jueves, 30 de enero de 2014

LOS OVNIS DE HOLLYWOOD Y SENDERO LUMINOSO: ¿GUERRA DE GUERRILLAS, CONFLICTO DE BAJA INTENSIDAD U OPERACIÓN PSICOLÓGICA? (THE UFOS FROM HOLLYWOOD AND THE SHINING PATH: GUERRILLA WARFARE, LOW INTENSITY CONFLICT OR PSYCHOLOGICAL OPERATIONS [PSYOP / MISO]?)




¿LA COMUNIDAD
DE ESPIONAJE ESTADOUNIDENSE Y EL CAPITALISMO TOTALITARISTA YANQUI ESTÁN MANIPULANDO NUESTRAS MENTES, EXPECTATIVAS, VOLUNTADES Y CONDUCTAS?
ARE THE U.S. INTELLIGENCE COMMUNITY AND THE AMERICAN TOTALITARIAN CAPITALISM MANIPULATING OUR MINDS, EXPECTATIONS, WILL, AND BEHAVIORS?

SENDERO LUMINOSO / OVNIS [THE SHINING PATH / UFOs]

1) Perros colgados / Mutilación de ganado [Hanged dogs / Cattle mutilation]
2) Secuestros políticos / Abducciones [Political kidnappings / MILABS, abductions]
3) Pintas / Círculos en los campos de maíz [Political graffiti / Crop circles]
4) Apagones, cortes de fluído eléctrico / Apagones, los aparatos eléctricos dejan de funcionar [Blackouts / Blackouts, electrical appliances stop working]
5) Uso de pasamontañas / Grandes ojos [They wear balaclava helmets, ski masks / The E.T.s have huge eyes]
6) Ideología de la predestinación: materialismo dialéctico / Ideología de la predestinación: El Movimiento de la Nueva Era [Ideology of predestination: Dialectic Materialism / Ideology of predestination: The New Age Movement]
7) Cantidad inusual de titulares en cierta clase de diarios / Cantidad inusual de titulares en cierta clase de diarios [Unusual amount of headlines in a particular kind of newspapers / Unusual amount of headlines in a particular kind of newspapers]
8) Subversión de los marcos culturales de referencia / Tiempo perdido, recuerdos borrosos [Subvertion of the cultural frames of reference / Missing time, abduction memories, memory erase]
9) Anonimato de sus miembros / Anonimato de sus tripulantes [Anonymity of its members / Anonymity of the crew members]
10) Incendios, cóctel mólotov / Quemaduras en la piel y sensación de quemadura en los ojos [Fires, molotov cocktail / skin burns, eyes burning]
11) Vidas secretas, desensibilización emocional / La invasión de los ladrones de cuerpos [Secret lives, desensitization / The Body Snatchers]
12) Huelga forzada ("Paro Armado") / Parálisis [Armed strike / Paralysis]
13) Amenazas personales a autoridades y ciudadanos particulares / Los Hombres de Negro [Personal threats to authorities and private citizens / The Men In Black (MIB)]
14) Pretendido "cambio social" / Portales a otros mundos y dimensiones [Intended social change / Gates and portals to other worlds and dimensions]
15) Sendero Luminoso es un "sendero" que es "luminoso" / Los OVNIS son "Objetos Voladores No Identificados" muchas veces "luminosos" [The Shining Path is a "path" that "shines" / Many times the UFOs are Unidentified Flying Objets that "shine".

Conclusiones
A) Si existe alguna realidad tras los fenómenos de Sendero Luminoso y los OVNIS, podemos reconocer lo siguiente: es evidente que no era posible que Sendero Luminoso alcanzara los objetivos que estableció abiertamente mediante de los intrumentos que solía aplicar. Por tanto, era una empresa particular, un negocio, en el cual los líderes serían los más beneficiados. De esta modo, podemos imaginar que el fenómeno OVNI debería tener un objetivo conocido bien establecido aunque, a la vez, podemos notar que su desarrollo no conduce a ningún resultado definido. Entonces, podemos asumir que también es un negocio, una empresa privada, que proporciona beneficios principalmente a los líderes políticos tras él. Así que debería ser sencillo identificar a tales líderes políticos en ambos casos.
Conclusions
A) If there is any reality behind the Shining Path and the UFO phenomena, we can notice the following: it is evident that it was not possible that the Shining Path could achieved its openly stated goals through the means that it used to apply. Thus, it was a private enterpresive, a business, where the leaders would benefit the most. Thus, we can imagine that the UFO phenomenon should have a definite stated goal but, at the same time, we can notice that its development leads nowhere. So, we can assume that it is also a business, a private enterprise, that provides benefits mainly to the political leaders behind it. Then, it shouldn´t be that difficult to recognize who are those political leaders in both cases.


























