Hollywood ‘s Oscars awards ceremony is nigh. Two anti-Syria propaganda-documentaries are short-listed in this year’s competition. We use the occasion to offer a photo tutorial on Hollywood enchantment techniques — choreography, cinematography, SFX, CGI, moulage artisanship, rules of award-winning scripts — and how they are applied to incite NATO news audiences to engage in the first rule of Hollywood screenplays: Suspension of disbelief.
Though Hollywood has functioned as press liaison for US-based wars of aggression since after WWII, though propaganda is as old as history, never have Hollywood techniques been used, deftly so, to target a single country, before Syria, beginning in 2011.
The documentary/fraudumentary has its origin in a charming, pre-code, movie. The 1935 Ladies Crave Excitement finds the report-protagonist’s breaking news story is thwarted when ‘the bad guys’ steal his film, and his editor fires him. An idea is hatched to re-create the scene, on film. The dramatization of the newsbecomes a money-making hit, and a genre is born.
Several pre-code movies centered on newspaper offices. The worst insult to call reporters was “stenographer.”
Another pre-code movie showed astonishing prescience, when applied to Syria, NATO media, and Hollywood enchantment: The witty script of It Pays to Advertise claims that virtually anything can be marketed to the public, because fifty percent of people are sheep.
This pre-code delight used superb humor to poke fun about how advertisers could market virtually anything to get that 50% sheeple to open their wallets. Such marketing has been used to get those sheeple to buy war criminal propaganda, to open their wallets to fraud charities claimed to help Syria.
The marketing of Hollywood anti-Syria propaganda is impressively seen in the following AFP photograph, which was viralized on various social media. The backstory involves two gods of Olympus, who came down with puppets, to bring good cheer to traumatized Syrian children. The viralization showed that “it pays to advertise.” Hearts and souls were moved to tears, at the sight of the gods – humanitarians bringing smiles to the faces of these poor children, even if just for a too short respite.
Hollywood salesmanship: Heart-warming, gut-wrenching photo of the probably Last Puppeteers of Idlib, making children happy. Upon closer look, though, are some children CGI’ed in, like the boy’s shoulder and head that seem to emerge from rock, in this uncomfortable-looking quarry.
Poor children; those rocks and boulders look so very uncomfortable. Why were they brought so far from the apartments and other buildings, which probably have upholstered chairs in them? It looks like quite a hike.
Would a puppet show for children without the Hollywood bathos of rubble and ruin, been able to market any two minute hate against the Syrian government, against the conscripted soldiers defending their country against armed, invading, pathogens?
It pays to advertise. CGI brings down those costs, too.
How many sheeple thought this price was a bargain?
The criminal words of NATO stenographers are reinforced by every Hollywood magic trick. All special effects (FX, computer generated imagery, moulage, generic make up) are used, separately or in combination, depending on deserved outcome and how many seconds or fractions thereof, the audience will be permitted.
The ISIS giants with the reputed Christian Coptics kidnapped while pilgrimaging to a secret place in the al Qaeda land mass called Libya, is an example of very bad CGI.
The author has been unable to find any Christian sites in Libya, to which the pious might be impelled to pay homage soon after the country was made into al Qaeda hell.
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