política exterior estadonidense nos hace admirar esta película. Hay que recordar que entre las operaciones encubiertas contra el Perú por parte de la CIA se ha sustentado la creación del grupo terrorista SENDERO LUMINOSO (SHINING PATH):
CIA-SENDERO LUMINOSO: GUERRA POLÍTICA
Autor: Andreo Matías.
2) Genera la mentalidad paranoica requerida por la Comunidad de Inteligencia Estadounidense (INTELLIGENCE COMMUNITY).
Para que la burguesía estadounidense pueda controlar a la población estadounidense, se requieren operaciones de información (las operaciones psicológicas son parte de las operaciones de información). El complejo militar-industrial se apoya en la "comunidad de inteligencia estadounidense" para imponer su orden político (según Lenin, la política es economía concentrada). Es requisito aumentar el temor de la población estadounidense para justificar el control fascista sobre su existencia.
"AGENTE SALT" (SALT) propone que un gran número de agentes rusos ocupan posiciones importantes en la vida política y económica estadounidense. Esta historia del guionista KURT WIMMER es ideal para justificar las operaciones de la "comunidad de inteligencia estadounidense". Naturalmente, esta misma "comunidad" colabora con la "industria del entretenimiento estadounidense" de modo activo, para asegurarse de que los intereses que la dirigen queden plasmados en las mentes de quienes observan estas armas de guerra política (propaganda).
Un miembro de dicha comunidad es el FEDERAL BUREAU OF INVESTIGATION (FBI) (OFICINA FEDERAL DE INVESTIGACIÓN), que mantiene una oficina de colaboración con la industria estadounidense del entretenimiento desde la década de 1930, como puede observarse en su página electrónica:
Working with the FBI: A Guide for Writers, Authors, and Producers
We can help: if you are a writer, author, or producer who wants to feature the FBI, we may be able to work with you to create an accurate portrayal of the Bureau.
We’ve been doing it since the 1930s. Most recently, we have assisted the motion pictures “The Kingdom,” “Shooter,” and “Breach”; television programs like “Without A Trace,” “CSI,” “Numb3rs,” “Criminal Minds,” and “The Closer”; and books like Big City, Bad Blood; Lone Wolf-Eric Rudolph: Murder, Myth and the Pursuit of an American Outlaw; and Lightning Out of Lebanon: Hezbollah Terrorists on American Soil.
Specifically, the Investigative Publicity and Public Affairs Unit (IPPAU) in our Office of Public Affairs is a small staff that spends a portion of its time working with domestic and international screenwriters, producers, authors, and other industry personnel associated with TV programs, documentaries, made-for-TV movies, books, and motion pictures. In addition, the unit is the same one that manages national and international publicity for wanted fugitives (including the “Ten Most Wanted Fugitives”), Most Wanted Terrorists, and missing children, and it also coordinates other proactive initiatives.
What we need from you:
Your name, any pertinent company name, point of contact, address, e-mail, and phone number;
Acknowledgement whether the project is “sold,” “green lit,” commissioned, or speculative;
A description how the FBI fits into the project and its relative importance;
An explanation of FBI characters and actions (what they will be doing);
Film script, plot, or treatment;
Project status/timeline/production schedule (if known);
Specificity regarding cases, procedures, or information needed; and
A list of FBI personnel desired (if known) for interviews or backgrounders (note: please allow ample time for the approval process.)
What we can provide you:
Guidance on content regarding FBI investigations, procedures, structure, and history;
Information on costumes, props, scenery, and weapons;
Fact checks;
Liaison and coordination with local FBI field offices;
Coordination of location shots; and
Access to FBI facilities for filming scenes, interviews, or b-roll footage.
Contact information:
Call FBI Headquarters at (202) 324-3000 and ask for the Investigative Publicity and Public Affairs Unit.
Or write to: FBI Headquarters, Investigative Publicity and Public Affairs Unit, Room 7790B, 935 Pennsylvania Avenue N.W., Washington, D.C. 20535.
Or send your complete request via e-mail to public.affairs@ic.fbi.gov.
Please note: IPPAU considers project assistance on a case-by-case basis. We have limited resources and cannot ensure cooperation or offer reviews or critiques.
