A Proper Gander At Propaganda


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This website exists to serve as public resource for reverse imagineering world-wide culture, one that takes a critical look at the numerous artifacts and other types of relics that represent our shared collective international heritage. This blog is dedicated to examining social engineering and the use of tax funded governmental propaganda, and the mainstream media, as international human resource management tools.

About The AA Morris Proper Gander At Propaganda Podcast: Coming to you from one of the suburban metropolitan melting pots of international culture, outside of one of the multimedia capitals of the world, New York City, the Proper Gander at Propaganda podcast is meant to be a filter free look at our shared international cultural heritage, our shared social media infused and obsessed present, and what our children and their children could be looking forward to. This link will bring you to the podcast page of this website, with embedded squarespace audio: link: http://www.aamorris.net/podcast/

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The Zapruder Film Is Just A Photographic Cartoon Part One


This is part of a series of articles that breaks down older and longer posts into smaller (and easier to load) blog posts for the reader's convenience.

The Television Terror Template

“The Kennedy assassination became the template for coverage,” said Bob Schieffer, who 50 years ago covered the event for the Fort Worth Star Telegram and is now a veteran broadcaster with CBS."

source: The Power of TV: From The Kennedy Assassination to 9/11 - The Atlantic  •  How the JFK assassination transformed media coverage - Reuters

Do you see the reflections of cars on the side of Presidential limousine ride?
Why is this not News worthy? Why is this not even conspiracy-theory worthy?

Why overlook what is obviously a problem?

Zapruder Film is a Cartoon.gif

A True Time For Reflection

I think the answer might have to do with giving away the secret to emotionally manipulative stage magician illusion. What kind of twisted apologetics would be required to explain what is clear evidence of complete film fakery and propaganda manufacture? How much deeper and more maze like of a rabbit hole would be required to ad hoc explain away what is obviously a tell tale sign of Hollywood, film darkroom, special effect work and obvious con job contrivance on part of government and News media as well as the alternative conspiracy crowd?  I think such an explanation would strain credibility. I think there is a lot of noise about this bit of supposed evidence. I think all the talk and focus on things like the head shot, multiple shooters, the grassy knoll, as well as the unsupported (at least by this version of the film) allegation that the driver turned and shot the President, exist as distractive noise designed to get us to literally overlook what is obvious, as if hypnotized by magical spell.

It should also be obvious that all the evidence that is put forth to support the claim that JFK was assassinated actually demonstrates the event was a hoax. That is the more logical and believable explanation, especially when one understands the historical context of it all. Hollywood has always existed as the propaganda arm of government. Government relies on fabricated narratives to craft the illusion of National identity for the public to associate with. This is how the human resource of the world has been managed for centuries, just look at history. The most compelling kind of narrative is that of the sacred victim martyr, an old yellow journal favorite and one that both the mainstream and alternative conspiracy crowd rely on to sell the all too familiar set of famous fables and myths that surrounds this supposed historical event.

Where's the crowd of women lined up to see the media promoted young and charismatic National leader?

They should be reflected, not what appears to be either traffic or another motorcade. This obvious traffic is impossible and the lack of the reflections of the lined up ladies is likewise impossible. This, among other tell-tale signs, is clear evidence that the Zapruder film is nothing but Hollywood style, propaganda. Special effect techniques and technology would appear to be the real top secret weaponry of the 20th century.

More than likely the camera rigging was set up to move and the limousine was motionless on a set and perhaps even on a treadmill; or the limousine was actually in motion (with or without rigged camera work).  In any event, this appears to have been filmed on some kind of set using advanced Hollywood techniques. Fans would be used to simulate wind. Actual footage of a motorcade appears to be projected over the limousine and governmental actors and actresses.

This appears to be an example of the Hollywood special effects process known as front screen projection. Please note this footage was never meant to be viewed stabilized. The artificial camera shake makes noticing revealing details that much more difficult. All the evidence suggests this is just a photographic cartoon, it really cannot be anything else. This would seem to be the most logical explanation and answer to the riddle that the events of that legendary day posed so long ago.