Título / Title: LOS EXTRATERRESTRES ESPACIALES DEL DEPARTAMENTO DE DEFENSA ESTADOUNIDENSE (EL PENTÁGONO): LOS PLATILLOS VOLADORES SON MÁQUINAS ELÉCTRICAS HECHAS POR EL HOMBRE (SPACE ALIENS FROM THE PENTAGON: FLYING SAUCERS ARE MAN-MADE ELECTRICAL MACHINES). Autor / Author: WILLIAM R. LYNE.


























LA CONSPIRACIÓN SENDERISTA EXTRATERRESTRE: LA HISTORIETA QUE LOS "TERRORISTAS DEL ESPACIO EXTERIOR" Y LA COMUNIDAD DE ESPIONAJE ESTADOUNIDENSE NO QUIEREN QUE LEAS [THE E.T. - SHINING PATH CONSPIRACY: THE COMIC BOOK THAT THE "TERRORIST FROM OUTER SPACE" AND THE U.S. INTELLIGENCE COMMUNITY DON'T WANT YOU TO READ].
Título: "LOS OVNIS DE HOLLYWOOD, SENDERO LUMINOSO Y LA COMUNIDAD DE ESPIONAJE ESTADOUNIDENSE". Autor: JORGE VILLACORTA SANTAMATO. Propuesta de Portada.
Title: "THE UFOs FROM HOLLYWOOD, THE SHINING PATH, AND THE U.S. INTELLIGENCE COMMUNITY." Author: JORGE VILLACORTA. Cover proposal.

"PATHS OF GLORY" (1957). Directed by Stanley Kubrick. Genre: WAR. It is an American film. In fact, this is a subversive film against the French military command.
"THE SHINING" (1980). Directed by Stanley Kubrick. Genre: HORROR. It is a British-American film.
THE SHINING - PATHS OF GLORY
Both movies directed by Stanley Kubrick
Long term psychological operations (PSYOP) promote specific names and ideas through the movies along the decades. Stanley Kubrick also directed "2001: A SPACE ODYSSEY". 2001 was the year of the so called "terrorist" attack in New York on September the 11th. HORROR and WAR together: THE SHINING PATHS OF GLORY.
"PATHS OF GLORY" was released in the 50's. Few years after WWII the American military began to support a specific kind of militarization in Peru. "THE SHINING" was released in May the 23rd, 1980; the same year and month the Shining Path "began" its terrorist activity in the Peruvian territory in May the 17th. Six days after that the movie would begin to popularize half of its name in the English language. That part of the name would be related to a specific kind of emotion: horror. Coincidence or a carefully calculated propaganda campaign designed to support an entity that would become an "omnipotent" and "powerful terrorist organization"?
Title: STANLEY KUBRICK AND THE SHINING PATH. A serious investigation. Author: JORGE VILLACORTA.

Inesperado y misterioso corte de electricidad el Martes 4 de Febrero de 2014. ¿Error o demostración de poder? Se verifica lo sencillo que es afectar la vida de millones de personas cuando se mantiene una posición de ventaja en la generación y distribución de electricidad. ¿Por qué no se incentiva las producción casera de electrícidad? ¿El poder político se escurriría de algunas manos si los hogares pudiesen satisfacer sus necesidades eléctricas de modo independiente y ultraeconómico? ¡Por supuesto que sí!
What movie was directed by Stanley Kubrick following "THE SHINING" (1980)? It was "FULL METAL JACKET", released June the 26th, 1987. Almost one year before, between June the 18th and 19th, 1986 (the golden ratio?) around 300 (tau?) prisoners acussed of being terrorists (the same as saying that they belonged to the "SHINING PATH") were massacred. They had taken coordinated control of three different prisons and, in order to submit them, kind Peruvian military personnel was deployed. Well, "FULL METAL JACKET" teaches the spectator how the American soldiers are trained and how they fight in conditions of URBAN WARFARE, killing the enemy, that is the Viet Cong. The film critic Michael Ciment states that this movie reminds him of "PATHS OF GLORY" and STANLEY KUBRICK pretended that the book in which the film is based deals with "the way things are." Also, Mr. KUBRICK wanted a documentary look for this movie. So, "FULL METAL JACKET" (1987) in the context that has been described works as a justification to the current interaction between the Peruvian military and "THE SHINING PATH" in Peru at the time. If we think that "THE SHINING" (1980) appeared almost at the same time that "THE SHINING PATH" developed its first "official" "act of war", then it is not a surprise that there was a military coup d'état in Peru, supported by the elected President and the Peruvian right wing in 1992, only five years after the released of "FULL METAL JACKET" (1987) and six years after that massacre of alleged members of "THE SHINING PATH" that "saved" us from their actions. A long-term psyschological operation (military information support operation) works like that: coordinating ideas an actions that support a pre-elected result. It is not a surprise then, that the coup d'état happened in April the 5th, 1992 and that the same year 1992, in September the 12th, the "leader of the terrorist group" was "captured." Also, between 1992 and 1999, 228 strategic companies that belonged to Peru and were managed by the government were sold to private companies at extremely low prices. Probably a positive output for some forces plotting and working behind the curtains... :-) [Who bought those companies?]