Esta colaboración puede ser sumamente especializada y activa:
From Fact to Fiction
Giving Writers an Inside Look at the FBI
10/06/08
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.
For example, the popular TV series Without a Trace—which we provide assistance to and which helps us by publicizing some of our cases—features an FBI New York missing persons squad. But even though we do help search for those who have gone missing, we don’t actually have a missing persons squad, in New York or elsewhere.
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.
For example, the popular TV series Without a Trace—which we provide assistance to and which helps us by publicizing some of our cases—features an FBI New York missing persons squad. But even though we do help search for those who have gone missing, we don’t actually have a missing persons squad, in New York or elsewhere.
We understand dramatic license, but writers who take the time to discover the real Bureau, said Assistant Director of Public Affairs John Miller, may come to understand that “the reality of the FBI is much better than its fiction.”
Miller recently spoke to about 25 members of the Writers Guild of America East and the Producers Guild of America East in New York City as part of an “FBI 101” program. This day-long seminar periodically brings together members of the book, film, and television industries to streamline the process of providing information about the Bureau—to make it easier and more efficient for everyone involved.
“The world is a dangerous place,” Miller said, “and the FBI seems to have a piece of every one of those dangers.”
On any given day, he explained, agents are engaging in undercover operations to get the goods on organized crime figures, tracking suspected terrorists, investigating corrupt politicians, and using technology to stop child predators. Somewhere within our worldwide field of operations, a hostage negotiator may be helping to resolve a life-threatening situation, and a SWAT team is ready to breach a door to make an arrest.
“And that is not some special day,” Miller said. “That is an average day at the FBI.”
The veteran writers participating in the workshop heard from agents who specialize in evidence collection, organized crime, counterterrorism, cyber crimes, and SWAT. The writers followed up with questions on everything from the Russian mob and online pornographers to wiretaps and knockoff Prada handbags.
Afterward, one writer noted, “The seminar could have been twice as long, and it still would have been terrific.”
Twice as long would not have been a problem for the SWAT team leader. After regaling his audience with tales of foreign deployments, hijacking cases, and the arduous training required of team members, he concluded by saying, “I haven’t even used up half my stories.”
Resources: How writers can work with the FBI
Miller recently spoke to about 25 members of the Writers Guild of America East and the Producers Guild of America East in New York City as part of an “FBI 101” program. This day-long seminar periodically brings together members of the book, film, and television industries to streamline the process of providing information about the Bureau—to make it easier and more efficient for everyone involved.
“The world is a dangerous place,” Miller said, “and the FBI seems to have a piece of every one of those dangers.”
On any given day, he explained, agents are engaging in undercover operations to get the goods on organized crime figures, tracking suspected terrorists, investigating corrupt politicians, and using technology to stop child predators. Somewhere within our worldwide field of operations, a hostage negotiator may be helping to resolve a life-threatening situation, and a SWAT team is ready to breach a door to make an arrest.
“And that is not some special day,” Miller said. “That is an average day at the FBI.”
The veteran writers participating in the workshop heard from agents who specialize in evidence collection, organized crime, counterterrorism, cyber crimes, and SWAT. The writers followed up with questions on everything from the Russian mob and online pornographers to wiretaps and knockoff Prada handbags.
Afterward, one writer noted, “The seminar could have been twice as long, and it still would have been terrific.”
Twice as long would not have been a problem for the SWAT team leader. After regaling his audience with tales of foreign deployments, hijacking cases, and the arduous training required of team members, he concluded by saying, “I haven’t even used up half my stories.”
Resources: How writers can work with the FBI
3) Como denuncia el imperialismo comunista yanqui le proporcionamos un lugar entre LOS MEJORES ESTRENOS 2010 EN EL PERÚ (BEST MOVIES 2010 IN PERU).
1 comentario:
http://articles.chicagotribune.com/1996-08-30/features/9608300252_1_fbi-agents-secret-files
The Enemies Within
Hollywood's Latest Villains Aren't The Russians Or The Libyans, They're Agents Of The U.s. Government
August 30, 1996|By Michael Kilian, Washington Bureau.
WASHINGTON
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