Zapruder Film Fakery: Film Illusion Techniques, The Real Top Secret Technology of The 20th Century

Believe half of what you see and none of what you hear. Film fakery is as old as photography itself.

Front projection effect - Wikipedia   •    The surprisingly old art of photo fakery - The Boston Globe


"Zapruder was one of at least 32 people in Dealey Plaza known to have made film or still photographs at or around the time of the shooting."

source: Zapruder film - Wikipedia

"A front projection effect is an in-camera visual effects process in film production for combining foreground performance with pre-filmed background footage. In contrast to rear projection, which projects footage onto a screen from behind the performers, front projection projects the pre-filmed material over the performers and onto a highly reflective background surface."

source: Front projection effect - Wikipedia

Peaking Behind The Curtain

An Iconic Cultural Artifact: One Of Many Manufactured Bits of Photographic Evidence Supposedly From That Day

"The Zapruder film is a silent, color motion picture sequence shot by private citizen Abraham Zapruder with a home-movie camera, as U.S. President John F. Kennedy's motorcade passed through Dealey Plaza in Dallas, Texas, on November 22, 1963, thereby unexpectedly capturing the President's assassination. Although it is not the only film of the shooting, it has been called the most complete, giving a relatively clear view from a somewhat elevated position on the side from which the president's head wound is visible. It was an important part of the Warren Commission hearings and all subsequent investigations of the assassination, and is one of the most studied pieces of film in history. Of greatest notoriety is the film's capture of the fatal shot to President Kennedy's head when his presidential limousine was almost exactly in front of, and slightly below, Zapruder's position. Abraham Zapruder stood on a concrete pedestal along Elm Street in Dealey Plaza holding a high-end Model 414 PD Bell & Howell Zoomatic Director Series Camera. He filmed from the time the presidential limousine turned onto Elm Street [1] for a total of 26.6 seconds, exposing 486 frames of standard 8 mm Kodachrome II safety film, running at 18.3 frames/second.[note 1] After Secret Service agent Forrest Sorrels promised Zapruder that the film would only be used for an official investigation, the two men sought to develop the footage as soon as possible. As television station WFAA's equipment was incompatible with the format, Eastman Kodak's Dallas film processing facility developed the film and Jamieson Film Company produced three copies. Zapruder gave two of the copies to the Secret Service.[1]

On the morning of November 23, CBS lost the bidding for the footage to Life magazine's $150,000 offer.[3] CBS news correspondent Dan Rather was the first to report on the footage on national television after seeing it, although the inaccuracies in his description would contribute to many conspiracy theories about the assassination.[1] In his 2001 book Tell Me A Story, CBS producer Don Hewitt said that he told Rather to go to Zapruder's home to "sock him in the jaw", take the film, copy it, then return it and let the network's lawyers deal with the consequences.[4] According to Hewitt, he realized his mistake after ending their telephone conversation and immediately called Rather back to countermand the order.[4] In a 2015 interview on Opie with Jim Norton, Rather stated that the story was a myth.[5]

Frame 313 of the film depicts the fatal shot to the President's head. After having a nightmare in which he saw a sign in Times Square, New York City, with the phrase "See the President's head explode!", Zapruder insisted that frame 313 be excluded from publication.[1] The November 29, 1963 issue of Life—which featured the "LIFE" logo in a black box instead of the usual red box—published about 30 frames of the Zapruder film in black and white. Frames were also published in color in the December 6, 1963 special "John F. Kennedy Memorial Edition", and in issues dated October 2, 1964 (a special article on the film and the Warren Commission report), November 25, 1966, and November 24, 1967."

"Zapruder was one of at least 32 people in Dealey Plaza known to have made film or still photographs at or around the time of the shooting."