One of the rejected posters designed for "THE SHINING" (1980). It was designed by Raul Bass. Why would Mr. Bass depict a stylized "eye" as the theme? Is it an indication of the "gang" behind the name of the movie? Source: 

The end of "THE SHINING" shows this picture. "July 4th", "1921". It is easy to notice that "July the 4th" is a reference to the "Independence Day" in America, so the text is about that date. Since 1921 is not related to the American "Independence Day" it has to be related to any other " independence day". All "independent" countries celebrate their independence day once per year since their independence. So, 1921 must be a number very important in relation to "independence day." Which country became independent in 1921? I do not know. Stanley Kubrick would not allow the writing of the actual year of independence because it would have been too obvious. Anyway, it had to be noticeable for whoever was looking at it. OK. Think again: we are talking about "THE SHINING" and its potential relation to the Shining Path. Where is the Shining Path from? Allegedly, it is from Peru. When the Peruvian "independence" happened? It happened in July the 28th, 1821. So, Mr. Kubrick is telling us that the crazy guy from "The Shining" is related to Peru. The picture we see is an old one. Thus, we are watching an "old picture." What picture is that? It is "PATHS OF GLORY." We see "THE SHINING" but we must relate it to a former (motion) picture, a (motion) picture from the past. This way we understand what he means: "THE SHINING" - PERU. The old (motion) picture with the character that has the same age as now is the other part of the name: "PATHS OF GLORY." The whole name: "THE SHINING", "PATHS OF GLORY" is a reference to THE SHINING PATH FROM PERU. The actor resembles Baphomet, thus, all that is a subtle curse, jinx, hex or execration against the Peruvian population and the Peruvian destiny because of the theme of each movie: war and horror.
"OVERLOOK" means "to fail to see or notice something", "to pay no attention to something." Then, the name "OVERLOOK HOTEL" or "overlook" is an order to the spectators: this way they will see the reference without understanding its meaning but the people behind this plot will say that they "warned" us! Plausible deniability is everything in this kind of operation, isn't it?
Why the 100 years difference between 1821 and 1921? It would have been easy to write 1821 and show an image that matched the image. Well, there we find a reference to another movie directed by Stanley Kubrick that is a PSYOP: 2001. Also, 19 has the same digits as 911. If we remember the golden ratio (1.618), the digits 18-19 do not look so strange. And, 00 is well known as "license to kill" due to the James Bond franchise [James Bond is the agent 007]. As a consequence, 1821 plus 100 years is equivalent to giving permission to destroy the Peruvian political independence.

JOHN ALCOTT, BSC and STANLEY KUBRICK
The typical "satanic human sacrifice" that is found in every British-American psychological operation (a subject linked to the so called "mysteries") can be found in relation to the promotion of the international image of the mythical SHINING PATH. In this case the human sacrifice would be JOHN ALCOTT. John Alcott was the cinematographer of "2001: A SPACE ODDYSEY" (196 ) [this was the very first mainstream movie he worked for], "BARRY LYNDON" (19 ), "A CLOCKWORK ORANGE" (197 ) and, of course, THE SHINING.(1980). Mr. Alcott officially passed away on July the 28th, 1986. Between June the 18th and 19th, 1986 (the golden ratio?) around 300 (tau?) prisoners acussed of being terrorists (the same as saying that they belonged to the "SHINING PATH") were massacred. July the 28th is the day when the Peruvians celebrate their "independence." Was the look of the mythical leader of the also mythical SHINING PATH designed after the appearance of STANLEY KUBRICK? Is the man  that is called by the Peruvian and international press ABIMAEL GUZMÁN REYNOSO a look alike of STANLEY KUBRICK? The clues are there: Q-BRICK / QABALAH-BRICK : (KUBRICK); G-MAN / UZ-MAN / OZ-MAN (GUZMÁN). (I)S-t-A-nley Q-BRICK [IS A QABALAH-BRICK] / ab-I'M-A-el G-UZ-Man [I AM A G / OZ / MAN]. These clues suggest that we are dealing with synthetic personalities created to fulfill specific social roles. When was Mr. KUBRICK born? He was born July the 26th, 1928. July / 28/ 6 / 2. Can this be a coincidence? We should remember that the Peruvian "independence" (July the 28th, 1821) was a synthetic event created under the auspices of the British Empire that has been "at war" with the Spanish Empire for centuries now. 

