jueves, 25 de julio de 2013

POLLITO PAPILLERO DELICADO #2



¡CUÁNTA TERNURA!
SO MUCH TENDERNESS!

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

1) Expone profundas ideas filosóficas y políticas mediante el arte fílmico de la CONSULTA DE DOCTOR MOPPI y DOCTOR MOPPI - LA CONSULTA DE AGAPORNIS Y NINFAS.

http://doctormoppi.blogspot.com/

2) Su lenguaje audiovisual es extraordinariamente depurado.

3) Transmite una actitud positivamente crítica hacia la existencia en general y la alimentación en particular.

4) Su duración es excelente para espectadores apurados.

5) Las actuaciones presentan un refinamiento extremo.

6) Posee un discurso progresista que incita a la acción consecuente en favor de la causa revolucionaria proletaria mundial.

7) Sugiere directamente al inconsciente de los observadores que seres extraterrestres viven de modo cotidiano en este planeta y que son alimentados con jeringas. 

8) Presenta un gran y sentido homenaje subliminal a DON LEÓNIDAS ZEGARRA UCEDA.

Por este motivo le otorgamos un puesto destacado entre LOS MEJORES ESTRENOS 2013 (BEST MOVIES 2013 IN PERU).
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martes, 16 de julio de 2013

STRANGE BEDFELLOWS: COOPERATION BETWEEN HOLLYWOOD AND THE PENTAGON (ALIADOS INESPERADOS: COOPERACIÓN ENTRE HOLLYWOOD Y EL DEPARTAMENTO DE DEFENSA ESTADOUNIDENSE [EL PENTÁGONO])



(complete thesis)

"Strange Bedfellows: Cooperation between Hollywood and the Pentagon 
by 
Olga Zhakova

A Thesis 
Presented to the Graduate and Research Committee 
of Lehigh University 
in Candidacy for the Degree of 
Master of Arts 
in 
American Studies 
Lehigh University 
July 15, 2011

TABLE OF CONTENTS 
Abstract 1 
Introduction 2 
Chapter One 5 
Chapter Two 16 
Chapter Three 46 
Conclusion 65 
Works Cited 67 
Vita 77 

(...)

 (pages 12-13)

“Another important provision of DODINST 5410.16 is that “[t]he production company shall reimburse the Government for any additional expenses incurred as a result of assistance rendered.” (9) This means that DoD assistance to motion pictures should not impact the nation’s taxpayers. This is one of the most controversial issues about the DoD involvement in moviemaking. Throughout the history of the relationship, the public has questioned the costs of the DoD public relations activity for the taxpayers. Thus, in the Q&A session with the Navy representative for The Hunt for Red October (1990), a film about a nuclear submarine, a question about the cost of the DoD support was asked. The Navy representative answered that according to DoD policy film production companies are charged “the actual costs of consumables (primarily fuel and lubricants but includes some incremental maintenance costs for components that are replaced on a hours-inservice basis) used to directly support filming.” The filmmakers do not pay for personnel because they are in service at the time of filming.

The same issue was raised during the making of The Green Berets (1968). One of the U.S. Senators was wondering how much the filmmakers actually paid for the film. The answer was the same: filmmakers pay for consumables and for the dislocation of the equipment. However the Senator was not satisfied, and he wanted to know if the life cycle costs for equipment are charged. This question was answered later, in the Q&A session for The Hunt for Red October: “Life cycle costs for equipment are not charged, per DoD policy, in recognition of the recruiting and informational benefits accrued from our support of these projects.” (10) Another controversial fact is that films such as The Hunt for Red October and Flight of the Intruder, which received full Navy cooperation, cost
more than $1 million for the Department of the Navy. Thus, although it is stated in the DODINST 5410.16 that supporting the films comes at no cost to the taxpayers, this provision is often violated.

