miércoles, 29 de febrero de 2012

PERDONANDO EL PASADO, UN FILME MILITAR ESTADOUNIDENSE POR VEZ (FORGETTING THE PAST, ONE MILITARY MOVIE AT A TIME)

Perdonando El Pasado, Una Película Militar (Estadounidense) Por Vez.

Forgetting the Past, One Military Movie at a Time

Cuando la industria del entretenimiento estadounidense se va a la cama con el Departamento de Defensa Estadounidense, la censura es inevitable.

When the entertainment industry gets in bed with the Pentagon, censorship is inevitable.

BY DAVID SIROTA
WEB ONLY// VIEWS » FEBRUARY 24, 2012

______________________

El ardid es sencillo: El Pentágono permite a los estudios el uso de bienes militares y bases a un precio de descuento subsidiado con los impuestos de los contribuyentes. A cambio, los cineastas ofrecen sus guiones al Departamento de Defensa Estadounidense para que editen los diálogos.

The scheme is simple: The Pentagon allows studios to use military hardware and bases at a discounted, taxpayer-subsidized rate. In exchange, filmmakers must submit their scripts to the Pentagon for line edits.
_____________

When philosopher George Santayana said, “Those who cannot remember the past are condemned to repeat it,” he meant it as an admonition–not as an endorsement of mass amnesia or historical revision. This should be obvious.

Yet those operating at the shadowy intersection of the Pentagon and Hollywood either don’t understand–or, more likely, refuse to understand–the thrust of the aphorism. Instead, with this week’s release of a much-awaited film, Santayana’s omen has been transformed into a public mission statement for a burgeoning Military-Entertainment Complex.

Since 1986’s Top Gun rekindled the Pentagon-Hollywood relationship from its post-Vietnam doldrums, the collusion between the military and the entertainment industry has become a blockbuster con, generating huge benefits for both participants–and swindling the American public in the process.

The scheme is simple: The Pentagon allows studios to use military hardware and bases at a discounted, taxpayer-subsidized rate. In exchange, filmmakers must submit their scripts to the Pentagon for line edits. Not surprisingly, those edits often redact criticism of military policy, revise depictions of historical failures, and generally omit anything else that might make audiences wonder if our current defense policy is repeating past mistakes.

If a studio doesn’t agree to the edits, then it loses access to the martial equipment, and typically, the film is terminated. If, by contrast, filmmakers agree to the edits, access is granted, and the film gets made at a cut-rate price to the studio. Except in the credits’ fine print, the audience is never told about the censorship.

The predictable result is a glut of movies that both celebrate U.S. military policy and whitewash the checkered history of military adventurism–and relatively few major movies questioning that policy and that adventurism.

No doubt as a system of stealth coercion, the arrangement has been wildly effective. But with America now questioning the efficacy of constant invasions and the morality of never-ending occupations, the Pentagon is getting worried and thus intensifying its agitprop to ever more manipulative extremes. Last year, for example, it cemented its first full sponsorship of a major film, X-Men: First Class, integrating the movie into recruitment ads. It’s now going even further, fully financing its own feature-length film, Act of Valor, appearing in theaters nationwide starting February 24.

Casting active-duty SEALs, the film is ostensibly about a mission to neutralize terrorists. But as one of the filmmakers let slip this week, its heroic portrayals and triumphs are really designed to once again make us forget the past.

“I’d like to see the legacy of Vietnam put to bed,” said Act of Valor filmmaker Mike “Mouse” McCoy in an interview with the Huffington Post. “It was a really bad time in American history, absolutely, but it’s time to sort of forget that and forget those sensibilities and don’t associate our troops and our men and women to that conflict anymore, and time to really open our eyes to say, ‘What’s going on in this world? What are our men and women in uniform really doing right now for us?’”

While it’s true that America’s recent wars are not exactly the same as the Vietnam War, a stunning new report in Armed Forces Journal proves there are troubling similarities we could learn from. With history’s lessons in mind, we might learn to refrain from involving ourselves in foreign quagmires because the human costs are too high. We might also learn that some conflicts have no military solution at all.

