Hollywood Goes To War & Stays There
Ever wonder why Hollywood loves Hitler and cranking out World War films?
Why is Hollywood so obsessed with showing images of 9/11 like urban destruction horror over and over?
So many modern superhero films make liberal use of sky scraping style destruction. Even Batman has been traumatized by 9/11; he tried to kill Superman on screen last year.
Hollywood - Ep 4 : Hollywood goes to War source: jamon2112
"Published on Apr 18, 2014
After the onset of World War I, Hollywood begins turning out movies such as Intolerance and Civilization to help promote peace. However, after the U.S. gets involved in the war, stars such as Douglas Fairbanks, Mary Pickford, and Charlie Chaplin help the effort by selling war bonds. Propaganda films come into play. Eventually, the public grew tired of movies about the war. Most of the definitive WWI films weren't made until several years after the war had ended (The Big Parade, What Price Glory, Wings and All Quiet on the Western Front)."
This series about Hollywood is excellent. I recommend the other episodes as well.
Hollywood Exists To Crank Out Propaganda
Hollywood really promotes government in one form or another.
War and peace are tools of government.
The public is shepherded into and out of international conflicts in an obvious contradictory manner that the masses seem to not notice. Phantom Menaces of all kinds need to be promoted in order to continue to justify all the layers of government and all the taxes, fees and fines of society.
Powerful Live Action Digital Cartoons
Movie Scenes in Green Screen (Visual Effects) source: We Love Buzz
The Real Weapons of Mass Destruction: Hollywood Special Effects Technology
Welcome to an age of moving picture idolatry.
Not only do Hollywood stars make for great iconic idols for the mass to mold their own identities with, Hollywood special effects tech is a top secret propaganda weapon.
For those who think otherwise, think again, the United States government and military love Hollywood special effects technology. It is no coincidence that government run Ma Bell Labs would use wage slave tax funds to create the foundation for the modern age of emotion based social media stupidity. Government monopoly Bell Labs would create the foundation of the internet by coming up with products like Unix and so much more. The same effort went into the development of computer graphics.
The military industrial complex is the source for modern computer games and graphics in many demonstrable ways. Government and aerospace interests are responsible for the development of things like 3d CAD computer programs. Government has means, motive and opportunity to fund classified, special effects projects that would make a high end Hollywood special effects film look cheap by comparison.
Do you think all that Hollywood propaganda airplane footage real?
Film making is about controlling the environment. Money is time and time money, after all. Film fakery is cost effective and safe.
"Early filmmakers faced a dilemma: how to capture the drama of war without getting themselves killed in the process."
"Their solution: fake the footage."
"Georges Méliès, the pioneer filmmaker, shot faked footage of the war of 1897—including the earliest shots of what was claimed to be naval warfare, and some horrific scenes of atrocities in Crete. All were created in his studio or his back yard in Paris."
Reel or Real?
"Much the same sort of results—”real,” long-distance battle footage trumped in the cinemas by more action-packed and visceral fake footage—were obtained a few years later during the Boxer Rebellion in China and the Boer War, a conflict fought between British forces and Afrikaaner farmers. The South African conflict set a pattern that later war photography would follow for decades (and which was famously repeated in the first feature-length war documentary, the celebrated 1916 production The Battle of the Somme, which mixed genuine footage of the trenches with fake battle scenes shot in the altogether safe environs of a trench mortar school behind the lines. The movie played to packed and uncritically enthusiastic houses for months.) Some of these deceptions were acknowledged; R.W. Paul, who produced a series of shorts depicting the South African conflict, made no claim to have secured his footage in the war zone, merely stating that they had been “arranged under the supervision of an experienced military officer from the front.” Others were not. William Dickson, of the British Mutoscope and Biograph Company, did travel to the Veldt and did produce what Barnes describes as
footage that can legitimately be described as actuality—scenes of troops in camp and on the move—though even so many shots were evidently staged for the camera. British soldiers were dressed in Boer uniforms to reconstruct skirmishes, and it was reported that the British commander-in-chief, Lord Roberts, consented to be Biographed with all his Staff, actually having his table taken out into the sun for the convenience of Mr Dickson.
Telling the fake footage of the earliest years of cinema from the real thing is never very difficult. Reconstructions are typically close-ups and are betrayed, Barnes notes in his study Filming the Boer War, because “action occurs towards and away from the camera in common with certain ‘actuality’ films of the period such as street scenes where pedestrians and traffic approach or recede along the axis of the lens and not across the field of vision like actors on a stage.” This, of course, strongly suggests a deliberate attempt at deception on the part of the filmmakers, but it would be too easy to simply condemn them for this. After all, as D.W. Griffith, another of the greatest early pioneers of film, pointed out, a conflict as vast as the First World War was “too colossal to be dramatic. No one can describe it. You might as well try to describe the ocean or the Milky Way…. No one saw a thousandth part of it.”
"Of course, the difficulties that Griffith described, and which Frederic Villiers and the men who followed him in South Africa and China at the turn of the century actually experienced, were as nothing to the problems confronting the ambitious handful of filmmakers who turned their hands to portraying war as it is fought at sea—a notoriously expensive business, even today. Here, while Georges Méliès’s pioneering work on the Greco-Turkish War may have set the standard, the most interesting—and unintentionally humorous—clips that have survived from the earliest days of cinema are those that purport to show victorious American naval actions during the Spanish-American War of 1898.