"In 1994, the Zapruder film footage was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and was selected for permanent preservation in the National Film Registry. Author J. G. Ballard focuses on Kennedy and the Zapruder film in a number of his works, such as The Atrocity Exhibition. Actor Freddie Prinze was fascinated by the Zapruder film, and watched it frequently in the time leading up to his 1977 suicide."

source: Zapruder film - Wikipedia

FRONT SCREEN PROJECTION | Shanks FX | PBS Digital Studios  source: Shanks FX


From culturally influential celebrities to high end special effects that can fool many eyes, Hollywood has always been the propaganda weapon of the United States Government and is a cultural identity crafting weapon of mass hysteria and mass delusion, more so than not.

In one form or another, some overt and some covert, Hollywood product has long existed as fear based propaganda designed to reinforce the myth of the need for government in the first place. Hollywood not only promotes war on command, it will then promote the opposite in immediate 180 degree fashion without missing a proverbial beat. Hollywood, as well as other forms of mainstream and even alternative media, have always promoted UFOs, space programs, public and secret, X-FIles like, Twilight Zone conspiracy fare and all sorts of other super top secret, Oz like, Tesla weaponry we are supposed to fear and that government is supposed to secretly possess.

Whatever real goodies the governments of the world have hidden away or not, the reality is that all we have to examine with regard to OZ like claims of governmental omniscience and omnipotence is rumor, myth, hearsay and governmental claim of one kind or another.

We can not actually verify little if any of the, Hollywood-hearsay. imaginative speculation too many sell as evidence, but this does not stop what seems to be rampant speculation that overlooks far more demonstrable examples of clear media and government collusion in selling lies to the public over and over again. The same minds do not usually seem very interested in stating the obvious, lie for sample, the fact that the Zapruder film is a photographic cartoon. This is not just a case of film tampering, which should be obvious from  the reflection of traffic on Presidential limousine ride, this is the case of what is probably best described as complete photographic cartoon creation.

How It's Done: Moving Camera Rigging with Front Projection

It would seem that this technique is older than we've been told. It looks as if it could date back to around 1963 or so. The Zapruder film would seem to be actual evidence to support this claim, would it not? Is such a claim a tin foil type of conspiracy meme or is it a rationale concept? What is more believable, super top secret science fiction technology that is supposed to be as impressive as the stuff of fantastic comic book legend, or stage illusion film effect technology being older than we've been told? Which does there appear to be evidence we can examine and which claim seems to be based only on rumor, myth and hearsay?

Zoran Perisic discussing the Zoptic process on Superman The Movie source: Oliver Harper


The JFK Assassination Hoax: Military Grade Psychological Warfare

Enough of the Zapruder film had to be completed prior to publication of the film strip in Life Magazine, just one week later. The film would seem to have had to have been produced before the event itself. Preproduction is an important Hollywood process.


The government and its media minions want you to truly believe that the News and other media are independent of governmental influence. The reality is that nothing could be further from the truth. See the article index for more, as this blog is dedicated to this subject. The same international banking interests that run everything else, run high level government, the News media and Hollywood too, among other things.

The reality of our world seems to be that there is a history of international banking combined with cultural idol creation. Mythic sainted heroic icons exist to motivate new behavior among the mass human resource. Government simply exits to manage humanity. Government also seeks to perpetuate itself and to grow like a cancerous virus. Contrived events used to be conveyed by the old and trusted medium of word of mouth bullshit. Today the modern propagandist has the genie like power of world wide multimedia communications at their fingertips.

It's all about crafting new laws, growing government; and keeping the faithful flock of humanity truly believing in the need to keep paying taxes for all the ever growing, endless layers of government, lists of laws, fees, taxes, and fines enforced by official governmental gun point with punishments like jail time.