But such lessons run counter to a Pentagon focused on perpetually repeating a military-centric past, so those lessons are being deliberately obscured. That’s indeed a triumph of the Military-Entertainment Complex, but it’s a Pyrrhic victory for America – one that guarantees Santayana’s warning goes unheeded.

ABOUT THIS AUTHOR
David Sirota, an In These Times senior editor and syndicated columnist, is a bestselling author whose book Back to Our Future: How the 1980s Explain the World We Live In Now—Our Culture, Our Politics, Our Everything was released in 2011. Sirota, whose previous books include The Uprising and Hostile Takeover, hosts the morning show on AM760 in Denver. E-mail him at ds@davidsirota.com or follow him on Twitter @davidsirota"

http://www.inthesetimes.com/article/12791/forgetting_the_past_one_military_movie_at_a_time

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MEJORES ESTRENOS 2012 (BEST MOVIES 2012 IN PERU)

http://leonidaszegarra.blogspot.com/2012/02/la-virgen-de-copacabana-en-ejutv.html
Publicado por en No hay comentarios:

martes, 28 de febrero de 2012

LA PROPAGANDA DEL DEPARTAMENTO DE DEFENSA ESTADOUNIDENSE [PENTÁGONO] QUE INDUCE AMNESIA (THE PENTAGON'S AMNESIA-INDUCING PROPAGANDA)

Friday, Feb 24, 2012 7:00 AM Eastern Standard Time

La propaganda del Pentágono que induce amnesia.

The Pentagon’s amnesia-inducing propaganda

El primer largometraje de los militares intenta que los estadounidenses olvidemos nuestras desventuras imperialistas.

[The military's first feature-length film wants to make Americans forget about our imperialist misadventures]

Por / By David Sirota

http://www.salon.com/2012/02/24/the_pentagons_amnesia_inducing_propaganda/

When philosopher George Santayana said “those who cannot remember the past are condemned to repeat it,” he meant it as an admonition — not as an endorsement of mass amnesia or historical revision. This should be obvious. Yet those operating at the shadowy intersection of the Pentagon and Hollywood either don’t understand – or more likely, refuse to understand — the thrust of the aphorism. Instead, with this week’s release of a much-awaited film, Santayana’s omen has been transformed into a public mission statement for a burgeoning Military-Entertainment Complex.

Since 1986′s “Top Gun” rekindled the Pentagon-Hollywood relationship from its post-Vietnam doldrums, the collusion between the military and the entertainment industry has become a blockbuster con, generating huge benefits for both participants — and swindling the American public in the process.

The scheme is simple: The Pentagon allows studios to use military hardware and bases at a discounted, taxpayer-subsidized rate. In exchange, filmmakers must submit their scripts to the Pentagon for line edits. Not surprisingly, those edits often redact criticism of military policy, revise depictions of historical failures, and generally omit anything else that might make audiences wonder if our current defense policy is repeating past mistakes.

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David Sirota is a best-selling author of the new book "Back to Our Future: How the 1980s Explain the World We Live In Now." He hosts the morning show on AM760 in Colorado. E-mail him at ds@davidsirota.com, follow him on Twitter @davidsirota or visit his website at www.davidsirota.com. More David Sirota


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Publicado por en 4 comentarios:

domingo, 26 de febrero de 2012

FILME ESTADOUNIDENSE 'ACT OF VALOR' CON COMANDOS MARINOS REALES ¿PROPAGANDA O NUEVA CLASE DE PELÍCULA DE GUERRA?/'ACT OF VALOR' WITH REAL-LIFE SEALS

'Act of Valor' con COMANDOS DE LA MARINA ESTADOUNIDENSE reales: ¿nueva clase de filme de guerra o propaganda?

‘Act of Valor’ with real-life SEALs: new breed of war movie or propaganda?

Por Ann Hordanay, Publicado: 24 de Febrero de 2012.

