lunes, 14 de abril de 2014

GAME OF PAWNS: THE GLENN DUFFIE SHRIVER STORY (JUEGO DE PEONES: LA HISTORIA DE GLENN DUFFIE SHRIVER)


¡GRAN PELÍCULA RACISTA Y PARANOICA POR EL FBI (LA OFICINA FEDERAL DE INVESTIGACIÓN ESTADOUNIDENSE)!
GREAT RACIST AND PARANOID MOVIE BY THE FEDERAL BUREAU OF INVESTIGATION (FBI)!

OUR RECOMMENDATION: DO NOT ALLOW AMERICAN STUDENTS TO LEAVE THE U.S.!! TORTURE THEM RIGHT NOW BEFORE THEY BECOME TRAITORS!!!
THE AMERICAN STUDENTS ARE BAD-BAD-BAD PEOPLE!
NUESTRA RECOMENDACIÓN: ¡¡¡PROHIBIR A LOS ESTUDIANTES ESTADOUNIDENSES QUE DEJEN LOS ESTADOS UNIDOS DE NORTEAMÉRICA!!!
¡¡¡TORTÚRENLOS AHORA MISMO ANTES DE QUE SE VUELVAN TRAIDORES!!!
¡LOS ESTUDIANTES ESTADOUNIDENSES SON GENTE MALA-MALA-MALA!

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

1) Parece poner en evidencia una visión racista por parte de los realizadores.

Aunque en un principio es complejo determinar el motivo por el cual la historia deja traslucir evidentes rasgos racistas, mediante algo de reflexión podemos señalar qué genera esta impresión:

1.1. La primera y principal es que Shangái es mostrada desnuda de habitantes. Shangai  es vista en un plano general, como ciudad de rasgos arquitectónicos particulares... y nada más. Es decir, su especifidad descansa en las construcciones, no en el hecho de que existe UNA POBLACIÓN de rasgos físicos similares. Es decir, Shangái no es Shangái principalmente porque tenga una población china, sino porque presenta edificios de formas reconocibles. ¡Y ésta es la manera más racista de presentar una ciudad china! 
Lo que convierte a una ciudad china en propia de China es principalmente sus habitantes chinos. Intentar hacer pasar una ciudad asiática por una ciudad abstracta meramente reconocible por sus edificios es como afirmar que las edificaciones de Moscú o La Habana definen a Moscú y La Habana y no los habitantes rusos y cubanos que respectivamente viven en dichas ciudades. Este es un caso que se hace evidente en la televisión peruana: mientras un porcentaje mayoritario de la población peruana tiene herencia y rasgos andina, en la publicidad televisiva ese porcentaje brilla por su ausencia. 
¿Será que carecen de especialistas en propagando o simplemente son racistas lo que hicieron la película? ¿Que podemos pensar de la DIVISION DE CONTRAESPIONAJE DE LA OFICINA FEDERAL DE INVESTIGACIÓN ESTADOUNIDENSE (FBI Counterintelligence Division), de su OFICINA DE CAMPO EN WASHINGTON (Washington Field Office) y de la OFICINA EJECUTIVA DE CONTRAESPIONAJE NACIONAL ESTADOUNIDENSE (The National Counterintelligence Executive)?

1.2 Aunque existen algunas tomas en las calles, éstas son prácticamente abstractas. En ningún momento se siente una presencia china en el filme. Nunca se ve al estudiante rodeado de condiscípulos chinos es un aula. Se cruzará con algunos pero eso es todo. ¡¡La película es tan racista que lo último que desea mostrar es chinos en territorio chino!!

1.3 Si existen mujeres chinas en la película es para que los estudiantes estadounidenses las besen en las discotecas. Como el protagonista explica, tiene a su disposición una buena provisión de "novia" chinas. La única mujer que aparece activamente en la película y con la que "se siente cómodo" al hablar ¡es una espía! O sea que para los jefazos del FBI y la OFICINA EJECUTIVA DE CONTRAESPIONAJE NACIONAL ESTADOUNIDENSE la población femenina china solamente es buena para satisfacer la lujuria de los estudiantes estadounidenses... de lo contrario son espías. ¿Acaso las mujeres de Shangái carecen de empleos?

1.4. La visión jerarquizada de la estructura del espionaje chino es en sí misma ofensiva.
El primer contacto es una mujer, el segundo un hombre de edad madura y el tercer un señor de traje más vistoso. ¡El estereotipo cultural destruye instantáneamente a la película! Hay que admitirlo: el filme parece más un acto de provocación hacia China que una advertencia a los estudiantes estadounidenses en el extranjero. Si fuese un aviso para los estudiantes estadounidenses en el extranjero, todo el guión estaría redactado desde la perspectiva de un estudiante real, antes que desde una visión tan increíblemente acartonada y superficial de la vida académica. Este filme es simplemente una justificación de los presupuestos de la DIVISIÓN DE CONTRAESPIONAJE de la OFICINA FEDERAL DE INVESTIGACIÓN ESTADOUNIDENSE de su OFICINA DE CAMPO EN WASHINGTON y de la OFICINA EJECUTIVA DE CONTRAESPIONAJE NACIONAL ESTADOUNIDENSE.