The Zapruder Film Was Not Meant To Be Viewed Stabilized: The Artificial Camera Shake Occulted Many Sins

This is a true piece of 20th century artwork and should be viewed as such. It does deserve to be in a museum, next to Rembrandt's oil painted renderings of Christ crucified, among other obvious crafted works of impressive artistic achievement, not meant to be mistaken for reality. Governmental identity building propaganda pimps artistic musings, turning obviously crafted fantasy into an augmented version of reality. The fact that none of the official thought police recognize and thus do not mention the reflections on the side of the Presidential car ride seems to mean to most minds that such reflections must not exist. If a media shepherd of some kind doesn't point it out, it cannot be so. This is clearly a form of crowd psychology. In general, if the group doesn't acknowledge it, it goes unnoticed.

Peer Review = Crowd Psychology

Peer reviewed thinking takes many forms. 

zapruder film stabilized source: daleshipley


Parallax Problems With The Zapruder Film

I never considered that this bit of film "evidence" was nothing but a photographic cartoon until I read the thread linked below. Cluesforum deserves credit for some really inspiring research and work.

Cluesforum is a great resource to use as a start for your own research.

Via: View topic - JFK Zapruder: a proven fake • Cluesforum.info 

Compare what is essentially a two dimensional photographic cartoon, composite, above, to the real thing, (an actual filmed car ride) below: 

Can you notice the difference, how the Zapruder film lacks parallax and is nothing more than a Disney style photographic cartoon?

Parallax - Wikipedia

Watchmen - Intro  source: Bender Rodriguez

Witness The Culturally Transformative Power of The Real 20th Century Conceived Weapon of Mass Destruction

November 22, 1963: A Psychological Warfare Operation Template

"DALLAS (Reuters) - Six seconds in Dallas 50 years ago changed the way media worked for decades to come."

"The assassination of President John F. Kennedy on November 22, 1963, was a transformative live, global TV news event. It swept an industry without a playbook for covering a breaking story of such magnitude and utterly changed how people receive their news. For four days, starting with gunfire in Dallas and ending with Kennedy’s funeral procession in Washington, major U.S. TV networks went live with wall-to-wall coverage, suspending commercials."

"Other live TV news events followed, and the next time networks devoted as much time to commercial-free news broadcasts came with the September 11, 2001, attacks on the United States."

“The Kennedy assassination became the template for coverage,” said Bob Schieffer, who 50 years ago covered the event for the Fort Worth Star Telegram and is now a veteran broadcaster with CBS."

source: The Power of TV: From The Kennedy Assassination to 9/11 - The Atlantic  •  How the JFK assassination transformed media coverage - Reuters

The Not So Grieving Widow, Media Interview Tour Template: The Kingly Art of Crafting Camelot

"The day after Thanksgiving, on Friday, Nov. 29, Jackie called Theodore White, Pulitzer Prize–winning author of the bestselling book The “Making of the President: 1960.” White and John Kennedy had gotten to know each other, and the president had admired him. When Jackie called, White was not home. As he remembered, he “was taken from the dentist’s chair by a telephone call from my mother saying that Jackie Kennedy was calling and needed me.” He called her back. “I found myself talking to Jacqueline Kennedy, who said there was something that she wanted Life magazine to say to the country, and I must do it.”

Jackie Kennedy Invents Camelot Just One Week After Her Husband's Supposed Demise

Here the template is clear, we have both the martyred victim's wife doing the interview thing and we have the musical product placement, which is, in this foundational instant, the 1960's Broadway show  "Camelot".

Compare this to more recent events like the Vegas shooting where we have obvious country music celebrity product placement.

Nothing like making commercial use of so-called "National" tragedy.

Most people do not seem to notice this same modus operandi at work, that is clearly demonstrated with most, if not all, major News stories, today. There is simply no logical reason to believe any claim of the boy who cried wolf governmental report or chicken little press account no matter how believable one finds the claim. History has shown we have no basis to trust the self proclaimed and self promoted, circularly reasoned, "Most Trusted News Sources" and bullshit governmental agencies.

Camelot (musical) - Wikipedia  •  Camelot (film) - Wikipedia

Jackie Kennedy Supposedly Crafts The Sacred Widow Card

Jackie seems more like a scripted actress to me, but perhaps she also was a producer and script writer as well. It is not unheard of to have a Hollywood artist who can perform multiple roles; and when dealing with what has to be top secret style propaganda production, it would seem logical to employ people who can perform multiple roles both in front of and behind the camera, like many of the Hollywood employed writer, actor, producers, can.

