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.
Moulage is the skill of creating mock injuries for training of first responders, and also for graphic Hollywood horror movies.
Two years ago, as the rabid hyenas controlling the UN were hearing voices (from Ghouta), NATO media were peddling non-stop odes to the stethoscope-less, spinal precautions incompetents, CPR ignoramuses, fake bagging, al Nusra White Helmets fake responders, publishing emotional photos showing successful schooling in Hollywood special effects.
PLEASE NOTE: THOUGH MANY OF THE FOLLOWING PHOTOGRAPHS WILL SEEM GRAPHIC, THEY HAVE ALL BEEN CHOSEN TO EXPOSE THE USES OF HOLLYWOOD MAKE-UP, INCLUDING MOULAGE TRAUMA APPLICATIONS. THESE PHOTOS WERE METICULOUSLY PICKED BECAUSE THEY DO NOT SHOW SIGNS OF PHYSICAL TRAUMA. THEY HAVE BEEN ‘DOCTORED’ FOR THE PURPOSES OF EMOTIONAL MANIPULATION IN SUPPORT OF WAR CRIMES. PHOTOS OF BRUTALIZED OR MURDERED CHILDREN HAVE BEEN EXCLUDED FROM THIS ESSENTIAL TUTORIAL.
PLEASE ALSO BE AWARE THERE IS NO WAY TO ASCERTAIN WHICH PERSONS HAVE PHYSICALLY BEEN INVOLVED IN LIKELY KIDNAPPING OF CHILDREN FOR THE PURPOSES OF DEGRADING THEM INTO VICIOUS ADVERTISING. PHOTOGRAPHERS MUST BE CREDITED, BUT THERE IS NO WAY TO ASCERTAIN THE EXTENT OF THEIR COMPLICITY, UNLIKE THE WESTERN WIRE SERVICES WHO PUBLISH THEIR WORK. SUCH NEWS WIRES & MEDIA WHO UTILIZE THEM ARE NEGLIGENT IN DUE DILIGENCE VETTING. THEY ACCEPT THE WORD OF TERRORISTS & THE PUBLIC RELATIONS TEAMS THAT PIMP THEM. NEGLIGENT IN VETTING, THE SAME SMARM DEMAND CENSORSHIP OF THOSE WHO ENGAGE IN DILIGENCE, LIBELING MANY HONEST & INDEPENDENT WRITERS.
This is a moulage prosthetic, in the form of a disarticulated hand, shown in dramatic monochrome. The photo was used as evidence that some divine individual’s body had been dug from some rubble caused by ”regime bombings.” While claiming to be a real hand, no explanation was given on how it came to be neatly separated from the alleged deceased’s arm, nor how it came to defy gravity by standing on its thumb.
Artistic prosthetics such as this do not come cheaply. Despite millions from the CIA & MI-6, perhaps this is why they cannot afford a stethoscope.
Here is a more recent Hollywood moulage prosthetic, this one in brown with touches of Helmets Rubble Ecru painted throughout. Could audiences so suspend their disbelief to imagine as real, someone so obviously tightly buried in concrete, could free his hand, and that such a hand would immediately go into rigor (because a flat hand would not be noticed.).
This gem was taken by AFP’s divining rod with nine lives, Omar Haj Kadour. Speaking of Hollywood suspension of disbelief, Kadour has magically appeared to take photos of: Remnants of two military jets shot down by terrorists using anti-aircraft bombs; the terrorist carnage in al Rashidin; a sandals-wearing Helmet collecting fairy dust sarin samples in Khan Sheikhoun; in Urum al-Kubra, for terrorist bombings of the SARC convoy of 31 lorries filled with humanitarian goods; in Saraqib, for a few flying chlorinated barrel bomb situations; in Khan Touman when terrorists murdered 13 Iranian advisors and kidnapped 2 SAA soldiers who were tortured and then murdered.
Example of the artistry of Hollywood moulage prosthetics.