Source:  http://www.larepublica.pe/12-09-2012/falta-combatir-sendero-luminoso-en-el-terreno-politico-ideologico

Source: http://peru21.pe/politica/osman-morote-reivindica-sendero-luminoso-blog-y-redes-sociales-2146104
Allegedly, the second in command inside the SHINING PATH was OSMÁN MOROTE. OSMÁN is not a common name in the Spanish speaking world. Should we think that it is possible that in this case we are facing another MAN FROM OZ? OS-MÁN / OZ - MAN. He was arrested by the Peruvian National Police on June the eleventh (June the 11th, 1988), 6 / 11 / 88. In the Spanish speaking world the date is written: 11 de Junio de 1988 (11 / 6 / 88). Does 6/11 resemble 9/11? "Curiously," it does! Mr. MOROTE's father was supposedly born on July the 8th, 1921.
(source: http://es.wikipedia.org/wiki/Efra%C3%ADn_Morote_Best )
Does the reader remember that the so called Peruvian "independence" happened on July the 28th, 1821?
Should we begin to think about more synthetic personalities again? Apparently this method of reasoning goes against what we understand as "history" but, isn´t history another name for a specific kind of propaganda? In fact, believing that "history" works the way we are taught... wouldn´t be the ideal tool to control the minds of the populations of the world? Manufacturing "History" in advance generates a great advantage for those who control the resources.

AMERICAN CINEMATOGRAPHER. March 1987. Cover.

AMERICAN CINEMATOGRAPHER. March 1987. Page 60 (pay attention to the title of the article): 

"NO WAY OUT: a Last Challenge
_____________________________________

Produced by Laura Ziskin and Robert Garland
Directed by Roger Donaldson
John Alcott, director of photography
_____________________________________

by Ron Magid

(Editor´s Note: John Alcott, BSC, was vacationing in the south of France with his wife, Sue when he suffered a massive heart attack and died on July 28, 1986.)

John Alcott was an extremely natural cinematographer who was able to adapt his remarkable talents to whatever style his directors demanded, from the computerlike precision of Kubrick's 2001: A Space Odyssey, his first film, to the documentary realism of Roger Donaldson's No Way Out, his last, Alcott had finished shooting No Way Out only weeks before embarking on his fateful trip."

AMERICAN CINEMATOGRAPHER. March 1987. Page 65:

"The future Mrs. Alcott met her husband right after Stanley Kubrick had promoted him to director of photography on 2001: A Space Odyssey following the departure of Geoffrey Unsworth. Alcott had been his first assistant. "I met John in the June of 1966. He'd only been working as the cinematographer for about three months, and that was the John Alcott I met, fell in love with and loved till the end of his days.
"It was Stanley, of course, who thought that John had a great talent and could carry on where Geoffrey had left off. 2001 was the most incredible experience for John. I'm sure he became because of that film. I can't take that away from Stanley. The experience of working with that man and his constant repeating to get it right stood John in such good stead. He was proud to be shooting the movie, and he worked incredibly hard. The hours were horrendous and Stanley was such a hard taskmaster, he drove everybody into the ground on this and again on his other pictures." "

AMERICAN CINEMATOGRAPHER. March 1987. Page 66:

"If there is any continuing theme to be found in Alcott's diverse body of work, it is that every five or so years he would do another picture with Kubrick, whose incredible demands were both exciting and aggravating for the cinematographer of A Clockwork Orange, Barry Lyndon and The Shining. Alcott did not film Kubrick's upcoming Vietnam war epic, Full Metal Jacket, ironically because he wanted a break from the demanding schedules of Kubrick's films.
In spite of these demands - or perhaps because of them - Alcott remained grateful to Kubrick throughout his career. "He was davastatedly loyal to him," Sue Alcot laughs, "as much as he drove John mad! I think he felt such a deep loyalty to Stanley because he gave John his break. Still he used to come home at night after working on one of Stanley's films, sit down with a glass of wine and say, 'God, there's another day gone!' But it was a labor of love for John because he knew he was learning so much. God knows how many cinematographers would love to have been in John's shoes, to have gone through the experiences he went through with Stanley. I think it was the highlight of his life to work with him, and one of the virtues Stanley saw in John was his insurmontable patience to want to get it right."
After the glory of 2001, however, Alcott found himself unable to find work in England for several months, which nearly wiped out the finances of his struggling family. "The industry in England completely collapsed and the only person working was Geoffrey Unsworth," Sue Alcott recalls. "I'll never forget it: we were down to our last two hundred pounds in the bank; John had been out of work for six months. Then, all of a sudden, he got a call from Stanley Donen to do tests for The Little Prince. And then, of course, there was A Clockwork Orange, and after that, he was flying."
A Clockwork Orange gave Alcott his first taste of success: he was nominated for the SFTA Best Cinematography Award and for the British Society Of Cinematographers Award. Then after shooting Stuart Cooper's first feature film, Little Malcolm, which gained the director both the 1974 Berlin Film Festival Silver Bear Award and the Gold Medal for Best Foreign Film from the Atlanta Film Festival, Alcott himself received his most valued prize: the Oscar for Best Cinematography for Kubrick's Barry Lyndon. "That movie was entirely lit with triple-wick candles!" Sue Alcott exclaims. "He was so honored. Neither of us, when we were first planning our lives together, anticipated in our wildest dreams that he would end up winning an Oscar in 1976!"
After winning the Oscar, Alcott decided he wanted to work in Hollywood. Finally, in 1983, he and his family arrived in the United States. "I could never get over the fact that he wanted to make this incredible transition from England to California at such a late stage in his life, because he was terribly set in his ways," his wife marvels. "Having done a couple of movies on location here (Vice Squad, Beastmaster), he learned to love it so much, although I could never believe that he wanted to do it! But, he was always a man that needed a great challenge and this was another step in his life that he wanted to rake. So, in 1983 we landed here, and he was terribly nervous at that point in his life because naturally he wanted to do pictures in the studios and for that he needed into the union. We'd sold everything in England, we'd moved here and we were in the throes of escrow buying our house, so this really did mean so much to us - we'd put all our eggs in one basket, to coin a phrase!
The two people responsible for getting John in the union were Roger Spottiswood and Jonathan Taplan, the director and producer, respectively, of Under Fire. He'd just got his green card when he left to do Under Fire in Mexico."
After finishing Donaldson's No Way Out, Alcott was presented what he felt would be the pinnacle of his career: David Lean's films of Joseph Conrad's Nostromo. "He was so thrilled," Sue Alcott recalls, "Maggie Unsworth, Geoffrey's widow, who works with David on all of his pictures, called and asked to speak to John. After the conversation finished, he said, 'David Lean's asked me to shoot his next movie,' Well, I just shrieked! I was like a silly little girl while calma John took it all in his stride, but I could tell that the emotion was all there inside. So when we went back to England in July, before we left our fateful holiday in France, John went to have lunch with David. He'd met him before a number of times socially, but had never sat down with him to discuss a future project that they were going to go together. John left our little apartment at midday and didn't come back until five o'clock that afternoon. He came back so amazed at having spent five hours with the great David Lean - John was totally in awe. They got on extraordinarily well together and about an hour after he got back, Maggie called John and said, 'David was absolutely thrilled with your meeting today and is totally thrilled that you're going to do the movie.' And, of course, two weeks later, John was dead.""

MEJORES ESTRENOS 2014 (BEST MOVIES 2014 IN PERU).
------

sábado, 18 de enero de 2014

ACADEMY FILM SCHOLARS PROGRAM 2013

























Shawn Guthrie mail@grantapplication.com 5:58 PM (14 minutes ago)
to me

Dear Mr. Villacorta:

Recently, the Academy’s Grants Committee met to select the recipients of the Academy Film Scholars Grants.  Out of 127 applications received, the Committee members were pleased and excited to discover a number of exceptional proposals.  After a great deal of discussion including praise for a number of the proposals, the committee ultimately selected two.  Regrettably, your proposal was not selected.

The recipients of this year’s Academy Film Scholars Grants are Laurence Kardish for his proposal "Shirley Clark: The Original Chelsea Girl" and James Naremore for his project "The Cinema of Charles Burnett".

The committee asked me to inform the applicants how much they enjoyed reading the proposals and how worthy many of them seemed.  They anticipate that a good number of the proposals will come to fruition.

Best of luck in all your future endeavors.

Sincerely,
Shawn Guthrie
Grants Coordinator

-----------------
Academy of Motion Picture Arts & Sciences mail@grantapplication.com
to me
Thank you for your submission. Your application has been submitted successfully, and the tracking number is 24437. You will be receiving more information on the status of your application shortly. For your records, here is a copy of the contents of your application.
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Applicant Information

Prefix


Mr.


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Jorge


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Luis


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Villacorta


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Los Halcones 563. Urb. Sta. Cecilia. Bellavista.


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Callao


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02


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Peru


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(511) 4514334


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Villacorta

Proposal Information

Project Title



Hollywood And Project Blue Beam: Predictive Programming, Subliminals, And Information Operations.



Project Statement Summary


(One or two paragraphs summarizing the project)





Hollywood is the U.S. Intelligence Community propaganda machine. It is a tool that actively defends and promotes the interests of the American Military - Industrial -Congressional Complex and the American capitalism. As a weapon, it is used to develop Information Operations through the use of several techniques, among them predictive programming and subliminal messages. If we observe how both of them were used in relation to the event known as 9/11 (the controlled demolition of the World Trade Center and Building 7) it is possible to recognize the patterns of the development of new Information Operations identified by the name 'Project Blue Beam.'