By , Published: February 24, 2012.


En una escena que podría salir de una película de Michale Bay - o, en la era Obama de guerra quirúrgica, de un monitor de vídeo localizado en el cuarto de conferencias y de administración de inteligencia llamado La Habitación de Seguimiento (Situation Room) en la Casa Blanca (Estadounidense) - un equipo de comandos de la Marina Estadounidenses con entrenamiento en operaciones de aire, mar y tierra aborda un lustroso yate lleno de mujeres en bikini, para rastrear e interrogar a un contrabandista internacional peligroso.

[In a scene that could have jumped out of a Michael Bay movie — or, in the Obama era of surgical warfare, a video monitor in the White House Situation Room — a team of U.S. Navy SEALs boards a sleek yacht, populated with bikini-clad women, to track down and interrogate a dangerous international smuggler.]

The sequence is indeed from a movie: the new release “Act of Valor.” But the SEALs are real-life active-duty operators (the babes and the bad guy are actors), and the episode is an authentic training maneuver, although the yacht was provided by the film’s producers. That mix of fiction and realism is just what the filmmakers hope will draw audiences to “Act of Valor” this weekend, when it arrives in 3,000 theaters throughout the country.

But the surprising, if not unprecedented, use of so many active-duty military personnel, as well as the filmmakers’ embedded access to training missions and material (including a nuclear submarine) have put “Act of Valor” in the crosshairs of critics who question whether the movie crosses the line between entertainment and propaganda, and whether the military should be in the movie business at all. The relationship between the Pentagon and Hollywood has raised eyebrows before, even prompting an occasional congressional investigation.

That relationship — sometimes cozy, sometimes contentious — has existed from the days of silent cinema, when the 1927 movie “Wings” received assistance in staging aerial dogfights, through 1986, when the Navy set up recruitment booths in theaters showing “Top Gun,” until last summer, when the Army ran an ad campaign to coincide with the release of “X-Men: First Class.” (For its part, “Act of Valor” was heavily promoted during this year’s Super Bowl.) Every service branch of the armed forces has its own film office, staffed by active-duty officers, whose job is to work with Hollywood, review scripts and provide support in terms of military hardware, advice and, sometimes, people.

“The Pentagon has what Hollywood wants, which is ships and planes and helicopters and personnel,” says author David L. Robb, who in “Operation Hollywood” chronicled the connections between the Pentagon and the movie industry. “And Hollywood has what the Pentagon wants, which is eyeballs. It’s product placement.”

OPERACIÓN HOLLYWOOD, LA CENSURA DEL PENTÁGONO (OPERATION HOLLYWOOD: HOW THE PENTAGON SHAPES AND CENSORS THE MOVIES) [Editorial Océano, Barcelona, 2006, 453 páginas]. Autor: DAVID L. ROBB.

“Act of Valor” began germinating more than four years ago, when stuntmen-turned-documentary-makers Scott Waugh and Mike “Mouse” McCoy made a seven-minute film about the U.S. Naval Special Warfare Combatant-Craft Crewmen, whose responsibilities include inserting and extracting Navy SEALs, the elite operations force responsible for killing Osama bin Laden and rescuing two aid workers in Somalia last month.

By the time Waugh and McCoy finished their documentary, the Navy had embarked on its own feature-film mission, inviting proposals for projects that would depict the SEALs in a more realistic — and favorable — light than in such bombastic fiction features as “Navy Seals” (starring Charlie Sheen) and “G.I. Jane” (starring Demi Moore).


A Quadrennial Defense Review released in 2006 had indicated that the Navy needed 500 more SEALs in order to to meet projected demands, explained Rear Adm. Dennis Moynihan, the Navy’s chief spokesman. “There was a series of initiatives we launched to try to increase the number of SEALs we have in the Navy,” he said. “This film project was one of those initiatives.”

PROPAGANDA FÍLMICA: RUSIA SOVIÉTICA Y ALEMANIA NAZI (FILM PROPAGANDA: SOVIET RUSSIA AND NAZI GERMANY). Autor: RICHARD TAYLOR.

