A Proper Gander At Propaganda


PLEASE NOTE: This is not a conspiracy theory blog.

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 Theatre of The Absurd Presents: The World War Two Hoax Exposed


Nazi Era Propaganda Exposed: The Nazi Propaganda Film Kolberg 1945

Nothing like the logical fallacy of filming war propaganda with real soldiers while losing a real war. Wars are a lot more fake than most want to admit.

"The film is based on the autobiography of Joachim Nettelbeck, mayor of Kolberg in western Pomerania, and on a play drawn from the book by Paul Heyse. It tells the story of the defence of the besieged fortress town of Kolbergagainst French troops between April and July 1807, during the Napoleonic Wars. In reality, the city's defense, led by then-Lieutenant Colonel August von Gneisenau, held out until the war was ended by the Treaty of Tilsit. In the film, the French abandon the siege."

"The film's extra cast was a massive 187,000 people out of whom about 50,000 were soldiers."

"Kolberg is a 1945 German historical film directed by Veit Harlan. One of the last films of the Third Reich, it was intended as a Nazi propaganda piece to buoy the will of the German population to resist the Allies."

"Kolberg entered production in 1943, and was made in Agfacolor with high production values. At a cost of more than eight million marks, it was the most expensive German film of the World War II, with the actual cost suppressed to avoid public reaction."

"At a time when the war was turning against Germany, thousands of soldiers were used in the film."


source: https://archive.org/details/Kolberg1945_201609

Kolberg: The Film

"The film begins in 1813 after the phase of the Napoleonic Wars known in German as the Befreiungskriege (War of Liberation). The opening scenes show Prussian Landwehr and volunteers marching down the streets of Breslau through enthusiastic crowds. This is followed by a dialogue between King Frederick William III of Prussia and Count August von Gneisenau, in which Gneisenau explains that the siege of Kolberg taught the importance of citizen armies. Ending with the admonition that kings who cannot lead must abdicate, the scene switches to Vienna in 1806 to show the abdication of the last Holy Roman Emperor, Francis II of Austria, whom the script has Gneisenau call "an Emperor who abandoned the German people in their hour of need".

The scene set, the film moves to 1806 and a Kolberg not yet affected by war, where the inhabitants are shown enjoying life, and the town's leaders, Nettelbeck chief among them, discuss Napoleon's proclamations, and what it will mean to them. Some see the French victories as a good thing, some wonder whether to leave. Nettelbeck alone is set on resisting the French. The film continues in this vein, with Nettelbeck struggling against cowardice, lethargy and the old-fashioned ideas of the garrison commander, to defend his city against the approaching French. Nettelbeck creates a citizen militia, in spite of the best efforts of the regular army, has supplies collected, and strongly opposes the idea of surrender.

Finally, having been threatened with execution, and convinced that Kolberg can only be saved if a great leader can be found, Nettelbeck sends Maria on the dangerous journey to Königsberg whither the Court of Prussia has retreated, to meet with the King and with Queen Louise, who was described by Napoleon as "the only man in Prussia". Maria's journey leads to the energetic and charismatic Gneisenau being sent to Kolberg. After an initial confrontation with Nettelbeck, in order to show that there is only one leader in Kolberg, and that Gneisenau is that leader, the two work together with the army and the citizens to save the city from the French. After Kolberg is (unhistorically) saved, the film returns to 1813 after the Convention of Tauroggen, a time when Napoleon was defeated in Russia, and Prussian leaders wonder whether it is time to turn openly against him. Frederick William is convinced by Gneisenau to do so, and sits down to write the proclamation An Mein Volk ("To my People") announcing the Wars of Liberation."



The Theatre of The Absurd Presents:

Wars Are More Fake Than Most Might Care To Admit

Nazis Insist On Filming A Movie While Losing The War

"Kolberg is a 1945 German historical film directed by Veit Harlan. One of the last films of the Third Reich, it was intended as a Nazi propaganda piece to buoy the will of the German population to resist the Allies."

"Kolberg entered production in 1943, and was made in Agfacolor with high production values. At a cost of more than eight million marks, it was the most expensive German film of the World War II, with the actual cost suppressed to avoid public reaction.  At a time when the war was turning against Germany, thousands of soldiers were used in the film. 