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(i.e. book, multi media presentation, dvd rom, curatorial project, website)


 
Book.


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(List for both if there are two applicants)




Projected Project Completion Date


11/09/2014


Anticipated Use of Grant Funds


(e.g., research travel, time off, book photos, etc.)


 
1) to buy movies (dvd format) 2) to buy essential books


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 -----------------
Project Statement

HOLLYWOOD AND PROJECT BLUE BEAM: PREDICTIVE PROGRAMMING, SUBLIMINALS AND INFORMATION OPERATIONS.

1. Description of the project

1.a. Objective
To study the American movies that depict UFOs and extraterrestrials as tools of Information Operations. The movies will be analyzed from the perspective of two techniques: predictive programming and the use of subliminal messages.

1.b. Methodology
We will analyze American movies decade by decade identifying main themes and probable intentions for their use. Also, we will identify the visual and auditory information that belongs to the area of subliminal messages. We will do all this by watching the movies and taking notes on what we recognize as the probable patterns of Information Operations at work.

2. The context of the project

2.a. Academic context
A usual restriction in communication research is the study of events that have already happened, without understanding the messages in the media as stages of long-term Information Operations. For example, “A History of Government Management of UFO Perceptions through Film and Television,” written Matthew Alford and Robbie Graham, do not attemp to identify what is the ulterior goal of de phenomenon that they describe. We can read in page 19 of that paper:     

Still, the pattern of the US government’s perception management relating to UFO-based entertainment is hitherto barely known and under-researched. Overall, this pattern indicates that for over six decades national security institutions, or at least powerful factions within them – in contrast to their publicly stated disinterest in UFOs – have closely observed and altered television and film depictions of the phenomenon, typically in line with broader government objectives in an attempt to prevent UFOs from gaining greater legitimacy or political currency[1].

In order to reocognize those “broader government objectives” a broader theoretical frame of reference is needed: Information Operations can be that frame. While Tricia Jenkins has recently informed us about how the Central Intelligence Agency deals with the film industry[2] and Senator James William Fulbright described “The Pentagon Propaganda Machine”[3] in 1970, a more militarized viewpoint might allow us to understand better the social process behind this specific kind of movie. Theses like “Strange Bedfellows: Cooperation Between Hollywood And The Pentagon“[4] and “The Development Of Hollywood’s Relationship With The Military: A Guide For Filmmakers And Military Entertainment Liaison Officers“[5] show us the surface of how the Military – Industrial –  Congressional Complex works. With an study like “Hollywood And Project Blue Beam: Predictive Programming, Subliminals And Information Operations” we can recognize that the weaponization of the American film industry has deeper levels.

2.b. Professional contex
In the American film industry filmmakers and military and intelligence officers are using techniques like predictive programming and subliminal messages in the context of Information Operations. Having a panoramic view of a specific case (movies that portrait UFOs and extraterrestrials) would allow them to become more creative and refine their skills. Thus, reflexion on this subject is needed.

3. How my professional experience is relevant to the project

As a Marketing And Event Manager for a Peruvian publishing company I understand that the Military – Industrial – Congressional Complex uses the movies as advertising to promote its own interests; thus, I think that I can watch the movies more objectively than other viewers. Also, I have had experience in the filmmaking arena through the movie “María Y Los Niños Pobres”(2010). This was a low budget / no budget Peruvian – Bolivian production written, directed and produced by the Peruvian filmmaker Leonidas Zegarra, the greatest film director in the history of the human kind. I collaborated with production of the movie as an actor, assistant director, sound assistant, editor, gofer and sponsor. Later, we exhibited the movie after renting a theater in Puno (Peru). This experienced taught me how the movies are produced in a capitalist economy. Also, it became evident to me, that they are wonderful tools for propaganda purposes. After this experience, Mr. Zegarra produced two more movies, this time with the financial help of a Catholic organization.  The storylines of these two movies and “María Y Los Niños Pobres” promote Catholic ideals. Thus, I can understand that the stories about UFOs and extraterrestrials belong to a particular ideology and I would like to know more about the agenda behind that ideology. This interest motivates me to pay close attention to the subject of this project.

4. Significance of the project

4.1. Significance to the field
Each year, new research on the American film industry as a propaganda tool provides valuable information. We are reaching a point where we can see through the propaganda veil and understand the real motivations of the stories we are told by Hollwood. A project like “Hollywood And Project Blue Beam: Predictive Programming, Subliminals, And Information Operations” might give us a method to see into those areas of secretive government policy that stay classified.