He added that the Navy sought a film that would educate as well as entertain. “We wish we could take the American people and fly them out to aircraft carriers and destroyers and submarines, so they could see what their Navy does on a daily basis,” he said. “We can’t get them out to our ships every weekend, but we know they go to the movies every weekend.”

McCoy and Waugh’s proposal was accepted, and after spending time at SEAL headquarters in San Diego, they floated the idea of using the real men themselves. “Once we were inside, we were just blown away,” McCoy said earlier this month, just hours before he, Waugh and a group of SEALs were to screen “Act of Valor” at the White House. “That’s when the genesis [of the idea] happened, when we connected with the men and saw this brotherhood and this depth of character amongst men, and the sacrifices they’ve been through in the last 10 years in sustained combat.”

The fictionalized story of “Act of Valor” centers around an eight-man SEAL team, and two operators in particular: a 38-year-old lieutenant commander named Rorke and his buddy and subordinate, Chief Dave. When the men are sent to rescue a U.S. intelligence operative in Central America, their mission expands to entail weapons smuggling and international terrorism, culminating in a dramatic shootout on the U.S.-Mexico border. (The story also ranges from the Philippines and Chechnya to Somalia.)

MUJERES EN GUERRA: IRÁN, AFGANISTÁN Y OTROS CONFLICTOS (WOMEN AT WAR: IRAQ, AFGHANISTAN, AND OTHER CONFLICTS). Autores: JAMES E. WISE, JR. (capitán retirado de la Marina Estadounidense que sirvió como aviador naval); SCOTT BARON. Editor: EDITORIAL DEL INSTITUTO NAVAL ESTADOUNIDENSE [U.S. NAVAL INSTITUTE PRESS] (2006).

Filming “Act of Valor,” which Waugh and McCoy financed themselves and with outside investors, took 2 1 / 2 years, with the filmmakers recording actual SEAL training missions (officially called “evolutions”), complete with live ammunition and skin-tight time schedules. When a scene called for the men to enter a small rural village, the filmmakers dressed the training site’s fake concrete huts to look like real houses, an embellishment that remained after they left; the nearly 300 hours of raw footage they shot making “Act of Valor” has been given to the Navy for use in training and recruitment.

It’s just that symbiotic relationship that raises red flags for author Robb. Whereas filmmakers have long used active-duty military personnel as extras, he notes, the use of so many in “Act of Valor” defines a high-water mark. “This is singular,” he says. “If it’s not the first time, it’s certainly the most. And believe me, it won’t be long before their names come out. Somebody’s going to know who these guys are, and their identities are going to be compromised.” (Moynihan said that “the SEALs looked at that from a security perspective, and they decided it was a risk worth taking [in light of] the recruiting imperative.”)

Robb also sees “Act of Valor” as coming uncomfortably close to overstepping laws prohibiting government agencies from engaging in publicity and propaganda, a view shared by Tricia Jenkins, author of the book “The CIA in Hollywood.” Those laws, which are included in annual omnibus appropriations bills, forbid the use of appropriated funds to engage in activity that involves what the Government Accountability Office has defined as “self-aggrandizement or puffery” or as purely partisan or covert.


LA DOCTORA TRICIA JENKINS JUNTO A SU NUEVA INVESTIGACIÓN: "LA CIA EN HOLLYWOOD. COMO LA AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CIA) MODELA EL CINE Y LA TELEVISIÓN" (THE CIA IN HOLLYWOOD: HOW THE AGENCY SHAPES FILM AND TELEVISION). [Editor: EDITORIAL DE LA UNIVERSIDAD DE TEJAS (UNIVERSITY OF TEXAS PRESS) (2012)]

“Whether the film violates the letter of the laws is a very gray area,” Jenkins says. “But I do think it violates the spirit of the laws. The film itself works as exercise in self-aggrandizement for a couple of reasons. One is that the Navy commissioned the work in the first place, to promote itself and recruit. And the project they ultimately chose to support stresses the importance of the field, and glorifies, through dramatic action, the work and importance of that group.”