Principal cinematography took place from 22 October 1943 to August 1944. The exteriors were shot in Kolberg and environs, Königsberg, Berlin and environs, Seeburg, and Neustettin. 

To film scenes with snow during summer, 100 railway wagons brought salt to the set in Pomerania. The film was finally completed at the Babelsberg Studios at Potsdam while the town and nearby Berlin were being steadily bombed by the Allies. Two extras were killed during the making of the film when an explosive charge went off too early.

The film's extra cast was a massive 187,000 people out of whom about 50,000 were soldiers. The film has the second highest cast strength after Gandhi (1982)."



Veit Harlan: Nazi Film Director & Uncle of Stanley Kubrick's Wife

"Veit Harlan's son Thomas (1929–2010), an author and film director, created a semi-documentary film called Wundkanal(Wound Passage), in which his father, played by a convicted mass murderer, is forced to undergo a series of brutal interrogations into his war crimes. Thomas Harlan's final publication, issued posthumously, Veit, was a memoir in the form of a letter to his father, continuing the investigation into Veit Harlan's complicity in the Nazi regime. 

In 1958, Veit Harlan's niece, Christiane Susanne Harlan, married filmmaker Stanley Kubrick, who was Jewish. She is credited by her stage name "Susanne Christian" in Kubrick's Paths of Glory (1957). They remained married until Stanley Kubrick's death in 1999.

Susanne Körber, one of his daughters from his second wife Hilde Körber, converted to Judaism and married the son of Holocaust victims. She committed suicide in 1989."

"Harlan was born in Berlin. After studying under Max Reinhardt, he first appeared on the stage in 1915 and, after World War I, worked in the Berlin stage. In 1922 he married Jewish actress and cabaret singer Dora Gerson; the couple divorced in 1924. Gerson later died at Auschwitz with her family. In 1929, he married Hilde Körber, having three children with her before divorcing her for political reasons related to the influence of National Socialism. One of their children, Thomas Harlan, became a writer and director in his own right. Afterwards, he married the Swedish actress Kristina Söderbaum, for whom he wrote several tragic roles which included some very dramatic suicide scenes, further increasing their popularity with the German cinema audience.

Nazi era

Film critic David Thomson asserts that Harlan, having just started directing in 1935, was only able to attract Goebbels' attention because so much directorial talent had emigrated from Germany after the Nazis had taken power.[1] By 1937, Joseph Goebbels had appointed Harlan as one of his leading propaganda directors. His most notorious film was Jud Süß(1940), which was made for anti-Semitic propaganda purposes in Germany and Austria. In 1943 it received UFA's highest awards. Karsten Witte, the film critic, provided a fitting appellation for Harlan calling him "the baroque fascist". Harlan made the Reich's loudest, most colorful and expensive films.[2]


After the war Harlan was charged with participating in the anti-Semitic movement and aiding the Nazis. But he successfully defended himself by arguing that the Nazis controlled his work and that he should not be held personally responsible for its content. In 1949, Harlan was charged with crimes against humanity for his role as director of Jud Süß. The Hamburg Criminal Chamber of the Regional Court (Schwurgericht) acquitted Harlan of the charges; however, the court of the British occupation zone nullified the acquittal.

In 1951, Harlan sued for an injunction against Hamburg politician Erich Lüth for publicly calling for a boycott of Unsterbliche Geliebte (Immortal Beloved). The District Court in Hamburg granted Harlan's suit and ordered that Lüth forbear from making such public appeals. However, the lower court decision was ultimately overturned in 1958 by the Federal Constitutional Courtbecause it infringed on Lüth's right to freedom of expression. This was a landmark decision because it clarified the importance of the constitutional civil rights in disputes between individuals.

Harlan made a total of nine films between 1950 and 1958, dying in 1964 while on vacation in Capri.[4]"



"A Rich Heritage of Fakery"

"North Korea is being accused of parading fake weapons in its most recent show of military might."

"A former US Army intelligence officer says some of the guns and missiles on show were not real. Michael Pregent told right-wing TV network Fox News that some of the guns on display were "laughable". 