4.2. Significance to my own professional development.
In Peru we do not have specialists that study the American film industry as a propaganda tool. Paying attention to this subject is an easy way of becoming a prestigious scholar. The year 2012 my article “Hollywood Y La Comunidad de Espionaje Estadounidense” (“Hollywood And The U.S. Intelligence Community) was published by the journal of  the Department of Social Communication of the University of San Marcos. This project is an extension of the ideas explained in that article.
Also, after learning more about the movies that depict UFOs and extraterrestrials I might produce and direct a low budget / no budget movie about the subject.





[1] Alford, Matthew and Robbie Graham (2011). History of Government Management of UFO Perceptions through Film and Television, 49th Parallel, Volume 25, Spring. Retrieved September 30, 2013, from http://www.49thparallel.bham.ac.uk/back/issue25/Graham-and-Alford.pdf

[2] Jenkins, Trica (2012), The CIA In Hollywood: How The Agency Shapes Film And Television, Austin, TX: University of Texas Press.

[3] Fulbright, James William (1970), The Pentagon Propaganda Machine, New York: Liveright.

[4] Zhakova, Olga, “Strange Bedfellows: Cooperation between Hollywood and the Pentagon” (2011). Theses and Dissertations.  http://preserve.lehigh.edu/etd/1328

[5] Gregory, James, “The development of Hollywood’s relationship with the military: a guide for filmmakers and military entertainment liaison officers” (2008). Thesis. uscthesesreloadpub_Volume32/etd-Gregory-2471.pdf 
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Select Bibliography

HOLLYWOOD AND PROJECT BLUE BEAM: PREDICTIVE PROGRAMMING, SUBLIMINALS, AND INFORMATION OPERATIONS
Alford, Matthew and Robbie Graham (2011). History of Government Management of UFO Perceptions through Film and Television, 49th Parallel, Volume 25, Spring. Retrieved September 30, 2013, from http://www.49thparallel.bham.ac.uk/back/issue25/Graham-and-Alford.pdf
Boyd, Judith K. (2008), Introducing The Future Now: Using Memetics And Popular Culture To Identify The Post 9/11 Homeland Security Zeitgeist, Monterey, California: Naval Postgraduate School.
Brophilius, Aidan (2012), Project Blue Bean – The Quest For A New World Order And The Rule Of The Antichrist, Kindle Edition.
Cantril, Hadley (1944), Gauging Public Opinion, Princeton: Princeton University Press.
Cantril, Hadley (1960), Soviet Leaders And Mastery Over Man, New Brunswick, NJ: Rutgers University.
Cantril, Hadley (1940), The Invasion From Mars: A Study In The Psychology Of Panic, Princeton, NJ: Princeton University Press.
Cantril, Hadley (1941), The Psychology Of Social Movements, New York: J. Wiley & Sons.
Clarke, Arthur C. (1953), Childhood’s End, New York: Ballantine Books.
Clemence, Gerald M. (Chairman) and National Academy of Sciences (1969), Review Of The University Of Colorado Report On Unidentified Flying Objects, Springfield, VA: Clearinghouse for Federal Scientific & Technical Information.
Commander X (1997), Incredible Technologies Of The New World Order: UFOs – Tesla – Area, New Brunswick, NJ: Global Communications.
Crandal, Richard P. (2003), They All Told The Truth: The Antigravity Papers, Victoria, B.C.: Trafford.
Engel, Joel (1994), Gene Roddenberry: The Myth And The Man Behind Star Trek, New York: Hyperion Books.
Fulbright, James William (1970), The Pentagon Propaganda Machine, New York: Liveright.
Gregory, James, “The development of Hollywood’s relationship with the military: a guide for filmmakers and military entertainment liaison officers” (2008). Thesis. uscthesesreloadpub_Volume32/etd-Gregory-2471.pdf 
Gurdjieff, Georges Ivanovitch (1950), All And Everything Or Beelzebub’s Tales To His Grandson, London: Routledge & Kegan Paul.
Hartung, William D. (2011), Prophets Of War: Lockheed Martin And The Making Of The Military – Industrial  Complex, New York: Nation Books.
Jenkins, Trica (2012), The CIA In Hollywood: How The Agency Shapes Film And Television, Austin, TX: University of Texas Press.
LaViolette, Paul A. (2008), Secrets Of Antrigravity Propulsion: Tesla, UFOs,  And Classified Aerospace Technology, Rochester, VT: University of Texas Press.
McGowan, David (2014), Weird Scenes Inside The Canyon: Laurel Canyon, Covert Ops & The Dark Heart Of The Hippy Dream, New York: Headpress.
Monast, Serge (1994), NASA’ Project Blue Bean, Quebec: International Free Press. [transcript of taped presentation]
Mowthorpe, Matthew (2004), The Militarization And Weaponization Of Space, Lanham, MD: Lexington Books.
Perkins Jr., Clifton E. (1991), A Comparison Of The UFH Follow-ON And Milstar Sattelite Communication Systems, Monterey, CA: Naval Postgraduate School.
Robb, David L. (2004), Operation Hollywood: How The Pentagon Shapes And Censors The Movies, Amherst, NY: Prometheus Books.
Rux, Bruce (1998), Hollywood VS. The Aliens: The Motion Picture Industry’s Participation In UFO Disinformation, Berkeley, CA: Frog Ltd.
Sheffield, Clayton Odie  and Army Command And General Staff College – Fort Leavenworth, Kansas (2001), The War Film: Historical Perspective Or Simple Entertainment, Fairfax County, VA: Fort Belvoir Defense Technical Information Center.
Sherman, Harold M. (1946), The Green Man: A Visitor From Space, Chicago: Century Publications.
Sherman, Harold M. (1979), The Green Man And His Return: An Amazing UFO Pre-Vision Of The Coming Of The Space People, Amhers, MA: Amherst Press.
United States, Joint Chiefs of Staff (2009), JP 1-05 Religious Affairs In Joint Operations, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 2-03 Geospatial Intelligence In Joint Operations, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 3-13 Information Operations, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 3-13.1 Electronic Warfare, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2010), JP 3-13.2 Psychological Operations, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2011), JP 3-13.2 Military Information Support Operations, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 3-13.3 Operations Security, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 3-13.4 Military Deception, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2013), JP 3-14 Space Operations, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2010), JP 3-61 Public Affairs, Washington, DC: Joint Chiefs of Staff.
United States, Joint Chiefs of Staff (2012), JP 6-01 Joint Electromagnetic Spectrum Management Operations, Washington, DC: Joint Chiefs of Staff.
Zhakova, Olga, “Strange Bedfellows: Cooperation between Hollywood and the Pentagon” (2011). Theses and Dissertations.  http://preserve.lehigh.edu/etd/1328
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Title / Título: COMPARING THE CAPABILITIES AND PERFORMANCE OF THE ULTRA HIGH FRECUENCY FOLLOW-ON SYSTEM WITH THE MOBILE USER OBJECTIVE SYSTEM. Author / Autor: CHRISTOPHER K. MATASSA.