Although the relationship between the two industries has never been a secret, there are just a few books written on the subject. In 1970 Senator J. W. Fulbright published The Pentagon Propaganda Machine (11) dedicating one chapter to the influence of the DoD on Hollywood motion pictures. Senator Fulbright considered such influence to be dangerous for the American public and to resemble censorship."

"(9) Department of Defense Instruction Number 5410.16. 26 Jan. 1988. Print. Paragraph 3.3.
(10) Finkelstein, J. B. Memo for Philip M. Strub. 3 Nov. 1989. Print.
(11) Fulbright, James W. The Pentagon Propaganda Machine. New York, New York: Liveright, 1970. Print. Pp. 103-126.”

(pages 65-66)

"CONCLUSION 

For almost a century the Department of Defense has been assisting Hollywood in making war films. The DoD provides producers with military equipment, bases, and personnel at a significantly low cost, and in return the DoD gets the right to change the scripts. During the negotiations between the DoD and the producers regarding the script, filmmakers aim to obtain DoD consent while trying to prevent significant changes to the script. The DoD, in turn, tries to observe the DODINST 5410.16 provision and ensure a 
positive image of the military in the film. 

According to the main provision followed by the DoD in their decision on approval/denial of the script, there are two main conditions under which the DoD support should be provided: a film has to be beneficial for the Department of Defense or be in the best national interest. These two conditions are based on the consideration of four requirements. First, a film has to be accurate and feasible in portraying the armed forces. Second, a film has to have informational value to the public. Third, a film has to enhance the U.S. Armed Forces recruiting and retention programs. Fourth, a film should not appear to endorse activities that are contrary to U.S. policy. While these four criteria are referred to in DoD decisions on approving/denying projects, the study of the internal correspondence on numerous films shows that the changes that the DoD request fall under three categories: accuracy (both historical and technical,) behavior of individual serviceman, and overall image of the military. Changes based on accuracy rarely prevent the DoD from providing their support, as these changes are easy to incorporate into the script, and they do not usually affect the storyline. Changes on behavior of individual serviceman might require modification of some characters and their actions. Producers usually tend to incorporate these changes as well. It is the third factor, however, of overall military image, that most causes both rejection of the film by the DoD and refusal of film producers to accept changes. This factor is the most important for the DoD in their decision for approving/denying a project. A film can be historically and technically accurate and still will not be supported because of the negative military image. The overall message of the film does not affect the DoD decision on support nearly as much as the overall image of the military. Thus, a film can be anti-war in its overall message and might still get DoD support if it shows the positive overall image of the military. 

The film Clear and Present Danger represents a valuable case study because the extensive negotiations between the DoD and film producers and changes made to the original script allow one to examine how the DoD makes their decision on supporting/rejecting a project and what affects this decision. Studying the considerable internal DoD correspondence on this film shows that while technical accuracy was important to the DoD it was the overall image of the military that they were most of all concerned with. The main change that was required by the DoD was the improvement of the military image. Despite the film negatively portraying the White House and criticizing the establishment, the military was shown as professionally carrying out a mission that they believed was in the U.S. national interest. 

Thus, the studying of numerous correspondences shows that in providing support to films the DoD is conveying the positive image of the military that is meant to educate the public on the U.S. armed forces and enhance recruitment. Whether this is censorship or mutual exploitation, it is important for film audiences to be aware of the relationship between Hollywood and the Pentagon." 

--------------
"VITA 
Olga Zhakova was born in St. Petersburg, Russia. After graduating from St. Petersburg High School Number 80 she was accepted to the St. Petersburg State University, School of International Relations, North-American Studies program. In 2008 she graduated from the St. Petersburg State University and upon graduation she was awarded with one semester program at University of Miami, FL. In 2009 she entered Lehigh University American Studies program as a Fulbright scholar. While studying at Lehigh University Olga concentrated on studying U.S. media and documentary film."
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$25,000 GRANTS AVAILABLE! BECOME AN ACADEMY FILM SCHOLAR! 
The prestigious Academy Film Scholars Program supports the creation of innovative and significant works of film scholarship.
Scholars have received support for a wide range of research topics from works about individuals who have had an impact on the movie industry, such as Lois Weber and Saul Bass, to broader film related subjects such as the history of motion picture color and Hollywood's copyright wars.
 DEADLINE TO APPLY FOR 2014 GRANTS: OCTOBER 1, 2013
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Publicado por en 1 comentario:

sábado, 13 de julio de 2013

MITOS DE HOLLYWOOD VERSUS LA VERDADERA AGENCIA CENTRAL DE ESPIONAJE / INTELIGENCIA ESTADOUNIDENSE I(HOLLYWOOD MYTHS VS. THE REAL CIA)

Central Intelligence Agency

"Hollywood Myths vs. the Real CIA

When you think about the CIA, does a famous British super spy come to mind? Are images of shootouts and high speed chases running through your head? Do you imagine CIA officers chasing terrorists through the American heartland, as seen on popular TV shows?
While the CIA may have cool spy tools that even James Bond would be proud to use, such as a robot fish that samples water and insect-sized listening devices, the CIA is a lot different than Hollywood portrays it to be. CIA.gov wants to share some of the facts with you.
Myth: Everyone at the CIA is a spy.
Reality: The case officers commonly depicted in Hollywood are just one specialized occupation in the CIA. These officers recruit people in foreign countries who have access to valuable information (spies), but the officers themselves are not spies.
To carry out its mission of collecting and analyzing foreign intelligence, the Agency has a diverse workforce that includes analysts, case officers, support staff and technology experts. This breadth of expertise is one of many things that make the CIA unique.
Myth: The CIA spies on US citizens.Reality: The Federal Bureau of Investigation has the lead on intelligence matters in the United States, especially those directed against US citizens. However, the CIA and the FBI work together as needed to protect the interests of US national security. The CIA does not collect information concerning the domestic activities of US citizens, but its foreign intelligence collection mission can be conducted anywhere.
Myth: The CIA is above the law.
Reality: The National Security Act of 1947 and multiple Executive Orders provide the authority for CIA activities. The CIA reports to two Congressional oversight committees, the House Permanent Select Committee on Intelligence (HPSCI) and the Senate Select Committee on Intelligence (SSCI), which ensure that the Agency operates legally and within the scope of its charter.
In addition, the CIA Office of the Inspector General (OIG) provides independent oversight of the CIA. The OIG performs independent audits, inspections, investigations and reviews of CIA programs and operations.
Myth: The CIA arrests people who break the law.
Reality:  The CIA, unlike the FBI, has no law enforcement authority. The Agency’s mission is foreign intelligence collection and analysis. If you have a law enforcement issue, contact your local police department or the US Department of Justice.
Myth: The CIA makes foreign policy.
Reality: The CIA informs foreign policy. It works with other members of the Intelligence Community to produce objective analysis on intelligence issues. The president and policymakers make all US policy decisions, not the CIA.
The CIA’s mission is exciting in its own right, but different from the caricature Hollywood portrays.
To read more about common myths about the CIA, check out this article:
Fact vs. Fiction: Debunking Some Myths

Historical Document
Posted: Dec 27, 2012 06:56 AM
Last Updated: Apr 30, 2013 01:03 PM"
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(COMPLETE THESIS)

"The Evolution of the CIA's Covert Action Mission, 1947-1963 

Ph.D. Thesis by James D. CaHanan 
Year of Submission, 1999 
Abstract 
The core contentions and departures of this study are that: (1) a three way delineation distinguished the basic types of operation that the CIA performed, between defensive, offensive, and preventive covert action; (2) the agency and its forerunner organisations anticipated government policy and initiated small-scale political clandestine operations during 1946 and 1947, ahead of being given official sanction for such activities; (3) the CIA's operations directorate played a more significant role as an instrument of wider strategic objectives, most notably during the Eisenhower years, than has hitherto been suggested; and (4) domestic politics had a strong impact on the development and deployment of CIA covert action, especially during the McCarthy era. Only by taking these factors into account can the early evolution of the CIA's operations directorate be fully understood. 