"But pretend displays of strength have been used in warfare for decades - and effectively in many cases."

"French army artists even painted fake rivers and canals.  Such trickery was also used to great effect in World War Two. Thousands of fake tanks 'fought' in WW2

Inflatable rubber tanks were massed on the Kent coast and deployed in northern France during the war which began in 1939. Made by the Dunlop company and taken to France in cricket bags, the idea was to get German planes to waste their artillery strafing pointless tanks in France rather than firing on England."



"North Korea's 'devastating' new missiles mocked as FAKE after footage of rockets 'wobbling with bent nose cones' emerges"

"But after official footage - shot by media organisations allowed into the country and told to stand in a certain location and film in a certain direction - emerged, many are questioning whether Kim Jong-un's arsenal is really that deadly.

Moreover it's claimed some of the weapons of mass destruction on show were really painted bits of WOOD."

North Korea's 'devastating' new missiles mocked as FAKE after ... - Mirror



"The Ghost Army was an Allied Army tactical deception unit during World War II officially known as the 23rd Headquarters Special Troops (Operation Quicksilver).[1] The 1,100-man unit was given a unique mission within the Allied Army: to impersonate other Allied Army units to deceive the enemy. From a few weeks after D-Day, when they landed in France, until the end of the war, they put on a "traveling road show" utilizing inflatable tanks, sound trucks, fake radio transmissions, scripts and pretence. They staged more than 20 battlefield deceptions, often operating very close to the front lines. Their story was kept secret for more than 40 years after the war, and elements of it remain classified.[2] The unit was the subject of a PBS documentary The Ghost Army in 2013.[3]"

Ghost Army - Wikipedia


The Ghost Army Trailer  source:  ghostarmy23

The Art of Apologetics Is Alive & Well: The Myths of World Wars Exposed

Layers of lies protect the truth that war is more of a simulated exercise than most think.

"Before the Allies stormed the beaches of Normandy in history’s largest amphibious assault, they staged one of history’s greatest military deceptions—Operation Bodyguard. The top-secret ruse—complete with rubber tanks, body doubles, fake radio chatter and double agents—successfully duped Adolf Hitler and Nazi commanders and laid the groundwork for D-Day success on June 6, 1944."

Fooling Hitler: The Elaborate Ruse Behind D-Day - History in the ...

Operation Mincemeat: How a dead tramp fooled Hitler - BBC News


Theatrical British Dis-Info

"Operation Mincemeat was a successful British disinformation strategy used during the Second World War. As a deception intended to cover the 1943 Allied invasion of Sicily, two members of British intelligence obtained the body of Glyndwr Michael, a tramp who died from eating rat poison, dressed him as an officer of the Royal Marines and placed personal items on him identifying him as Captain (Acting Major) William Martin. Correspondence between two British generals which suggested that the Allies planned to invade Greece and Sardinia, with Sicily as merely the target of a feint, was also placed on the body.

Part of the wider Operation Barclay, Mincemeat was based on the 1939 Trout memo, written by Rear Admiral John Godfrey, the Director of the Naval Intelligence Division, and his personal assistant, Lieutenant Commander Ian Fleming. With the approval of the British Prime Minister, Winston Churchill, and the overall military commander in the Mediterranean, General Dwight D. Eisenhower, the plan began with transporting the body to the southern coast of Spain by submarine, and releasing it close to shore. It was picked up the following morning by a Spanish fisherman. The nominally neutral Spanish government shared copies of the documents with the Abwehr, the German military intelligence organisation, before returning the originals to the British. Forensic examination showed they had been read, and decrypts of German messages showed the Germans fell for the ruse. Reinforcements were shifted to Greece and Sardinia both before and during the invasion of Sicily; Sicily received none.

The true impact of Operation Mincemeat is unknown, although the island was liberated more quickly than anticipated and losses were lower than predicted. The events were depicted in Operation Heartbreak, a 1950 novel by the former cabinet minister Duff Cooper, before one of the agents who planned and carried out Mincemeat, Ewen Montagu, wrote a history in 1953. Montagu's work formed the basis for a 1956 film."