No stenographer reporter has ever noted the anomaly of zero crushing injuries seen in the infinite number of Helmet ‘rescues.’ As this gang has never been shy about its collective violent, criminal insanity — kidnapping, snuff porn murders, carving fetuses from their moms’ wombs, necrophilia, torture of non-compliant children — surely it would have no moral dilemma prohibiting the creation of crushing injuries.
Crushing injuries do not play to the eye.
When you look through these Hollywood suspension of disbelief photos, presented to you by NATO stenographers and NATO taxes, consider the following:
- the absurd, impoverished scripts of Hollywood running scenes, without origin, without destination.
- the processions. Again, without origin, destination.
- young men fake helping in rubble rescues completely dust-free, including shiny hair.
- the impossible ergonomics. Proper body mechanics are essential in picking people from the ground and carrying them. Without proper mechanics, not only can backs be wrenched, but everybody can end up on the ground. Unfortunately, these proper mechanics also do not play well to the eye, and so have been replaced the the dramatic Hollywood reach and stretch.
- the rescues in the middle of nowhere.
This idiocy may have been a demented tribute to Ingmar Bergman:
Something oddly familiar about this staging…
CGI, VFX, and moulage skills have improved since the pre-reunification of Aleppo, 2016, media hysterics. Hopefully, also, the stethoscope-less death squads will move beyond their two color choices of Helmets Rubble Gray and Helmets Dusty Ecru. In this utterly stupid, poorly CGI’d photo, we see what looks like an uprooted tree, magically standing upright, despite no longer being rooted; a strange line touching the ground, on which miraculously hangs a garment that falls far short of the mark of bathos in the splash of color trope; an allegedly damaged alleged ambulance with door conveniently opened (though not damaged) and an alleged corpse on a stretcher, some feet away, that levitated out of the vehicle (courtesy of the conveniently opened, undamaged door), upon which it made a perfect, heads-up landing.
This scene demonstrates the best of visual artistry in Hollywood staging of emotional war pornography against Syria. It subtly, insidiously, captivates the purchasing audience.
Amidst the bland, Helmets Rubble Ecru, the chiaroscuro of the [fake] savior-hero, [fake] first responder White Helmet is magnificent; his [fake] action — not his face == is the driving force, here.
His body is directed as a still, meant to cause visualization of dramatic movement. This is best noted by his right arm, bent and determined, though going nowhere. The stunning freneticism of the baby is not that this child is afraid of bombs, or inherently wonders where mommy may be.
It is caused by the intentional, precarious, placement of the child, in one of the Helmet’s arms. His posture is made completely unstable, and he has been made to feel like he will be dropped — thus the instinctive flail of his arms, perfecting this dramatic still.
To give the imagery more meaning, note the other White Helmets in the upper right, doing nothing — one bent over nothing, two looking at nothing. Note also the splash of color trope, in the pretty yellow litter. Though in emergency care, the gurney would be flat (those ignored spinal precautions would be maintained), but in this photo, its head has been raised seventy degrees, so that the audience sees it.
This is not a severed leg; it is an impressive Hollywood moulage prosthetic. The ‘foot’ is rubble-painted, though again it is not crushed, and has a collapsible great toe, as the poor man’s finger and thumb nearly touch, as he screams against “Bashar!”
This rare woman allowed outside by al Qaeda in Idlib has been painted to look as though she just came out of a liquid coal mine, with arms, outstretched. Such bathos appeals to the eye. Short man may be getting yelled at for touching the FX’d woman. [Credit: White Helmets Anas alDyab AFP/Getty]
This photo shows a bad job of applying Hollywood moulage and CGI in the marketing of propaganda. Note the poor seaming onto the body, and the lack of bone fragments in the chest moulage.
Rania Kisar was virtually unknown, until CNN viralized her banshee scream to Donald Trump to again help the al Qaeda occupiers of Idlib, against Syria. She runs a charity that does not have 501(c) status, and that does not raise money. She is the self-anointed head of some fake revolution organization. She only wears hijab/niqab when in Idlib. The screenshot of the poor old man swinging the Hollywood fake leg, was taken from Kisar’s video that CNN pimped.