LA CIA (AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE) EN HOLLYWOOD: CÓMO LA AGENCIA MODELA EL CINE Y LA TELEVISIÓN (THE CIA IN HOLLYWOOD. HOW THE AGENCY SHAPES FILM AND TELEVISION). Por TRICIA JENKINS. Editor: UNIVERSITY OF TEXAS PRESS. Marzo 2012, 175 páginas.

“Act of Valor” is clearly not partisan, nor is it covert (the filmmakers appear in a brief prologue to the film explaining how the Navy originated and participated in the project). But, although the Navy didn’t directly fund the production, Jenkins says, it could be argued that they heavily subsidized it in the form of access to its assets and personnel that would have cost millions to reproduce.

Over the course of their long collaboration, the relationship between the movie industry and the military has only come under congressional scrutiny a few times: in 1956, when lawmakers questioned why the World War II drama “Attack” was denied Defense Department assistance, and again in 1969, when it came to light that the Army had provided considerable help in the form of equipment and manpower to the John Wayne movie “The Green Berets.”

Last year, a film about the death of Osama bin Laden became a flashpoint for Rep. Peter T. King (R-N.Y.), who questioned whether the filmmakers had been given access to classified information about the mission, which was carried out by the elite-of-the-elite unit known as SEAL Team Six. So far, “Act of Valor” has not spurred a similar outcry, although Robb says, “I would like to see a congressman investigate this.”

Waugh and McCoy declined to speculate on how many millions of dollars in production value they garnered thanks to their unprecedented access to Navy men and material. They insist they had full creative control of the film, although the Navy retained the right to edit out information about its techniques, tactics and procedures. (“Act of Valor” reportedly cost between $15 million and $18 million to make; not long after the bin Laden raid it was acquired by Relativity Media for $13 million with a commitment of $30 million in prints and advertising, a huge sum for a film featuring a non-professional cast.)

Even if the SEALs didn’t have creative control over “Act of Valor,” the filmmakers admit that there was little chance that the Navy would be dissatisfied with their portrayal in the film, which depicts a group of strong, brave, unassuming men who pursue their missions, not with hot-dog swagger, but cool teamwork and quiet professionalism.

“We’re all bros,” McCoy says, noting that some of the SEALs were familiar with a film he and Waugh produced called “Dust to Glory,” about the off-road Baja 1000 race. “They knew our position in the action world, and there was a commonality of culture.

“We had one goal when we started this movie, and that was when this is all over, that the guys would still want to have a beer with us,” McCoy continues. “They would say, ‘Right on, thanks, guys, good job.’ And we’re really proud to say they’re truly some of our best friends in the world now.”

EL MISMO TEXTO (EN EL IDIOMA ORIGINAL) EN:

Publicado por en 8 comentarios:

sábado, 25 de febrero de 2012

CATEDRÁTICA INVESTIGA LA INFLUENCIA DE LA AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE EN LAS PELÍCULAS (PROFESSOR RESEARCHES CIA´S EFFECT ON FILMS)

Catedrática investiga la influencia de la AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CIA) en las películas cinematográficas y series televisivas estadounidenses

Professor researches CIA's effect on films


Por Chris Varano del "Esquife Diario de la UNIVERSIDAD CRISTIANA DE TEJAS"

periodista de plantilla
información colocada en internet el 24 de febrero, 2012 / actualizada a horas 1:54 p.m. Febrero 24, 2012
sTAFF REPORTER POSTED FEBRUARY 24, 2012 / UPDATED 1:54 PM FEBRUARY 24, 2012

Teniendo como motivación su cariño por las películas de espías y novelas de espionaje Tricia Jenkins, catedrática asistente de cine - televisión - medios de comunicación digitales (de la Universidad Cristiana de Tejas), escribió un libro novedoso que estudia la influencia de la AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CENTRAL INTELLIGENCE AGENCY [CIA]) en las industrias estadounidenses del cine y la televisión.