Operation Mincemeat - Wikipedia


"Mincemeat swallowed rod, line and sinker."

"The Trout Memo, written in 1939, is a document comparing deception of an enemy in wartime with fly fishing. Issued under the name of Admiral John Godfrey, Britain's director of naval intelligence, according to the historian Ben Macintyre it bore the hallmarks of having been written by Godrey's assistant, Ian Fleming.

The memo reads, in part: "The Trout Fisher casts patiently all day. He frequently changes his venue and his lures. If he has frightened a fish he may 'give the water a rest for half-an-hour,' but his main endeavour, viz. to attract fish by something he sends out from his boat, is incessant." The memo goes on to describe numerous ways that the enemy, like trout, may be fooled or lured in.

One idea from the memo was broadly similar to Operation Mincemeat, a World War II plan to convince the Germans that the Allies would attack Greece rather than Italy in 1943, although that idea was developed by Charles Cholmondeley in October 1942. Confirmation of the success of the plan was sent to Churchill: "Mincemeat swallowed rod, line and sinker." "



World War Two British Stage Magic

"Jasper Maskelyne (1902–1973) was a British stage magician in the 1930s and 1940s. He was one of an established family of stage magicians, the son of Nevil Maskelyne and a grandson of John Nevil Maskelyne. He is most remembered, however, for his entertaining accounts of his work for British military intelligence during the Second World War, in which he claims that he created large-scale ruses, deception, and camouflage."

"Maskelyne joined the Royal Engineers when the Second World War broke out, thinking that his skills could be used in camouflage. A story runs that he convinced sceptical officers by creating the illusion of a German warship on the Thames using mirrors and a model.

Maskelyne was trained at the Camouflage Development and Training Centre at Farnham Castle in 1940. He found the training boring, asserting in his book that "a lifetime of hiding things on the stage" had taught him more about camouflage "than rabbits and tigers will ever know".[5] The camoufleur Julian Trevelyan commented that he "entertained us with his tricks in the evenings" at Farnham, but that Maskelyne was "rather unsuccessful" at actually camouflaging "concrete pill-boxes".

Brigadier Dudley Clarke, the head of the 'A' Force deception department, recruited Maskelyne to work for MI9 in Cairo. He created small devices intended to assist soldiers to escape if captured and lectured on escape techniques.[7] These included tools hidden in cricket bats, saw blades inside combs, and small maps on objects such as playing cards.

Maskelyne was then briefly a member of Geoffrey Barkas's camouflage unit at Helwan, near Cairo, which was set up in November 1941. He was made head of the subsidiary "Camouflage Experimental Section" at Abbassia. By February 1942 it became clear that this command was not successful, and so he was "transferred to welfare"—in other words, to entertaining soldiers with magic tricks.[6][8][9] Peter Forbes writes that the "flamboyant" magician's contribution was either absolutely central (if you believe his account and that of his biographer) or very marginal (if you believe the official records and more recent research).

His nature was "to perpetuate the myth of his own inventive genius, and perhaps he even believed it himself".[9] However, Clarke had encouraged Maskelyne to take credit for two reasons: as cover for the true inventors of the dummy machinery and to encourage confidence in these techniques amongst Allied high command.

Maskelyne's book about his exploits, Magic: Top Secret, ghost-written, was published in 1949. Forbes describes it as lurid, with "extravagant claims of cities disappearing, armies re-locating, dummies proliferating (even submarines)—all as a result of his knowledge of the magic arts". Further, Forbes notes, the biography of Maskelyne by David Fisher was "clearly under the wizard's spell".[9] In his book, Maskelyne claims his team produced dummy men, dummy steel helmets, dummy guns by the ten thousand, dummy tanks, dummy shell flashes by the million, dummy aircraft..."

Jasper Maskelyne - Wikipedia


"A Visual Guide to the Fake Fleets and Inflatable Armies of World War II"

"Military units in both the Allied and Axis powers used air-filled tanks and straw airplanes to deceive enemies."

"The image above depicts a clever trick played on battlefields during World War II: Bobbing next to a sturdy metal tank is a rubber inflatable copy meant to fool enemies. An army could look twice as large as it was thanks to elite divisions of the military that specialized in the art of decoys and deception.

