War is The Primary Tool of Civilization
Below is an example of Cold War Era Propaganda designed to maintain the fictional existential threat of the "Super Powers" of the world. How do you get the children of the nation to duck and cover under their desks? Fake military weaponry and technology is the answer.
War is The Carrot & Stick That Keeps The Wheel Of Industrial Culture Turning For All Time
For centuries the Military has been lying about its power and capabilities. Much of what most of us take for granted as historical events are not anywhere as real as we have been conditioned to accept.
The public has to be convinced to believe in the need for all the needless layers of governmental authority and regulation we do not need. We are very real wage slaves tied to an inhuman wheel of industry. Images of government might keep us fearing existential threats and believing in the need for the so-called protection of government in the first place.
Hollywood is a Branch of The Federal Government:
At The Highest Levels They Are Run By The Same International Banking Interests That Control All The Major Governments
Please note the first shot we see of the legendary military missile is a Hollywood special effects product. The missile smoke moves took fast for something that large, Size, scale and relative proportion matter. Hollywood has been both using miniature special effects to convince audiences that the illusions they are seeing are real and Hollywood has been working hand in hand with the government and military for years.
Photographic Special Effects and A Long Standing Intense Propaganda Noise Machine Are The Real WMD
Keep an eye open for all the miniature special effects shots. They are easy to spot. The scale and speed will look wrong. The perspective will be off and the images will look like slightly better Hollywood special effects work from the mid 20th century than what we would have seen on a film screen in darkened theater. Military budget and aesthetic choices are obvious explanations for the difference in the quality of the special effects. The more time and effort spent, the more believable the illusion will be. We have been long conditioned to accept live action cartoons as reality that many of us might be unwilling to accept what they are really seeing on the screen. It's also conceivable that the standard Hollywood special effect was low budget looking on purpose. If the public was used to high quality Hollywood produced illusions they might suspect the images of military weaponry are also made of the same light and shadow.
Social Conditioning Relies on Intense Repetition
US Missile and Military Might - 1962 Educational Technology Documentary - WDTVLIVE42
Documentaries like the one above, are designed to impress us all with Hollywood studio effects and authoritative narrative voice over. We are supposed to uncritically accept highly edited Hollywood product at face value. This is obviously unwise. Hollywood has been fooling eyes for years. The modern techniques and technology allows for more sophisticated effects, but the underlying premise is the same.
This documentary below shows us how the cameras and technology would progress so that more believable illusions could now be crafted.
Movie Magic - Motion Control
1931: Crashing a Zeppelin for Fun
by DICK COLE
"Jealously guarded secrets of the amazing Zeppelin crash in “Hell’s Angels” now revealed to Dick Cole by Howard Hughes, the producer of this spectacular movie.
“Wasn’t it marvelous! How in the world did they ever take it?”
Such exclamations and questions are heard on every side as a teeming crowd pours forth from a theater after seeing “Hell’s Angels” -—the outstanding aerial war picture of the day. And it is little wonder! For several hours the spectators have been soaring 10,000 feet above the earth in a huge, wartime Zeppelin, or they have been sky-riding in a giant bombing plane.
As on a magic carpet, the spectators are carried from the Zeppelin just before a heroic, Allied pilot—his machine-gun jammed—dives his plane into the gas bags of the airship. The aerial juggernaut comes hurtling out of the skies, a huge, flaming hulk; crashes to the earth with a deafening roar—-a twisted mass of glowing wreckage.
This is but one of the breath-taking scenes from “Hell’s Angels.” Again the puzzling question: “How in the world did they take it?”
Of course, anyone’s ordinary reasoning power tells one that it was not a full-size, man-carrying Zeppelin that fell from out the skies. But, to believe so, is no more erratic than to believe the know-it-all, wise guy, who tells you in tones of belittlement: “Huh! It was just faked! I know! That was just a toy balloon that they used.”
Both beliefs are wrong. It was done by scale model photography. This is not comparable at all to the crude miniature stuff that is injected from time to time in pictures, and which often changes a tragic situation into a comic farce. Nor are scale models employed solely to keep down production cost. The primary purpose is to put across a scene with greater realism and finer photographic values. The use of scale models should not imply belittlement."
Harry Houdini Was a Film Maker & Early Hollywood Pioneer
Live audiences marveled for years over obvious crafted illusions. Such stage magic went west with the birth of Hollywood and the film industry. It is much easier to fake things on film as opposed to on a stage in front of a live audience.
You Will Believe A Woman Can Float While Lying: The Levitation of Princess Karnac Trick
"Kellar supposedly developed this trick by abruptly walking onto the stage during a show by Maskelyne, seeing what he needed to know, and leaving. Unable to duplicate it, Kellar hired another magician to help build another, but eventually designed a new trick with the help of the Otis Elevator Company. Another version built by Kellar was purchased by Harry Blackstone, Sr., who used the trick for many years. The Buffalo writer John Northern Hilliard wrote that the levitation was a marvel of the twentieth century and "the crowning achievement of Mr. Kellar's long and brilliant career."
The trick was done by a disguised machine hidden from the audience's perspective. Kellar would claim the woman onstage, sleeping on a couch, was a Hindu princess, who he would levitate and then move a hoop back and forth through the woman's body to prove she was not being suspended. Inside the "princess"'s dress was a flat board she was resting on, which was connected to a metal bar going out the side into the backstage. The other end of the bar connected to a machine to raise and lower the woman, blocked from view by the curtain and her own body. To allow Kellar to "prove" with the hoop that she was floating, the bar was in a rough "S" shape, letting him move the hoop through the length of her body in any direction."
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