2) ¡Admite que los estudiantes estadounidenses en el extranjero son espías potenciales y que pueden ser reclutados en su momento!

¡Este es uno de los rasgos más sorprendentes de GAME OF PAWNS: THE GLENN DUFFIE SHRIVER STORY (JUEGO DE PEONES: LA HISTORIA DE GLENN DUFFIE SHRIVER)!
La película dura 28 minutos y 8 segundos. Hacia el los 22 minutos 17 segundos ya es evidente para el espectador que el estudiante estadounidense está siendo entrevistado por una agencia de espionaje estadounidense en territorio estadounidense precisamente porque ha seguido cursos en el extranjero y conoce la cultura foránea... entonces... ¡los que debemos sentirnos ofendidos y agredidos somos los pobladores de todos los países que recibimos estudiantes estadounidenses porque en la práctica son espías que pueden ser puestos en activo en cualquier momento! 

3)
STUDENTS ABROAD WARNED OF FOREIGN INTELLIGENCE THREAT:
http://www.fbi.gov/news/news_blog/students-abroad-warned-of-foreign-intelligence-threat?utm_campaign=email-Immediate&utm_medium=email&utm_source=extras&utm_content=314326

GAME OF PAWNS TRANSCRIPT:
http://www.fbi.gov/news/videos/game-of-pawns

ADVICE FOR U.S. STUDENTS ABROAD. BE AWARE OF FOREIGN INTELLIGENCE THREAT:

4) Su humor tragicómico constituye una homenaje a los filmes de DON LEÓNIDAS ZEGARRA UCEDA, EL VIRREY DEL CINE PERUANO.

¡Por este motivo le concedemos una posición destacada entre los MEJORES ESTRENOS 2014 EN EL PERÚ (BEST MOVIE 2014 IN PERU)!
Don LEÓNIDAS ZEGARRA UCEDA, el VIRREY DEL CINE PERUANO y el cineasta más grandioso de la historia entera de la humanidad crea filmes que reflejan la realidad nacional, latinoamericana y mundial con un refinamiento y agudeza tales que inmediatamente deviene ejemplo de inteligencia, sensibilidad y conocimiento cultural. Las organizaciones de espionaje estadounidenses que crean propaganda de guerra denigrando a los los honorables pueblos de Asia deben aprender de la hermosa y ejemplar actitud de DON LEÓNIDAS ZEGARRA UCEDA, quien actualmente produce una película épica: su biografía. La hora de que se extienda la paz y el amor por el planeta ha llegado.
Title: "THE KILL BILL DIARY: THE MAKING OF TARANTINO CLASSIC AS SEEN THROUGH THE EYES OF A SCREEN LEGEND". Author: DAVID CARRRADINE. Publisher: HARPER. 311 pages.

Page 96:

"Quentin comes up and says, "Welcome to China."
I learn that in Japan, the same people that build models of Tokyo for Godzilla to crush are building a miniature of Tokyo for Uma to fly over. Quentin wants it to have that look that Toho Tokyo look. He is after all making the greatest cult exploitation film of all time" and he knows the devil is in the details. He wants Uma's arrival to Japan to be like Godzilla landing. I CAN't WAIT. There will be 3 days of shooting in Japan very soon. Then a couple of weeks off, while they prep for shooting in Los Angeles. Then they move to Bastow and El Paso ending shooting in Mexico."

Page 107:

"I am on the set of a Beijing Backlot used for RAISE THE RED LANTERN, THE TAI CHI MASTER and many more, the sets are frankly extraordinary. The sets look like those from IRON MONKET and all the classic cool old Chinese sets of old Carvings, filigree, and style everywhere you turn to look. There are bundles of dried sticks and bamboo fruits, vegetables and at every turn you expect the 3 storms to just start kicking ass."

Page 111:

"There is a break in the action here as it is time to remove all the silk, so they can capture the last few moments of the Magic Hour light, for the end of the day's shoot. You ever wonder why Chinese films always look so beautiful? I can tell you. The secret is the ability to cover vast areas with silk for that perfect magic hour lighting. No only that, but due to labor being as cheap as it is here, the rigging on these lighting set ups... Well, just looking at this breakdown, there are easily 40 or so folks yanking on ropes, gathering in the silk, moving bamboo ladders and catching falling objects. The magic of the beautiful Chinese films is solved. SILK and MANPOWER. That's all there is to it. Oh, and a great DP probably doesn't hurt!"
Title: THE CIA AND THE CULT OF INTELLIGENCE. Authors: VICTOR MARCHETTI and JOHN D. MARKS. First published in Great Britain 1974 by Jonathan Cape Limited. Coronet Books, Hodder and Stoughton, London, 1976. 446 pages. (Título: LA AGENCIA CENTRAL DE ESPIONAJE ESTADOUNIDENSE Y EL CULTO AL ESPIONAJE).