Military units within both the Allied and Axis forces practiced and deployed an assortment of peculiar, yet effective tactics, from building inflated dummy tanks to constructing wooden artillery and straw airplanes. A fleet of dummy tanks could lead an enemy to overestimate a force’s actual strength or draw an attack away from a vulnerable area, explained Gordon Rottman in World War II Tactical Camouflage Techniques."

A Visual Guide to the Fake Fleets and Inflatable Armies of World War II ...


World War Two: Dummy Tanks

"A dummy tank, usually inflatable or wooden, is a type of decoy that either is intended to be mistaken by an enemy for a real tank or used for training purposes. Dummy tanks emerged soon after the introduction of real tanks in World War I, but were not widely used until World War II."

Dummy tank - Wikipedia


Hollywood Directors Manufacture War Footage

"Lights, camera fiction: Second World War documentary footage a Hollywood fake"

"FIVE legendary Hollywood directors secretly faked combat footage in ­Second World War documentaries that have been considered genuine for almost 70 years, a book claims.

John Ford, John Huston, Frank Capra, William Wyler and George ­Stevens all enlisted despite their ­glittering Hollywood lifestyles and joined other filmmakers recording the Allied advance across occupied Europe and in the Pacific.

Their films aimed to boost morale among troops and cinema audiences around the world as well as providing an accurate historical record of epic battles, according to Five Came Back by movie historian Mark Harris.

Yet while the directors distinguished themselves by regularly braving enemy fire to film in the thick of the action, they also all resorted to “re?enacting” some scenes and even creating others.

By 1942 John Ford, who had won Academy Awards for The Grapes Of Wrath and How Green Was My Valley, had been awarded a Purple Heart for wounds received while filming The Battle of Midway.

Ford also co-directed December 7 for the US Navy, which recounted the Japanese attack on Pearl Harbor and won the 1944 Oscar for best short ­documentary. Almost all of it, says Mr Harris, was fiction.

Less than four minutes of genuine footage of the air attack exists and Ford and his co-director Gregg Toland, who had been the cinematographer on Citizen Kane, staged their own using model battleships and aeroplanes in the Fox studio in Hollywood."

Lights, camera fiction: Second World War documentary footage a ...


"The Early History of Faking War on Film"

"Early filmmakers faced a dilemma: how to capture the drama of war without getting themselves killed in the process."

"Their solution: fake the footage."

The Early History of Faking War on Film | History | Smithsonian

World War Two Documentary Footage Turns Out to be Fake – Daily ...

First World War on Film: Fake the Footage!

John Huston's Fake Documentaries Of World War II - KnowledgeNuts


"The Real 007 Used Fake News to Get the U.S. into World War II"

"Thanks to the British sympathies of Nelson Rockefeller and his family, Stephenson opened an office in Rockefeller Center in Midtown Manhattan, on the 36th floor of the International Building North, at 636 Fifth Avenue. The sign over Room 3603 read “British Passport Control Office.” However, before long the floor-through office within was teeming with British and Canadian citizens, many in the U.S. on false diplomatic passports, and some Americans, all secretly employed by MI6.

Room 3603 housed two operational arms under Stephenson’s control. The British Information Service (BIS) ran a so-called “white,” or soft, propaganda operation that published magazines and pamphlets, paid for radio broadcasts, including over a New Jersey radio station it controlled, and broadcasted multilingual shortwave programming around the Western Hemisphere aimed at boosting support for the British cause. Stephenson’s operative David Ogilvy, after the war a famed advertising wizard, worked as an assistant director to George Gallup’s influential polling organization where he tracked Americans’ growing support for the British cause. Ogilvy also skewed survey questions to encourage the belief that their support was growing faster than it was.

Decades before the terms “viral media” and “fake news” were on anybody’s tongue, the BIS began subsidizing Overseas News Agency (ONA), a branch of the Jewish Telegraph Agency, to feed manufactured stories, often couched within factual material, about German atrocities, British pluck under the German bomber onslaught, and Hitler’s threats against the Americas, to its New Jersey Radio Station, which tagged them with the news agency label. That enabled friendly American newspapers and radio stations to report them as “news” from a reliable press source. Wire services, other radio stations and newspapers would then pick up the stories, which were soon being broadcasted and reported around the country.