She smiles proudly holding a baby whose face has been defiled.
CNN just happened to be perusing the previously unknown Kisar’s Facebook page and decided her video should be shared; it was seen almost one million times in six hours.
CNN helps Kisar to beg Trump to bomb Syria for al Qaeda…again.Al-Qaeda Gets An Oscar
The Zombie Man was also in her video, and used as a featured image in NATO news. Note the missing point of origin, the missing shoes, and that the two men are not holding him up.
“Pulled out from the rubble,” completely painted in rubble gray, no crushing injuries, and he can walk!
Hollywood literally suspends disbelief, in this photo, also from the American in Idlib’s video. Someone cut his pant leg to show the lousy moulage injury and neglected to add ‘blood.’
Why is one of his shoes missing?
Still photo emitting Hollywood sense of action. The teen in the red hoodie bears no weight. This rescue-ee only has his feet painted rubble gray. Note the ‘stability’ of the slab of building, top right.
From where is this long procession coming? To where is it headed? Was a casting call put out to assure dozens were added to the bathos?
Here we have another dramatic Hollywood rescue from nowhere, though this procession lagging — perhaps a cheap CGI. The Helmet is clean. The child is barefoot & again, the shirt is pulled up to needlessly show the child’s skin. Dust added to the background, while motorbikes in foreground are clean.
Another procession photo, surrounded by mostly intact buildings. The woman has probably been painted in, as women in al Qaeda are allowed outside only for executions. Credit: AFP.
Man ‘rescues’ another painted, barefoot, boy with skin showing. From what, is unknown, given surrounding buildings and vehicles are intact. Note the child behind him, looking like the photo was taken in sunlight, though she is within the shadows.
Another asinine ‘hand off,’ which puts the baby at risk for being dropped. The ‘hand off’ is more Hollywood suspension of disbelief drama.
Another posed photo; it does not take two adult men to hold a child. There is no need of a third to do a stretch and reach to risk dropping a kid held by two adults. This is more Hollywood staging. Of note: The SARC was not at this event.
In Hollywood scripts, one tends to know when the screenwriter runs into writers’ block: A trite, petty, inconsequential, utterly boring running scene is shoe-horned in, to increase fake drama. Anti-Syria NATO stenography media and anti-Syria fraudumentaries are shamelessly relentless in pimping this bathetic contrivance, of the running men.
Hollywood’s suspension of disbelief reigns in these next two White Helmets FX Production photos, in which a man is pulled from the rubble, via levitation (“Hurray for Hollywood!). His hair is nicely painted Helmets Rubble Gray and he arises with his intact glasses on his intact face; the second photo is pure CGI, and the actors are captured not in impossible action — which would have resulted in all falling into Dante’s third level of hell — but in still.
Were there any action, they would have dislocated his right shoulder, and thrown out their backs.
This gem looks like a bad dress rehearsal; someone forgot to move the weapon, and to tell the gentlemen to close their eyes.
Occasionally, a member of the cast forget he is supposed to be somber for a White Helmets rescue scene:
This Hollywood set was supposed to be a Helmet carrying a child freshly dug from the rubble, as evidenced by the Helmets Rubble Gray hair coloring. The somber occasion was marred.
Given Hollywood’s dozens and dozens of hospital movies since the advent of the talkies, it should come as no surprise that anti-Syria propaganda would utilize the hospital as motif. This author prefaces a series of photos with the essential reminder to Syria News readers, that which all diplomats know, but ignore, that which all journalists have the responsibility to know, but ignore: The Geneva/ICRC Conventions are explicit in the creation of medical facilities in war zones.
Those wishing to set up such facilities must receive authorization from the host county, after which the facility must be clearly marked with the ICRC Emblem for the medical clinic/hospital to be honored as a neutral zone, which may not be attacked by any warring parties.
