The Legendary Film Flam Sky Salesman: The Mythic Howard Hughes Real or Fake, or Something In Between?
Exploring Elite Reality Inversion or ERI*
A Spectrum of Truth: Lost Up Someone Else's News Reel Alley
The man known as Howard Hughes measures as more of a scripted fiction than real person. News reality is not true demonstrable reality but most do not care.
Government and staged news fools would not be so bold as to pull off a 9/11 level, "live" and televised feat without fear of obvious disclosure of the method had the high level security clearanced governmental authorities not been long lulled into mental complacency by being socially conditioned to accept a dumbed down mass population.
The Dumbing Down of All Human Minds: Unintended Consequence
The dumber the mass public becomes the more dim witted the guiding minds can be. I doubt this was intentional.
We are all very much products of our shared environment. Together all shall fall further into a state of digitally reinforced ignorance.
Lowered standards effect us all.
We are all frogs sharing a slow boil, centuries long bath.
Human nature effects us all. We are all the same in this real and demonstrable sense. None of us are perfect and all of us are subject to the same emotional pressures and unconscious triggers and the very real effects of all the rest of our imperfect and quite fallible nature. The most royal of peerage is no less susceptible to human fallacy than the high ranking and highest security possessing banker backed, university trained, theatrically inclined mind. Four star generals and CIA agents and all of Hollywood's special effected wizardry best is still subject to the very real limitations of human kind.
We need not resort to paid shill conspiratorial style explanation in order to explain true faith in mistaken human imagination.
The real problem occurs when one does not admit one's mistakes to at least oneself. We cannot continue to learn when we do this. When we believe we have found some fundamental truth, we also tend to then proceed to shut out further exploration of said "truth" and in doing so shut ourselves off from greater depths of understanding we might otherwise have chance and capacity to experience. If we do not continue to exercise our very real brains, the neural connections cannot grow and flourish and instead one's real neurological landscape is likely to atrophy, and wither away as one ages. Instead of gaining wisdom as one grows to greet Nature's Divinely measured grim reaping, one ends up growing more ignorant instead.
Howard Hughes: Early Hollywood Celebrity and American Iconic Idol
A World War Generation of News Reel Manufactured Simple Minds
"It was just faked! I know ... To produce the Zeppelin scenes, Mr. Hughes gathered about him a staff of the .... Howard Hughs spared no expense."
'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.
In producing “Hell’s Angels,” it was entirely within the range of the pocket-book of the producer, Howard Hughes, to buy and to wreck a full-size Zeppelin. But, even so, the film record would not be comparable with that recorded with the use of the scale model. In the latter case, the entire set was under the complete control of the director; the set was lighted to give the best photographic values; close-up shots of the Zeppelin falling in flames and its ultimate crash to the earth were taken with precision; all of which would have been impossible if a full-size airship were used, to say nothing of the hazard to life and property.
To produce the Zeppelin scenes, Mr. Hughes gathered about him a staff of the cleverest technicians in the United States. A model Zeppelin was built—an exact replica of a German, wartime dirigible. This was built to a scale of one foot equals one inch. So the model was approximately 60 feet long and 6 feet in diameter. Quite a sizeable “miniature”! Even the framework followed closely the true Zeppelin design."
Mythic Newsreel Heroes Were The Original Live Action Role Players Committed To Public Relation Identity Performances
Authoritative voice over narration and edited imagery sold as history on television screens is considered educational truth. Mass produced opinions derived from the mass media end up reinforcing idols and icons meant to be admired and emulated. Hollywood promoted celebrity shape both public opinion and resulting human behavior.
Hollywood is a very important part of the Military Industrial Entertainment Complex. Hollywood technology casts technical enchanting magic spells over the imaginations of generations.
Hollywood: A Cultish, Live Action Photo Realistic Cartoonish Authority
"DeMille’s authority extended beyond the confines of his studio. He was a power in aviation, banking, politics, and real estate. In the 1930s, his fame as a filmmaker was surpassed by his fame as a radio star.
He was a founder of the Academy of Motion Picture Arts and Sciences, an institution from which he eventually won two awards. In 1953 his film The Greatest Show on Earth won the Award for Best Picture of 1952; and he was presented with the Irving G. Thalberg Memorial Award.