TABLE OF CONTENTS 
LIST OF ABBREVIATIONS 5 
INTRODUCTION 8 
BACKGROUND 8 
DEPARTURES 10 
FORMAT 19 
HISTORIOGRAPHY 20 

CHAPTER ONE: TH E ARRIVA L OF AN IMPERFECT PEAC E AND TH E RISE OF TH E SILENT OPTION 22 
THE TRUMAN INHERITANCE 22 
COLD WAR ABROAD AND ITS IMPACT AT HOME 24 
THE BIRTH AND EARLY EVOLUTION OF THE CIA, AND THE EMERGENCE OF ITS COVERT ACTION MISSION, 1945-1948 31 

CHAPTER TWO: ITAL Y 1947-1948: SECURING A EUROPEAN STRONGPOINT 44 
THE ITALIAN POLITICAL LANDSCAPE 1945-1947: A CASE OF CONTINUOUS POLARISATION 45 
TRUMAN'S POLICY TOWARDS ITALY, 1946 TO LATE 1947 50 
OVERT AND ACTIVIST: ANTICOMMUNIST CAMPAIGNING AMERICAN STYLE 52 
METHODOLOGY OF DEFENSIVE COVERT INTERVENTION: THE ITALIAN MODEL 56 
THE SOVIET VIEWPOINT 70 
CONCLUSION 72 

CHAPTER THREE : ONTO TH E OFFENSIVE 75 
THE COLD WAR 1948-1953: A GEOGRAPHICAL EXPANSION AND A PROLIFERATION OF MEANS 76 
THE OFFICE OF POLICY COORDINATION 83 
ECONOMIC WARFARE 90 
EUROPEAN THEATRE OPERATIONS 93 
THE FAR EASTERN DIMENSION 100 THE BEDELL SMITH REFORMS 103 
CONCLUSION 108 

CHAPTER FOUR: OPC INTERVENTION IN ALBANIA: AN EXPERIMENT IN OFFENSIVE COVER T ACTION 110 
ALBANIA AND THE BALKANS: THE VIEW FROM WASHINGTON 111 
BGFIEND: ORGANISATION AND PREPARATIONS 116 
BGFDEND: THE ACTION PHASES: FROM THE KARABURUN MISSION 
TO THE PURGES OF 1954 119 
CONCLUSION: DECEPTIONS, LEGACIES, AND LESSONS 126 

CHAPTER FIVE: ERRING ON TH E SIDE OF ACTIVISM: EISENHOWER AND THE ERA OF PREVENTIVE COVER T WARFARE 135 
IKE'S WHITE HOUSE: THE STRATEGIST'S PALACE 137 
THE NEW LOOK: ASYMMETRY IN PRACTICE 142 
DIFFERING PERCETIONS OF NEUTRALISM: FIRST WORLD AND THIRD WORLD 147 
CIA 1953-1961: FULLY GROWN AND COMING OF AGE 152 
SPECIALISATION 156 
THE U-2 SPY PLANE 161 
CONCLUSION: THE TREND TOWARDS PREVENTIVE OPERATIONS: CONTINUITY AND CHANGE 165 

CHAPTER SIX: A TAL E OF THRE E CAMPAIGNS: LANDMARKS IN THE HEYDAY OF COVERT ACTION 169 
IRAN 1953: A COVERT ACTION PRECEDENT 172 
GUATEMALA 1954: THE ART OF KILLING FOUR BIRDS WITH ONE STONE 188 
THE GUATEMALAN REVOLUTION AND THE ISSUE OF COMMUNISM 189 
EXPEDIENCY: THE PRINCIPAL REASON FOR A COUP D'ETAT 193 
PREPARATION 203 
THE DEED: EXECUTION OF THE GUATEMALA COUP 209 
INDONESIA 1958: AN ALARM FROM THE MALAY ARCHIPELAGO 212 
CONCLUSION 220