It is statistically impossible that no member of the tripartite P3 aggressor mobsters controlling the UN, nor the UN Relief Chief, Mark ‘Hearing Voices‘ Lowcock, nor any member of stenography media, nor any of the countless NGO’s that have sprung up to devour Syrian blood and bone, has not read Geneva/ICRC. That none has ever voiced concern over real hospitals that were destroyed by the vermin, demonstrates that what has happened to the Syrian Arab Republic since the NATO Spring was dumped on it in 2011, is the most heinous conspiracy in history.
It is a breach of the UN Charter to engage in criminal propaganda against a member state, but the master criminals rule and the house servants cower.
Lowcock may have been hearing voices, again, for this claim.
June 2019, NATO media went into a frenzied campaign to save al Qaeda in Idlib, under the auspices declaring every street of the governate held a hospital, and each was almost the last. Most sources chortled that ‘facilities’ were no longer going to share coordinates with the UN. The inference to be made is that the mafiosi running the US were told where the takfiri had housed themselves.
From time to time, NATO media do not share the enchantment of Hollywood CGI and moulage art, but turn toward the prosaic Goebbels Big Lie.
NATO stenographers who illegally enter Syria lie that coordinates of unhospitals are shared with the government, and also lie that they will no longer be shared with the government, and also lie that they are hidden from the government so that the government will not bomb them.
Crawford illegally entered Syria, lied about unhospitals, took umbrage when she was called out for lying, then hashtagged ”war crimes,” instead of reading Geneva/ICRC.
Like every other woman journalist who has criminally entered Syria to embed with armed terrorists, Crawford donned hijab and burkha. Others wear full niqab. They do no dress like this at home; only in al Qaeda occupied territories, where criminal men dictate how women must dress.
Crawford claimed this long-abandoned building was a Syrian hospital that was recently bombed by Syria. Her camera crew was careful to not video the empty inside.
The take our word for it mantra is frequently used by anti-Syria propagandists is a not infrequent stand-in for Hollywood enchantment, especially when declared in a byline published in the NYT.
Photo credit by AFP’s photographer with a thousand lives. We are supposed to take di Giovanni at her word, even though she censors people.
This blockee discovered that many blockers are affiliated with bellingcat.
Imagine a group of New York lawyers sneaking into Syria via Turkey, without visas, and without stepping on any of the almost 200,000 land mines still not cleaned, despite Turkey signing the Mine Ban Treaty in 2003. Imagine them setting up a law office in Idlib. Imagine NATO media interviewing these criminals, and pretending that they legitimately practice law.
No one would tolerate such nonsense; why, therefore, is it tolerated by criminal physicians and fakes claiming to be doctors?
NATO media also call in the NGOs to perpetrate the Goebbels Big Lie.
UK physician Nott claims to be an adrenaline junkie, a habit which began in the former Yugoslavia. Flouting Geneva/ICRC International Law, he criminally entered Syria & claimed to have practiced medicine there. Illegally practicing medicine in someone else’s country is cause for his own country to have yanked his license. It did not happen, but he did complain that the tripartite aggressors had a duty to obliterate: “It was in Syria that I began to get seriously angry about the inability of the major powers to prevent hospitals and medical staff being targeted in war zones…”.
Physicians For Human Rights (PHR) is frequently used as source material, showing the incestuous relationship among the rabid dogs of war. Co-Laureate of 1997, PHR is another one of the many anti-Syria charities that receive 501(c)(3) tax exemption status, something that sounds almost like a quid pro quo given its attacks on Syria sound as though written by the State Department. PHR also yells about attacking hospitals and medical personnel being a war crime, while averting its gaze from actual, International Law. PHR claims to have “systematically documented these war crimes [sic] since the start of the Syrian conflict in 2011,”
How does it document?
“PHR uses open-source data and field sources to document the deaths of medical personnel killed in Syria since March 2011.”