Seth McFarlane, as one example, comes immediately to mind. Just something to consider. Perhaps actors like Marilyn Monroe and Ronnie Reagan, (two apparent Lookout Mountain Air Force Station Film Studio employees) were more engaged with behind the camera production techniques than most might be inclined to consider. Such actors might also have been teaching military personal and other governmentally clearance possessing staff the art and craft of acting. Such talent might have directed propaganda films passed of as reality and/or other film product. If we look to basic Hollywood production techniques I think we can gain some insight into how these fake events are produced and even how they are managed with non disclosure agreements and financial and career incentive. Film studios keep the scripts to their films secret, especially for film series like Star Wars. National security law and the threat of death by way of officially sanctioned and legal death penally for treason, would seem to be the means used to keep mouths stitched shut. Obviously if one happens to be socially conditioned to view one's identity as being independent from the rest of the public herd, one might have no problem lying to the rest of humanity on a regular basis, something high level and obviously politically connected politicians have no trouble doing on what seems to be an eternally continuous basis.

Seth MacFarlane - Wikipedia  •  Lookout Mountain Air Force Station - Wikipedia

Jackie Kennedy's Hearsay Gossip & Charismatic Modern Myth Making Powers Revealed:

Please notice how this account reads like a tabloid soap opera. God knows how true this account is or is not. What matters are not possible layers of deceptive propaganda lies, but the layers of the narrative that is being pushed out into public consciousness, both then and now. Here we have both the narrative of the widow of the victim feeling the need to make her husband into a public idol and icon for the secular religion of the United States National identity product and we have the widow giving the near immediate obligatory interview; much like we witness with today's mass shooting style events. Today, the schedule is more compressed for events like mass shootings, so the supposed grieving widow does the obligatory interview tour, pretty much immediately. The concept that the mainstream and even alternative media has always existed to serve governmental masters is an idea you are not supposed to consider. The News has always been State run and controlled from top down, despite advertised promises to the contrary.

"White was now ready to be hypnotized by a master mesmerist. Jackie complained that “bitter people” were already writing stories, attempting to measure her husband with a laundry list of his achievements and failures."

"Even in the thick of tragedy, Jackie Kennedy was aware of her husband’s legacy. In his new book, “End of Days,” author James Swanson reveals how the first lady knew how she wanted history to remember JFK — even, as this excerpt reveals, dictating an article to Life magazine: "

"The day after Thanksgiving, on Friday, Nov. 29, Jackie called Theodore White, Pulitzer Prize–winning author of the bestselling book The “Making of the President: 1960.” "

"She told White she would send a Secret Service car to fetch him in New York and drive him up to Hyannisport. But when White called the Secret Service he was, he wrote, “curtly informed that Mrs. Kennedy was no longer the president’s wife, and she could give them no orders for cars. They were crisp.”

It was impossible to fly that weekend. A nor’easter or a hurricane was coming up over Cape Cod. So White hired a car and driver and headed north into the New England storm. He called his editors at Life to tell them about his exclusive scoop, but they told him the next issue was about to go to press. They warned him it would cost $30,000 an hour to hold the presses open for his story. It was unprecedented.

But they would do it. This meant that the most important photojournalism magazine in America would be standing still and delaying the printing of its next issue for a story that had not yet been written and would be based on an interview that had not yet even been conducted. Still, an exclusive interview with First Lady Jacqueline Kennedy was so coveted, Life was willing to do almost anything.

White arrived, he recalled, “at about 8:30 in the driving rain.” Jackie welcomed him and instructed her houseguests, who included Dave Powers, Franklin D. Roosevelt Jr. and JFK’s old pal Chuck Spalding, that she wanted to speak with him alone. As soon as she sat down, White began taking notes as fast as his hand could scribble: “Composure . . . beautiful . . . dressed in trim black slacks . . . beige pullover sweater . . . eyes wider than pools . . . calm voice.” Then she spoke.