[Stemming from a love of spy films and espionage thrillers, assistant professor of film-television-digital media Tricia Jenkins wrote a new book examining the CIA’s influence on the film and television industries.]

La Prensa de la Universidad de Tejas publicó a comienzos de Febrero (de 2012) "La AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE en HOLLYWOOD: Cómo La Agencia Modela Al Cine Y La Televisión". En la Editorial de la Universidad de Tejas, Jim Burr, el editor que respalda el proyecto, indicó que la singularidad del tema del libro despertó su interés.

"Era un tema que no había sido tocado anteriormente", dijo el señor Burr.

[The University of Texas Press released “The CIA in Hollywood: How the Agency Shapes Film and Television” in early February. Sponsoring editor at the University of Texas Press Jim Burr said the book’s originality piqued his interest.

“It was a topic that I hadn’t seen covered before,” Burr said.]

La doctora Jenkins comentó que siempre había sentido inclinación afectiva por el género de espías en las novelas (y películas) y su relación con la AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CIA). Este interés la orientó hacia la idea del libro, agregó.

[Jenkins said she always loved the spy thriller genre and its relationship to the CIA. This interest led to the idea for the book, she said.]

El libro demandó un año de investigación antes de poder ser redactado, señaló la doctora Jenkins. Luego de terminar el acopio de datos, escribió el texto en nueve meses.

Su investigación también generó los fundamentos para Medios Masivos de Comunicación, Política y Valores Sociales, curso que impartió la primavera reciente.

[The book required a year of research before it could be written, Jenkins said. After finishing her research, she wrote the book within nine months.

Her research also formed the basis for Media, Politics and Social Values, a class she taught last spring. The class was a study in government propaganda, she said.]

La doctora Jenkins explicó que tropezó con oposición al indagar en relación a la temática del libro, tanto por parte de la AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CENTRAL INTELLIGENCE AGENCY [CIA]) como por parte de la industria estadounidense del entretenimiento.

[Jenkins encountered resistance from both the CIA and the entertainment industry when she was researching the book, she said.]

La doctora Tricia Jenkins cuenta que, aún con esa resistencia, logró conversar con fuentes numerosas respecto del asunto en cuestión y departió con personas que laboraron como oficiales de enlace con la industria del entretenimiento estadounidense en la AGENCIA CENTRAL DE INTELIGENCIA [ESTADOUNIDENSE] {CENTRAL INTELLIGENCE AGENCY} (CIA) .

Los oficiales de enlace procuraron que la industria del entretenimiento estadounidense mostrara un retrato más favorable de la AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CIA) en los programas televisivos y las películas cinematográficas. La doctora Jenkins también conversó con guionistas y productores que trabajaron con los oficiales de enlace.

[But, Jenkins said she still managed to talk with many sources about the subject. Jenkins said she spoke with people who worked for the CIA as liaisons to the entertainment industry.

The liaisons attempted to make the entertainment industry present more favorable depictions of the CIA in films and television shows. She also talked with screenwriters and producers who worked with the liaisons.]

Según la página electrónica de la Editorial de la Universidad de Tejas, el libro de la doctora Jenkins examina cómo la AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CIA) influyó en la producción de gran número de proyectos de entretenimiento. Ejemplos de filmes afectados por la CIA son "La Suma de Todos Los Miedos" / "Pánico Nuclear", "Syriana" y "El Buen Pastor".