http://www.amazon.es/Comparing-Capabilities-Performance-Frequency-Follow-On-ebook/dp/B0065LU4EA
http://www.fas.org/spp/military/program/nssrm/initiatives/ufo.htm



Title / Título: HOLLYWOOD VS. THE ALIENS. THE MOTION PICTURE'S INDUSTRY PARTICIPATION IN UFO DISINFORMATION (HOLLYWOOD CONTRA LAS CRIATURAS DEL ESPACIO EXTERIOR. LA PARTICIPACIÓN DE LA INDUSTRIA CINEMATOGRÁFICA ESTADOUNIDENSE EN LA DESIFORMACIÓN RELATIVA A LOS OVNIS). Author / Autor: BRUCE RUX.
---------------
Jorge Villacorta jorgevillacorta1@gmail.com          10/29/13
 to public-inquiri.

NASA
Public Outreach

Charles F. Bolden, Jr.

Administrator


Dear Sir,

I am a Peruvian scholar. My name is Jorge Villacorta. This year I sent a research project proposal to the Academy Film Scholars Program. This program is organized by the Academy of Motion Piicture Arts and Sciences. Due to the subject of my proposal, I thought that you would be interested in learning about my project. Thus, I am sending it to you, too.

I thank you so much for sparking the imagination of so many Americans...
Best regards

Jorge Villacorta
---
HQ-Public Inquiries hq-public-inquiries@nasa.gov       10/29/13

to me

Dear Mr. Villacorta:

Thank for your email to Administrator Charles Bolden. 

NASA thanks you for your comments and suggestions as they are very important to us. 

To learn about the exciting work NASA is doing you are encouraged to visit www.nasa.gov.  NASA also invites you to consider using one or more of the following easy and convenient communications tools for receiving NASA Updates.

  • Subscribe to E-mail Delivery – Simply go to www.nasa.gov, enter your e-mail address, set your delivery preferences, and choose your area(s) of interest.
  • Receive Updates by RSS (Really Simple Syndication) – NASA RSS Feeds are available at http://www.nasa.gov/rss/index.html.

Your interest in NASA is appreciated. 

Sincerely,

Public Communications Program
Public Outreach Division
Office of Communications


From: Jorge Villacorta [mailto:jorgevillacorta1@gmail.com] 
Sent: Tuesday, October 29, 2013 2:06 PM
To: HQ-Public Inquiries

Subject: Fwd: Your Application Submission


NASA
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