“She had asked me to Hyannisport,” White discovered, “because she wanted me to make certain that Jack was not forgotten by history.” White was stunned. How could anyone ever forget John F. Kennedy? White was now ready to be hypnotized by a master mesmerist. Jackie complained that “bitter people” were already writing stories, attempting to measure her husband with a laundry list of his achievements and failures. Jackie hated that. They would never capture the real man. White asked her to explain, and then, for the next 3¹/₂ hours, she delivered a jumbled, almost stream-of-consciousness narrative about Dallas, the blood, the head wound, the wedding ring, the hospital, and how she kissed him goodbye.

It was only a week after the assassination. Then she got to the reason she had summoned White: “But there’s this one thing I wanted to say . . . I kept saying to Bob, I’ve got to talk to somebody, I’ve got to see somebody, I want to say this one thing, it’s been almost an obsession with me, all I keep thinking of is this line from a musical comedy, it’s been an obsession with me.”

She confided to White. “At night, before we’d go to sleep . . . Jack liked to play some records . . . and the song he loved most came at the very end of this record, the last side of Camelot, sad Camelot.” She was talking about the popular Broadway musical fantasy about King Arthur’s court. “The lines he loved to hear,” Jackie revealed, were, “Don’t let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot.” In case White failed to understand, she repeated her story. “She wanted to make sure,” the journalist remembered, “that the point came clear.” Jackie went on: “There’ll be great presidents again — and the Johnsons are wonderful, they’ve been wonderful to me — but there’ll never be a Camelot again.”

White wanted to continue to other subjects, “But [Jackie] came back to the idea that transfixed her: ‘Don’t let it be forgot, that once there was a spot, for one brief moment that was known as Camelot.’ ” She was determined to convince White that her husband’s presidency was a unique, magical and forever lost moment.

“And,” she proclaimed, “it will never be that way again.” President Kennedy was dead and buried in his grave, and she told the journalist she wanted to step out of the spotlight. “She said it is time people paid attention to the new president and the new first lady. But she does not want them to forget John F. Kennedy or read of him only in dusty or bitter histories: For one brief shining moment there was Camelot.”

An Enduring Myth   Around midnight, White went upstairs to write the story — Life needed it before he left Jackie. He came down around 2 a.m. and tried to dictate the story over a wall-hung telephone in her kitchen. He had already allowed her to pencil changes on the manuscript. As White spoke over the phone, Jackie overheard that his editors in New York wanted to tone down and cut some of the “Camelot” material.

She glared at White and shook her head. One of his editors caught the stress in his voice and suspected Jackie. “Hey,” he asked White, “is she listening to this now?” It was Jacqueline Kennedy’s tour de force, her finest hour — actually more than five hours — of press manipulation. She had summoned an influential, Pulitzer Prize–winning author to do her bidding — and like so many men she had mesmerized before, he did it.

White violated all standards of journalism ethics by allowing the subject of a story to read it in advance — and edit it. But he was not acting as a journalist that night — he was serving as the awestruck courtier of a bereaved widow. And it worked. Thanks to Theodore White’s essay “For President Kennedy: An Epilogue,” which ran in the Dec. 6 issue of Life, Camelot and its brief shining moment became one of the most celebrated and enduring myths in American politics. To Jackie, the assassination symbolized an end of days, not just for her husband, but also for the nation."

"The Once and Future King is a work by T. H. White based upon Le Morte d'Arthur by Sir .... Alan Jay Lerner and Frederick Loewe's 1960 musical Camelot (which was made into a movie in 1967) is based mostly on the last two books of The ..."

source: How Jackie Kennedy Invented Camelot Myth Just One Week After ...  •   Inventing Camelot: How Jackie Kennedy shaped her husband's ...   •   The Once and Future King - Wikipedia

End part one.