‘All art is propaganda. It is universally and inescabably propaganda; sometimes unconsciously, but often deliberately, propaganda.’ ~ Upton Sinclair
When we watch a documentary film I imagine most of us suppose it to be portraying factual information, not fiction. That, after all, is what would differentiate a documentary from other genres like drama or entertainment.
With this assumption in mind I have often wondered how broadcasters, filmmakers, festivals and prizegivers could be screening and celebrating ‘documentaries’ that purvey demonstrable untruths.
As luck would have it, with the International Film Festival being in town here in Edinburgh just now, I was able to get my answer from an industry expert.
It goes like this. When a company/organisation is pitched a documentary they don’t see it as their business to be acting as arbiters of truth. If the thing has good production values and they believe the public would have a real interest in seeing it, then they’ll consider it eligible for support. My expert gave an example: we can suppose that there are scores of biographies of a famous figure like President Kennedy, and that each one has a particular take on its subject; we can readily imagine that the different authors may consider others to be plain wrong in various particulars. These disagreements wouldn’t be the business of someone commissioning or showing the film to pronounce on.

This post was published at 21st Century Wire on JUNE 24, 2017.

A presentation of information assembles its own space and time, its own continuum, which is then transported, through media, into public spaces – in the same way that a stage play takes place in its own universe, which is then presented to the audience.
We are talking about root factors, not simply an isolated story that attempts to deceive people. The flow of fake mainstream news, for example, goes on and on, day after day, imposing its own space-time on our own interior ‘territory.’
One continuum is inserted into another.
In my collection, The Matrix Revealed, I interview retired propaganda master, Ellis Medavoy (28 interviews, 290 pages). Ellis provides a level of insight that makes the modern founder of PR, Edward Bernays, seem like a little child with a few toys. Ellis understands the Great Game in a way that is unsurpassed. His grasp of human psychology (not the academic or therapeutic pseudoscience) is vital to understanding how real mind control is accomplished.

This post was published at Jon Rappoport on Jun 22, 2017.

Comedian Lee Camp has hosted a show on RT called Redacted Tonight since 2014. While I certainly don’t always agree with his conclusions, he’s clearly a passionate, genuine and highly intelligent American who cares deeply about the country and the people living in it. He believes (rightly), that our fellow citizens are are suffering unnecessarily due to our demonstrably parasitic, corrupt, imperial, oligarchic, corporate-state. Because he possesses such attributes, The New York Times found it necessary to dispatch one of its minions to write an embarrassing, unprofessional and downright shady piece of propaganda about him.
His response is lengthy, but it’s also extremely important for everyone to read in full. It provides further evidence that those who peddle in fake news and shoddy, deep state propagandist drivel should not throw stones. The New York Times needs to get its own house in order before whining about how everyone else is so deficient.
Below are some of the more outrageous excerpts from his excellent rebuttal. You can read it in full at Naked Capitalism:
This past Thursday the New York Times vomited up a hit piece on little ol’ me – a guy who has been doing stand-up comedy for nearly 20 years and thought maybe that comedy could be used to inform and inspire audiences, rather than just make fun of the differences between men and women.

This post was published at Liberty Blitzkrieg on Jun 13, 2017.