DeMille’s influence on world culture is incalculable, but there are estimates and milestones. His biography of Jesus Christ, The King of Kings, was a silent film, but because of a unique distribution arrangement, it was eventually seen by 800 million viewers. Samson and Delilah(1949) and The Ten Commandments (1956) are still listed with the top ten all-time box-office champions. They continue to generate revenue and provoke thought."
source: Biography – Cecil B. DeMille
"DeMille realized early that the costumes worn by players in his films could do more than project the personality of the character being portrayed. They could reach into the marketplace. There was a new consumerism in America after World War I, and it welcomed DeMille’s displays of elegance and glamour. His films began to influence fashion trends. For the first time, high fashion was as conscious of Hollywood as it was of Paris."
source: Costumers – Cecil B. DeMille
see also: Cecil B. DeMille and American Culture
The Power of Moving Pictures
"One of the finest things about Five Came Back is the way in which it gently schools us about how different life was in America during the war era. The best example comes early in the first installment of the documentary, when we are reminded that in the ’40s, Americans got their filmed visual news from one source: the newsreels that played before the cartoons and features in movie theaters. In our media saturated age, it’s hard to imagine such a world, much less fathom the enormous power movie makers had back then to sway public opinion. Five Came Back wonderfully illuminates that distant reality."
"The audiences who saw Ford’s Battle of Midway had rarely if ever seen footage of men badly wounded or dead. They had never even seen combat footage in color, or footage where the cameraman gets jolted sideways by an artillery explosion and the film in his camera comes loose from the sprockets. Ford, mindful that what he was showing a naïve American audience might well strain credulity, inserted a line in the script at the moment an American flag is being raised in the midst of battle: “This really happened.”"
Staged Models Confused For Reality
"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."
Newsreel Fictions & Special Effects Photographic Scripted Trips To The Moon
"In December 1896, Méliès made the first horror film, The Devil's Castle. Already many of Méliès' key elements are in place; a huge bat turns into Satan, a beautiful lady emerges from a smoky cauldron, ghosts and witches frolic about. In March 1897, Méliès completed construction of a movie studio, the first in Europe. He then embarked on making reconstructed newsreels of news events in addition to his magical subjects. One such "newsreel," The Dreyfus Affair (1899), was laid out in 12 scenes and may have been the first film to maintain a single story line over several shots. Also in 1899, Méliès began to add hand-painted color to special subjects and by the end of the century had attempted to make sound films. By 1901 he was utilizing editing to tighten scenes and punch up effects; Méliès was way ahead of his American colleagues in this regard. Méliès used specially built platforms to create the illusion of enlarging objects (The Man With the Rubber Head, 1901), in-camera matting to create multiples (The Music Lover, 1903), created superimpositions, built sophisticated models, such as an exploding volcano in The Eruption of Mount Pelee (1902), and developed countless other technical innovations. However, the true magic in Méliès' films was their charm; his use of dancing girls and acrobats as fairies and demons, his eye-popping hand-painted scenery, fashioned after the manner of late 19th century illustration, and his own whimsical star turns as Satan, wizards, aged professors, scientists, and the like.
In 1902, Méliès made A Trip to the Moon, destined to become his best-known film, though not his personal favorite. Through its great popularity, Méliès learned that his films were being duplicated illegally in the United States. Méliès began to copyright his films in America and established an office for Star Film Company in New York City under the supervision of his brother, Gaston Méliès. Georges Méliès' films were particularly popular in the United States and in Britain and exercised a vast amount of influence on early American and British filmmakers. In 1904, Méliès made his masterpiece, Le Voyage à travers l'impossible (The Impossible Voyage). Told in 40 scenes and lasting 22 minutes, it was both the longest and most complex narrative film of its time.
In 1905 Méliès began to feel the heat from local competition. His films were typically shown at his own theater in between live magic acts, and they were distributed better internationally than any other French films of the era. But in France, Méliès' bread and butter was in the carnival and fairground cinemas set up in temporary structures. Competitors such as Léon Gaumont and Charles Pathé were building movie theaters in the suburbs that were intended as permanent fixtures, and Méliès was hard-pressed to compete against this new wrinkle in the industry, as the overhead on his films was incredibly high. In 1908, Méliès signed up with the Motion Pictures Patent Trust in the United States, and in order to meet their standard of "one reel a week" he had to put his own pace of production into such high gear that he could barely keep up with it. In 1908 alone, Méliès equaled his entire 1896-1907 output in terms of overall running time. By 1909, Gaston Méliès had stepped into the breach and began producing Westerns in the United States, taking the pressure off Méliès having to produce so many films. But there was a new problem at home; that year, Charles Pathé introduced a measure that restructured the pricing on films in a way that put the fairground cinemas out of business. Georges Méliès then took a needed break from filmmaking that lasted nearly two years. Upon his return in 1911, the industry had drastically changed, and Pathé distributed Méliès' final films. Charles Pathé viewed Méliès as a carny who was always putting the cause of "Art" above that of commerce, and who didn't know the value of a franc. Pathé had Méliès' final productions, such as The Conquest of the Pole, whittled down from feature length to less than half their running time. When Méliès complained and wanted out of their agreement, Pathé consented, but insisted on full repayment of all advances against production costs."
Who Ever Said You Need To Stop Learning?
Become Your Own Authority: Self Education is A Continuing Process
"A little learning is a dang'rous thing,"