Page 310, 311:

"Despite the comparatively recent broadening of the CIA's recruiting base, the agency is not now and has never been an equal-opportunity employer. The agency has one of the smallest percentages - if not the smallest - of blacks of any federal department. The CIA's top management had this forcefully called to their attention in 1967 when a local civil-rights activist wrote to the agency to complain about minor hiring practices. A study was ordered at that time, and the CIA's highest-ranking black was found to be a GS-13 (the rough equivalent of an Army majors). Altogether, there were fewer than twenty blacks among the CIA's approximately 12,000 non-clerical employees, and even the proportion of black secretaries, clerks, and other non-professionals was considerably below that of most Washington-area government agencies. One might attribute this latter fact to the agency's suburban location, but blacks were notably well represented in the guard and char forces.
Top officials seemed surprised by the results of the 1967 study because they did not consider themselves prejudiced men. They ordered increased efforts to hire more blacks, but these were not particularly successful. Young black college graduates in recent years have shied away from joining the agency, some on political grounds and others because of the more promising opportunities available in the private sector. Furthermore, the CIA recruiting system could not easily be changed to bring in minorities. Most of the "spotting" of potential employees is done by individual college professors who are either friends or consultants of the agency, and they are located on predominantly white campuses where each year they band-pick a few carefully selected students for the CIA.
The paucity of minority groups in the CIA goes well beyond blacks, however. In 1964 the agency's Inspector General did a routine study of the Office of National Estimates (ONE). The Inspector found no black, Jewish, or women professionals, and only a few Catholics. ONE immediately took steps to bring in minorities. One woman professional was hired on a probationary basis, and one black secretary was brought in. When the professional had finished her probation, she was encouraged to find work elsewhere, and the black secretary was given duties away from the main ONE offices - out of sight in the reproduction center. ONE did bend somewhat by hiring a few Jews and some additional Catholics.
There are extremely few women in high-ranking positions in the CIA, but, of course, the agency does employ women as secretaries and for other non-professional duties. (...)."

Pages 308, 309:

The CIA's "supergrades" (civilian equivalents of generals) have their own private dining room in the executive suite, however. There they are provided higher-quality food at lower prices than in the cafeteria, served on fine china with fresh linens by black waiters in immaculate white-coats. These waiters and the executive cooks are regular CIA employees, in contrast to the cafeteria personel, who work for a contractor. On several occasions the Office of Management and Budget has questioned the high cost of this private dining room, but the agency has always been able to fend off the attacks, as it fends off almost all attacks on its activities, by citing "national security" reasons as the major justification.

Questions of social class and snobbery have always been very important in the CIA. With its roots in the wartime Office of Strategic Services (the letters OSS were  said, only half-jockingly, to stand for "Oh So Social"), the agency has long been known for its concentration of Eastern Establishment, Ivy League types. Allen Dulles, a former American diplomat and Wall Street lawyer with impeccable connections and credentials, set the tone for an agency full of Roosevelts, Bundys, Cleveland Amory's brother Robert, and other scions of America's leading families. There have been exceptions, to be sure, but most of the CIA's top leaders have been white, Anglo-Saxon, Protestant, and graduates of the right Eastern schools. While changing times and ideas have diffused the influence of the Eastern elite throughout the government as a whole, the CIA remains perhaps the last bastion in official Washington of WASP power, or at least the slowest to adopt the principle of equal opportunity."

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6 comentarios:

Anónimo dijo...

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

Operation Unthinkable was a code-name of two related plans of a conflict between the Western Allies and the Soviet Union. Both were ordered by British Prime Minister Winston Churchill in 1945 and developed by the British Armed Forces' Joint Planning Staff at the end of World War II in Europe.

Anónimo dijo...

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

Operation Unthinkable was a code-name of two related plans of a conflict between the Western Allies and the Soviet Union. Both were ordered by British Prime Minister Winston Churchill in 1945 and developed by the British Armed Forces' Joint Planning Staff at the end of World War II in Europe.

Anónimo dijo...

http://www.eisenhower.archives.gov/research/finding_aids/pdf/Jackson_CD_Papers.pdf

Anónimo dijo...

http://www.eisenhower.archives.gov/research/finding_aids/pdf/Jackson_CD_Papers.pdf

Anónimo dijo...

http://www.eisenhower.archives.gov/research/finding_aids/pdf/Jackson_CD_Records.pdf

5 Movies [use in propaganda; movie industry cooperation]

Anónimo dijo...

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

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