CHAPTER SEVEN : FLUCTUATING FORTUNES 222 
CAMELOT AND THE DOCTRINE OF FLEXIBLE RESPONSE 223 
THE BIG PICTURE 1961 -1963: ESCALATING SUPERPOWER TENSION 230 
CIA 1961-1963: ROLLERCOASTER YEARS 233 
TO KILL OR NOT TO KILL? EISENHOWER, KENNEDY, AND THE TURBULENT CONGOLESE EX-PRIME MINISTER 236 
TINKERING AT THE EDGES. THE IMPACT OF THE TAYLOR INQUIRY FINDINGS ON CIA COVERT ACTION 241 
THE DIRECTORSHIP OF JOHN McCONE 245 
CONCLUSION 251 

CHAPTER EIGHT : A BANQUET OF CONSEQUENCES: COVER T ACTION IN CUBA AND THE CARIBBEAN, 1960-1963 252 
THE CUBAN REVOLUTION 254 
OPENING MOVES 257 
THE DOMINICAN DIMENSION 258 
DABBLING IN A DEADLY ART: ASSASSINATION AND THE CIA'S MAFIA CONNECTION 260 
FROM GUERRILLA INFILTRATION TO AMPHIBIOUS INVASION: PARAMILITARY PREPARATIONS UNDER EISENHOWER 263 
THE BAY OF PIGS: KENNEDY'S CUBAN INHERITANCE 269 
MISCONCEPTIONS AND HIDDEN AGENDAS 270 
THE JOINT CHIEFS' ROLE 280 
THE UNANIMOUS SILENCE 282 
INVASION 284 
AFTERMATH 289 
OPERATION MONGOOSE: THE ADOPTION OF LANSDALE'S STABILISATION STRATEGY 293 
INCLUSION 298 
CONCLUSION: MARCHING AS TO WAR 306 

3 APPENDICES 

BIBLIOGRAPHY" 
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Title: "CIA ABOVE THE LAW? SECRET DETENTIONS AND UNLAWFUL INTER-STATE TRANSFERS OF DETAINEES IN EUROPE" (¿LA AGENCIA CENTRAL DE ESPIONAJE / INTELIGENCIA ESTADOUNIDENSE SE ENCUENTRA FUERA DEL ALCANCE DE LA LEY? DETENCIONES SECRETAS Y TRANSFERENCIAS INTERESTATALES DE DETENIDOS EN EUROPA").. By COUNCIL OF EUROPE. 


(COMPLETE REPORT)

"Contents
Chronology of Council of Europe action
Part 1: Secret detentions and transfers of detainees in Europe
Reports of the Parliamentary Assembly

 I. Alleged secret detentions and unlawful inter-state transfers of detainees involving Council of Europe member states (first report Marty)
Summary
Adopted texts
Explanatory memorandum
I. Are human rights little more than a fair-weather option
II. The global “spider’s web
III. Specific examples of documented renditions
IV. Secret places of detention
V. Secret detentions in the Chechen Republic
VI. Attitude of governments
VII. Individual cases: judicial proceedings in progress
VIII. Parliamentary investigations
IX. Commitment to combating terrorism
X. Legal perspectivesXI. 
Conclusion
Appendices

II. Secret detentions and illegal transfers of detainees involving Council of Europe member states (second report Marty)
Summary
Adopted texts
Explanatory memorandum
Introductory remarks – an overview
I. The “Dynamics of truth
II. Secret detentions in Council of Europe member states
III. Secret detention operations in Poland
IV. Secret detention operations in Romania
V. Human rights abuses involved in the CIA secret detention programme
VI. Secrecy and cover-up: how the United States and its European partners evade responsibility for CIA clandestine operations
VII. Secret detentions and renditions: the diminishing effect on respect for human rights worldwide
VIII. Need for consensus solutions to the HVD dilemma whilst ensuring respect for human rights
Appendices
Addendum to the report
1. Dissenting opinion by the delegation of Poland to the Parliamentary Assembly
2. Dissenting opinin by the delegation of Romania to the Parliamentary Assembly