Once again, the “reconstructed” footage that appeared during this conflict was less a deliberate, malicious fake than it was an imaginative response to the frustration of being unable to secure genuine film of real battles—or, in the case of the crudest but most charming of the two known solutions produced at the time, get closer to the action than a New York tub. This notoriously inadequate short film was produced by a New York film man named Albert Smith, founder of the prolific American Vitagraph studio in Brooklyn—who, according to his own account, did make it to Cuba, only to find his clumsy cameras were not up to the task of securing usable footage at long distance. He returned to the U.S. with little more than background shots to mull over the problem. Soon afterward came news of a great American naval victory over the outmatched Spanish fleet far away in the Philippines. It was the first time an American squadron had fought a significant battle since the Civil War, and Smith and his partner, James Stuart Blackton, realized that there would be huge demand for footage showing the Spaniards’ destruction. Their solution, Smith wrote in his memoirs, was low-tech but ingenious:
At this time, vendors were selling large sturdy photographs of ships of the American and Spanish fleets. We bought a sheet of each and cut out the battleships. On a table, topside down, we placed one of Blackton’s large canvas-covered frames and filled it with water an inch deep. In order to stand the cutouts of the ships in the water, we nailed them to lengths of wood about an inch square. In this way a little ‘shelf’ was provided behind each ship, and on this ship we placed pinches of gunpowder–three pinches for each ship–not too many, we felt, for a major sea engagement of this sort….
For a background, Blackton daubed a few white clouds on a blue-tinted cardboard. To each of the ships, now sitting placidly in our shallow ‘bay,’ we attached a fine thread to enable us to pull the ships past the camera at the proper moment and in the correct order.
We needed someone to blow smoke into the scene, but we couldn’t go too far outside our circle if the secret was to be kept. Mrs. Blackton was called in and she volunteered, in this day of non-smoking womanhood, to smoke a cigarette. A friendly office boy said he would try a cigar. This was fine, as we needed the volume.
A piece of cotton was dipped in alcohol and attached to a wire slender enough to escape the eye of the camera. Blackton, concealed behind the side of the table farthermost from the camera, touched off the mounds of gunpowder with his wire taper—and the battle was on. Mrs. Blackton, smoking and coughing, delivered a fine haze. Jim had worked out a timing arrangement with her so that she blew the smoke into the scene at approximately the moment of the explosion…
The film lenses of that day were imperfect enough to conceal the crudities of our miniature, and as the picture ran only two minutes there was no time for anyone to study it critically…. Pastor’s and both Proctor houses played to capacity audiences for several weeks. Jim and I felt less remorse of conscience when we saw how much excitement and enthusiasm was aroused by The Battle of Santiago Bay."
"Perhaps surprisingly, Smith’s film (which has apparently been lost) does seem to have fooled the not-terribly-experienced early cinemagoers who viewed it—or perhaps they were simply too polite to mention its obvious shortcomings. Some rather more convincing scenes of a second battle, however, were faked by a rival filmmaker, Edward Hill Amet of Waukegan, Illinois, who—denied permission totravel to Cuba—built a set of detailed, 1:70 scale metal models of the combatants and floated them on a 24-foot-long outdoor tank in his yard in Lake County. Unlike Smith’s hurried effort, Amet’s shoot was meticulously planned, and his models were vastly more realistic; they were carefully based on photographs and plans of the real ships, and each was equipped with working smokestacks and guns containing remotely ignited blasting caps, all controlled from an electrical switchboard. The resulting film, which looks unquestionably amateurish to modern eyes, was nonetheless realistic by the standards of the day, and “according to film-history books,” Margarita De Orellana observes, “the Spanish government bought a copy of Amet’s film for the military archives in Madrid, apparently convinced of its authenticity.”
War Stars: The Superweapon and the American Imagination
"Back in Hollywood, First Lieutenant Ronald Reagan was taking part in what he refers to in his autobiography as one of the major "secrets of war, ranking up with the atom bomb project": creating a complete miniature of Tokyo, so authentic in detail that even top Air Corps generals could not distinguish it from reality. Footage of fake bomb runs on the toy city were then used to brief bombing crews, who were taken by Reagnan’s voice over narrative all the way to his dramatic “Bombs away.” As areas of Tokyo were burned out, Reagan tells how the Hollywood team would “burn out” their counterparts in “our target scene,” obliterating along with the city, the boundaries between illusion and reality.”
"One of the war's best-kept secrets was a film called "Target Tokyo," which Reagan narrated. It simulated an actual air raid on Japan. Special-effects men were flown to Washington for briefings on every known landmark--cemeteries, rice paddies, factories, geisha joints."
"The first fire-bomb target simulated was Ota, where Nakajima was mass-producing the deadly new fighter plane, Ki-84. From match sticks, piano wire, plaster and cheesecloth, the FMPU's model makers replicated the entire route to Ota."
"Above the 90-by-90-foot scale model swung a camera crane with a clever synchronous interlock drive designed by Sgt. Don Klopfel.Cotton clouds were added for further realism."
Hollywood Exists To Maintain The Fictional Need For All The Layers of Government We Do Not Need
The Twentieth Century birthed the commercial religion of the "post modern" Nation state.
Religions require cultural artifacts. National holidays and National sport team events and all sorts of National government heroes are examples of these kinds of constructs. Hollywood and the rest of the mainstream media essentially exist to maintain the myths of our shared governmental religious heritage. Social constructs bind human imagination to a very inhuman system of needless and fallacious fees, fines and jail time.
Hollywood - Ep 7 : Autocrats source: jamon2112