For example, BIS writers supplied stories for its New Jersey radio station based on reports in friendly newspapers that originated with the Overseas News Agency. The gullible American press even reprinted the anti-Hitler predictions of a bogus Hungarian astrologer named Louis de Wohl. More effective still was a concerted campaign aimed at undermining morale on German U-boats. The ONA put out a story stating that the British had invented a new superexplosive for filling depth charges. The story appeared on the front pages of all the leading American newspapers, which were known to be regularly monitored by the Germans. Nobody suspected they were emanating from Rockefeller Center.

Stephenson also tried to influence American politics, sending rabble-rousers to spark fighting and riots at meetings of isolationist organizations such as the Committee for America First, and providing funds to pro-interventionist organizations and candidates for political office. Newspapers reported on the violence as much as they did on the political speeches.

Those relatively kid glove efforts went on along with a hidden, iron fist with which Stephenson punched at the Germans from deep within Room 3603, as well as out of the British Embassy in Washington and a school for spycraft known as Camp X he set up across the New York State border in Ontario, Canada. Known as the British Security Coordination (BSC), the clandestine intelligence empire Stephenson spawned battled Germany throughout the Western Hemisphere. He purportedly ran a network of upwards of 3,000 secret agents, counterintelligence operatives, forgers, burglars, codebreakers, and killers.

BSC Camp X taught operatives to forge documents, break into offices, crack safes, wiretap phones, and kill in silence. Stephenson was purportedly a hands-on operative. One of his U.S. agents, Ian Fleming, later modeled his James Bond character on Stephenson, a man he described as “very tough, very rich, single-minded, patriotic, and a man of few words.” Fleming claimed that Stephenson personally tracked down a British sailor selling information about Allied convoy sailings to the Germans—and killed the traitor with a single blow to the neck.

The murder may have been apocryphal, but Stephenson’s handiwork could be deadly effective even without committing acts of violence himself. BSC operatives delivered documents to the White House they had forged showing a coup by businessmen and officers in cahoots with the Nazis was in the works to topple the government of Bolivia. FDR personally forwarded the information to the Bolivian government. The German Embassy staff was booted from the country, and some 150 Nazi sympathizers named in the document were rounded up, imprisoned, and most were shot."

The Real 007 Used Fake News to Get the U.S. into World War II


The Real Knights of The British Round Table Revealed:

"Tragedy and Hope: A History of the World in Our Time is a work of history written by Carroll Quigley. The book covers the period of roughly 1880 to 1963 and is multidisciplinary in nature though perhaps focusing on the economic problems brought about by the First World War and the impact these had on subsequent events. While global in scope, the book focusses on Western civilization, because Quigley has more familiarity with the West.

The book has attracted the attention of conspiracy theorists[1] and those interested in geopolitics due to Quigley's assertion that a secret society initially led by Cecil Rhodes, Alfred Milner and others had considerable influence over British and American foreign policy in the first half of the twentieth century. From 1909 to 1913, Milner organized the outer ring of this society as the semi-secret Round Table groups."

Tragedy and Hope - Wikipedia


Wall Street Funds Hitler & FDR

"Sutton's next three major published books (Wall Street and the Bolshevik Revolution, Wall Street and FDR and Wall Street and the Rise of Hitler) detailed Wall Street's involvement in the BolshevikRevolution to destroy Russia as an economic competitor and turn it into "a captive market and a technical colony to be exploited by a few high-powered American financiers and the corporations under their control" as well as its decisive contributions to the rise of Adolf Hitler and Franklin Delano Roosevelt, whose policies he assessed as being essentially the same "corporate socialism," planned by the big corporations.  Sutton concluded that it was all part of the economic power elites' "long-range program of nurturing collectivism" and fostering "corporate socialism" in order to ensure "monopoly acquisition of wealth" because it "would fade away if it were exposed to the activity of a free market.""

Antony C. Sutton - Wikipedia