Part 2: Legal obligations of Council of Europe member states in respect of secret detention facilities and inter-state transport of prisoners.
Opinion of the European Commission for Democracy through Law (Venice Commission)

Introduction
Section I: The legal regime
A. General principles
B. Human rights law
C. International humanitarian law
D. General principles of civil aviation
E. Military bases
F. Article V of the NATO Treaty
Section II: The international legal obligations of Council of Europe member states
A. Council of Europe member states’ obligations in respect of arrests by foreign authorities on their territory
B. Council of Europe member states’ obligations in respect of alleged secret detention facilities
C. Council of Europe member states’ obligations in respect of inter-state transfers of prisoners
Conclusions"
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Publicado por en 1 comentario:

martes, 9 de julio de 2013

CHRISTINE JACOBSSON HABLA SOBRE SU ARTE #1 (CHRISTINE JACOBSSON ON HER ART #1)



¡LA MEJOR PELÍCULA DE TODOS LOS TIEMPOS!
THE BEST MOVIE EVER MADE!

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

1) Expone las ideas filosóficas y políticas tras el arte de la artista sueca CHRISTINE JACOBSSON.

 http://perucine.blogspot.com/2013/06/christine-jacobsson-don-leonidas.html

2) Su lenguaje audiovisual es interesante.

 3) Transmite una actitud positivamente crítica hacia la existencia en general y la pintura en particular.

4) Presenta un homenaje oculto a DON LEÓNIDAS ZEGARRA UCEDA.

 Por este motivo le otorgamos el puesto que merece entre LOS MEJORES ESTRENOS 2013 (BEST MOVIES 2013 IN PERU).
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jueves, 4 de julio de 2013

DON LEÓNIDAS ZEGARRA UCEDA EN UCAL (UNIVERSIDAD DE CIENCIAS Y ARTES DE AMÉRICA LATINA).

¡DON LEÓNIDAS ZEGARRA UCEDA Y PERÚCINE.BLOGSPOT.COM VISITAN LA UNIVERSIDAD DE CIENCIAS Y ARTES DE AMÉRICA LATINA (UCAL)!

UCAL
la universidad de la creatividad
universidad de ciencias y artes de américa latina

 CONSTANCIA

La Universidad de Ciencias y Artes de América Latina UCAL, otorga la presente constancia a:

Jorge Luis Villacorta Santamato
Magister en Comunicación Social

Por su participación como ponente en la conferencia "Cine: Contenidos subliminales" ofrecida el 4 de julio de 2013 a los alumnos del curso de Artes Visuales, de esta casa de estudio.

La Molina, 11 de julio de 2013

Marilú Martens
Directora de Innovación y Calidad
UCAL

UCAL
la universidad de la creatividad
universidad de ciencias y artes de américa latina

Lima, 11 de julio de 2013

Jorge Luis Villacorta Santamato
Presente.-

De nuestra consideración,

Por medio de la presente , nos grato saludarlo y dirigirnos a usted, para expresarle nuestro agradecimiento por la conferencia "Cine: Contenidos subliminales" ofrecida el 4 de julio de 2013 a los alumnos del curso de Artes Visuales, de esta casa de estudios.

Su exposición es un aporte importante en la formación de nuestros alumnos.

Esperando contar nuevamente con su gentil participación, nos despedimos expresándole nuestros sentimientos de especial consideración y estima personal.

Marilú Martens
Directora de Innovación y Calidad
UCAL


MEJORES ESTRENOS 2013 (BEST MOVIES 2013 IN PERU)
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