[According to the University of Texas Press website, Jenkins’ book discusses how the CIA influenced the production of many entertainment projects. Examples of films impacted by the CIA included “The Sum of All Fears”, “Syriana” and “The Good Shepherd”.]

http://www.tcu360.com/campus/2012/02/14657.professor-researches-cias-effect-films


TRICIA JENKINS, catedrática asistente en las áreas de medios digitales, cine y televisión [de la Universidad Cristiana de Texas / Texas Chrisitan University (TCU)] muestra su nuevo libro, "La AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CENTRAL INTELLIGENCE AGENCY) en HOLLYWOOD: Cómo la Agencia Modela El Cine Y La Televisión", el cual examina la influencia de la AGENCIA DE INTELIGENCIA ESTADOUNIDENSE (CIA) en las industrias del cine y la televisión. Fotografía por MANDY NAGLICH.
[Assistant profesor of film, television and digital media Tricia Jenkins shows her new book, "The CIA in Hollywood: How the Agency Shapes Film and Television," which examines the CIA´s influence on film and television industries. Photo by Mandy Naglich.]

Publicado por en 5 comentarios:

sábado, 11 de febrero de 2012

CON EL DIABLO ADENTRO (THE DEVIL INSIDE)

¡¡¡SATANÁS Y EL PENTÁGONO SATÁNICO (DEPARTAMENTO DE DEFENSA ESTADOUNIDENSE) ATACAN E INVADEN LA MENTE HUMANA PROGRESISTA!!!
SATAN AND THE SATANIC PENTAGON (THE U.S. DEPARTMENT OF DEFENSE) ATTACK AND INVADE THE PROGRESSIVE HUMAN MIND!!!

Esta película es maravillosa porque:
This movie is wonderful because:

1)

2)

3) Plantea un homenaje audaz y sincero en favor de los filmes de DON LEÓNIDAS ZEGARRA UCEDA.

Por esta muestra de buen sentido le concedemos un puesto destacado entre los MEJORES ESTRENOS 2011 (BEST MOVIES 2011 IN PERU).









LOS SATANISTAS DEL DEPARTAMENTO DE DEFENSA ESTADOUNIDENSE LISTOS PARA SEGUIR CON SUS RITUALES SATÁNICOS Y SACRIFICIOS HUMANOS. EN LA IMAGEN FINAL VEMOS A SOLDADO SATANISTA ESTADOUNIDENSE CUYO RIFLE TIENE GRABADO LAS DOS ESES DEL DIABLO: "SS".


KATE MIDDLETON: FUTURA REINA DE INGLATERRA.
El diario CORREO presenta un texto titulado: LA FUERZA DE LA REINA. Coincidimos con el redactor en lo acertado del titular y en la exactitud del análisis fascinante realizado.


LOS SANTOS DEL MOVIMIENTO SOCIAL EN EL PERÚ, QUE MERECEN 20 DE NOTA POR SUS IDEALES, SONRIEN COMPLACIDOS, SATISFECHOS Y ENAMORADOS DEL APRECIO QUE LA FUTURA REINA DE INGLATERRA SIENTE POR LA NATURALEZA OTORGADA POR EL CREADOR Y POR SUS PLAYAS DE ARENAS Y AGUAS IMPOLUTAS.
EN LA IMAGEN HUGO BLANCO GALDÓS PRESENTA LA PUBLICACIÓN QUE DIRIGE: "LUCHA INDÍGENA", DESTINADA A DIFUNDIR LA IMPORTANCIA DE LA CONSERVACION DEL PARAÍSO TERRENAL Y SUS DONES INVALORABLES.
CON SU AMOR POR EL SOL, EL MAR, LA ARENA, EL SUDOR Y EL VIENTO LA FUTURA REINA DE INGLATERRA SE ENTREGA APASIONADAMENTE EN CUERPO Y ALMA A APOYAR LA SANTIDAD Y PUREZA DE LOS INTERESES EXPRESADOS POR EL MOVIMIENTO SOCIAL PERUANO. TRAS RECONOCER ESTE HECHO, ACEPTAMOS QUE KATE MIDDLETON ES MUY BUENA: UNA SANTA.

LA VILLA FARNESE, EN EL PUEBLO DE CAPRAROLA, PROVINCIA DE VITERBO (ITALIA) fue iniciada por el Cardenal Alessandro Farnese, el futuro Santo Padre Pablo III. Como se aprecia, la sede del Departamento de Defensa Estadounidense es una subsidiaria :-D (¡ji-ji-ji!).



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