This is an admission of documentation via Facebook, Instagram, and Twitter posts by al Qaeda in Syria, and by al Qaeda’s Public Relations Bureau, the stethoscope-less White Helmets.
PHR’s rigorous documentation comes from sources such as the fake responders.
How bereft of professional decency are health providers who shameless sing the praises fake first responders, who know nothing about emergency care, who only know to steal, loot, kidnap, and Fstop?
How can actual licensed professionals sully the altruism of the medical arts, while rolling around in the gutter of name thieves, organ traders, housing thieves, and even those who fit into the category of the criminally insane?
Empire sheds its arrogance when piling up the bodies. It tries to keep its sadistic jokes in house. ‘Syria Civil Defense‘ was purloined from the real and accredited first responders in Syria. ‘White Helmets’ was purloined from Argentina’s Comisión Cascos Blancosinitiative launched in 1993 and adopted by the UNGA in 1994.
This gruesome-looking Hollywood moulage trauma sculpting is excessive, except for students training to make zombie apocalypse movies.
FX transformation created by future Hollywood Oscar winners?
Omran practically became a household name, courtesy of NATO media stenographers. He is the epitome of a Hollywood moulage trauma application for the explicit purpose of selling war crimes to the naive public.
No advertising announcer noticed that the child was not injured. None noticed he sat calmly in his chair, while White Helmets were taking photos and videos.
No one noticed that there was no White Helmet even pretending to engage in first response emergency care.
Long, bathetic blink followed by profoundly dramatic tear wipe. BBC & CNN dramatists who cried on live TV did so for ratings. There were no tears for Abdullah Issa.
Few know that Omran had a ‘sister’ who was also fake rescued from generic rubble by the fraudster, CIA backed Helmets. The Director decided she was a distraction, and she ended up on the editing floor.
Omran’s sister was a distraction from the “iconic” intention of the photograph.
During last summer’s spate of frenzied incitement to save al Qaeda unhospitals and fake doctors, in Idlib, inclusivity propaganda incorporated everyone and everything but the proverbial kitchen sink. In addition to charities run by persons whose licenses should be suspended because of breaches in maintenance requirements and those who show their integrity by citing criminals as proof, we were treated to Hollywood CGI photographic evidence, an alleged physician with perfect Skype in a secret, underground, fully operating theater in which he was performing 30,000 brain and spinal surgeries Q3H, a decent job by a set designer, the warm fuzzies, and a conspiracy by ten members of the UNSC — led by P3, the world’s leaders in genocide — against member state Syria.
A Brit journal reporting on unhospitals being bombed, chose a ‘Save the Children‘ photo of babies in intact incubators.
A Hollywood set designer did a lovely job of this hospital bombing: Unbroken window placed diagonally in crib; curtain rod neatly standing; richly-colored drapes, draped over the crib; a nice bit of chiaroscuro lighting, too.
Here we have an allegedly bombed ‘facility’ in which the window, scanner, & tables are intact, yet a wall appears to have been sideways bombed, with bombed cinder blocks covered with plaster positioned with appealing symmetry, thanks to decent computerized graphic imagery.
Only NATO stenographers, low-level operatives, and willful idiots would claim this area, under construction as evidenced by earth moving equipment and a temporary road having been built would claim this is the Helmets gang digging up the corpses of 3,000 physicians from under the invisible rubble of a fake-bombed hospital
Who Ya Gonna Believe, Us or Your Lyin’ Eyes?
The pulsox not ‘fitting’ the nose gives away this otherwise good CGI.
This one was not properly thought out — or, perhaps it was practice in applying make-up.
Many Hollywood screenwriters work in advertising — it pays to advertise — while awaiting their big breaks. They know how to market. Children, with their cuteness, their vulnerability, their fearlessness, are quite marketable, in most age groups; who can forget that sweet, teen girl who witnessed the barbarity of Iraqi troops smashing incubators and then smashing premature neonates to the floor, while she was doing volunteer work?
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