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/

Thank you for taking the time to read this,

AA "The Proper Gander" Morris

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The Power of Art: "Henry III and the Communication of Power" - Dr Benjamin Wild


The Apocalypse of The Divine Propaganda Power of Governmentally Funded Art

Apparently for centuries, art has been used to craft ego identities necessary for urbanizing and industrializing humanity. Imaginative story telling, architecture, interior design, as well as costuming and music, poetry and the visual arts, are among the chief traditional tools that have been and still are used to manage an international human resource. Theater and the reenactment of myth (ritual), in one form or another, secular or spiritual, are the primary tools of governmental indoctrination.


image source: File:A Chronicle of England - Page 242 - Henry III and His ...

Henry III: The Art King

The official and assumed history of the evolution and origins of government.

"Henry promised to abide by the Great Charter of 1225, which limited royal power and protected the rights of the major barons. His early rule was dominated first by Hubert de Burgh and then Peter des Roches, who re-established royal authority after the war. In 1230, the King attempted to reconquer the provinces of France that had once belonged to his father, but the invasion was a debacle."

"Henry's life was depicted in a series of contemporary illustrations sketched and water-coloured by the chronicler Matthew Paris, mostly drawn in the margins of the Chronica majora. Paris first met Henry in 1236 and enjoyed an extended relationship with the King, although Paris disliked many of Henry's actions and the illustrations are frequently unflattering. Henry was also shown in the poetry of his Italian contemporary Dante, who depicted Henry in the Divine Comedy as an example of a negligent ruler, sitting alone in Purgatory to one side of the other failed kings. It is unclear why he is shown separately from his contemporaries; possible explanations include that this is a code by Dante to show that England was not part of the Holy Roman Empire, or that it is a favourable comment on Henry himself, highlighting his unusual piety. Unlike many other medieval kings, Henry did not feature significantly in the works of William Shakespeare, and in the modern period he has not been a prominent subject for films, theatre or television, having only a minimal role in modern popular culture."

"The first histories of Henry's reign emerged in the 16th and 17th centuries, relying primarily on the accounts of medieval chroniclers, in particular writings of Roger of Wendover and Matthew Paris. These early historians, including Archbishop Matthew Parker, were influenced by contemporary concerns about the roles of the Church and state, and examined the changing nature of kingship under Henry, the emergence of English nationalism during the period and what they perceived to be the malign influence of the Papacy. During the English Civil War, historians also drew parallels between Henry's experiences and those of the deposed Charles I."

"By the 19th century, Victorian scholars such as William Stubbs, James Ramsay, and William Hunt sought to understand how the English political system had evolved under Henry. They explored the emergence of Parliamentary institutions during his reign, and sympathized with the concerns of the chroniclers over the role of the Poitevins in England. This focus carried on into early 20th-century research into Henry, such as Kate Norgate's 1913 volume, which continued to make heavy use of the chronicler accounts and focused primarily on constitutional issues, with a distinctive nationalistic bias."

sources: 8.2 Popular culture  •  Henry III of England - Wikipedia  • 8.1 Historiography

Video Lecture: Henry III and the Communication of Power - Dr Benjamin Wild

Propaganda and communication matter.

"This lecture considers how Henry used art to justify monarchy at the dawn of what is commonly termed the parliamentary state."

source: GreshamCollege

“Against the backdrop of King Johns ignominy and the political challenge posed by Magna Carta, which encouraged demands for greater representation in parliament, King Henry III used art, architecture and apparel to exalt his authority and to communicate his divinely-ordained status on a scale never previously seen in England.”

via: GreshamCollege


The Birth of Modern Theatreland: Covent Garden and the Two Theatres Royal - Professor Simon Thurley

“London is home to two of the oldest working theatres in the world both founded by Charles IIs patents. They shaped a whole quarter of London, and continue to do so today. In a second lecture on Buildings in the West End of London, Professor Thurley looks at the significance and impact of these great institutions on the development of London.”