New Disney flick lead voice-over is Patton Oswald (JFK time)

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New Disney flick lead voice-over is Patton Oswald (JFK time)

Postby Hugh Manatee Wins » Sat Jun 30, 2007 11:53 am

Patton Oswald is the lead voice in Disney's new animation 'Ratatouille.'

Stranger, the man's name is either 'Oswalt' or 'Oswald' and an internet search splits the results about 50/50. Anyone who hears or reads 'Oswalt' is going to think of the more common 'Oswald' anyway.

Is it a coincidence that Disney, which I've established as a covert youth conditioner for the National inSecurity State since WWII and which already put out 'The Shaggy D.A.' to trash DA Jim Garrison's prosecution of JFK conspirator Clay Shaw, would cast in their lead production for 2007/2008 and give prominence to the public name of 'Oswald' as in...Lee Harvey Oswald? Just as the disinfo season for next year's 45th anniversary of JFK's murder has a spate of 'Oswald dunnit' books coming at us.

Looks like a distinct case of keyword hijacking to me. One of many many examples I've cited from the 1950s through today.

Why bother finding this linquistic chaff? Because it illustrates how much media is poisoned by the National inSecurity State to condition minds and perpetuate a system of atrocity which is killing our planet.

Operation Mockingbird control of 'news' is synthesized with a version of Mockingbird in Hollywood which pre-conditions minds for the fake news and also runs protective 'counterpropaganda' projects to protect national myths and trust in authority.

I'm not a coincidence theorist and despite Pan's repeated scoffing that there is no 'vast conspiracy' both history and documentation show that there certainly is beginning with the 1951 Psychological Strategy Board and continuing today.
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nonsense

Postby professorpan » Sat Jun 30, 2007 1:53 pm

Patton Oswald is the lead voice in Disney's new animation 'Ratatouille.'


For the umpteenth time, how in the world does the name "Oswald" hijack or misdirect attention from Lee Harvey Oswald?

And do you think Disney actually recruited the actor because his of his name and not because of his voice talent? That's an awfully big gamble for Disney to take just to add the word Oswald to its credits!

Wouldn't the name Oswald appearing in lots of places actually make people recall Lee Harvey, and think about the Kennedy assassination? That has always been the giant, swollen Achilles heel of your theory that you refuse to acknowledge.

Again, your example has no logic and makes no sense.

Is that "sneering" enough for the manatee supporters out there? If not, let me know and I'll add a little more sneer the next time.
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Postby orz » Sat Jun 30, 2007 2:15 pm

Hugh, your examples become less and less coherent and feasible.

Explain by what mechanism the CIA could possibly dictate to Pixar what voice actors they use.

Then explain who would even notice or care what names are in the credits and how the mere fact that a real live person is called Oswald has any major political effect on the general population.

Then explain how your insane and absurd lines of thinking are not even properly hardcore nutty enough to be interesting. You've missed the OBVIOUS paranoic connection:

Is it a coincidence that Disney's first successfull cartoon character, who later became Mickey Mouse, was....





Oswald the Rabbit


:shock:


Must try harder.
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Disney

Postby Hugh Manatee Wins » Sat Jun 30, 2007 2:24 pm

Pan, orz, do you deny that Disney works with the US government to condition young minds?

Do you deny that there is an old ongoing and periodically ramped-up disinfo/misdirection campaign around CIA dirty laundry?

And I've many times explained the psy-ops value of exploiting the brain phenomenon that prduces strong first impressions and definition bias called 'mutual exclusivity.'

Ya think all kids and parents are on the internet digging up parapolitics or are they mostly watching TV and consuming pop culture? Exactly.

Ever go to a video store and listen to parents and kids negotiate what to watch? brrr...

Context, context, context. There is an ongoing infowar. There is a beaurocracy mandated to DO something. They have a mentality just as their target audience does.

I've found examples of psy-ops managing perceptions on the topics of
>nukes
>Nazis
>assassinations
>whistleblowers
>election fraud
>9/11
>state-controlled media
>global warming
...etc. That is, logical topics for perception management.

And I've documented the history of USG psy-ops from the WWII OSS and Office of War Information run by Elmer Davis to the Psychological Strategy Board to Operation Mockingbird to CIA authors producing books that become movies.

Yet orz and pan deny such things go on, atleast nothing HMW ever brings up.
And that's lots. :!:
Last edited by Hugh Manatee Wins on Sat Jun 30, 2007 2:30 pm, edited 1 time in total.
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Postby MacCruiskeen » Sat Jun 30, 2007 2:25 pm

Al Gore has been getting a lot of publicity recently, ever since that movie of his came out. But has anyone noticed this: he has exactly the same first name as Al Qaeda. Coincidence? I think not. It can only be a very subtle psyop designed to marginalise environmentalists.
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Recess.

Postby Hugh Manatee Wins » Sat Jun 30, 2007 2:34 pm

MacCruiskeen wrote:Al Gore has been getting a lot of publicity recently, ever since that movie of his came out. But has anyone noticed this: he has exactly the same first name as Al Qaeda. Coincidence? I think not. It can only be a very subtle psyop designed to marginalise environmentalists.


Debunked:
Al was named before there was anything being called 'al-Queda' and getting lots of publicity, too.

And there are other reasons for using him as a mouthpiece for something called "global warming."

Snide nonsense wastes bandwith. Enough playground games.
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Postby MacCruiskeen » Sat Jun 30, 2007 2:41 pm

"nonsense wastes bandwith"

Yes...

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I rest my case. But I'm wondering if you are a CIA psyop designed to discredit humanity.
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Kids, color, size.

Postby Hugh Manatee Wins » Sat Jun 30, 2007 2:48 pm

The psychology of visual markers like symbols and colors has been analyzed and exploited by propagandists.

This OSS document on analyzing a nation's culture for manipulation includes the advice to look, for example, at all the meanings and associations of the word 'red' in a country-
http://www.icdc.com/%7Epaulwolf/oss/junker2jan1942.htm

The Pentagon and US corporations redesigned their facilities under the counsel of color expert Faber Birren for better safety and production.

During the Cold War the color 'red' was used to remind kids of the 'red menace.'
The many violent-identity western narratives of cowboys vs red men, for instance.

I have in my extensive Disney collection a 1979 'Golden Books' edition of a Star Wars tag-along (another conditioning narrative before the announcement of SDI) called 'The Black Hole: Discovery of the Mystery Ship.'

The two villains in the book are a giant RED killer robot and....wait for it....
the robot is controlled by Dr. Reinhart.

Yes, as in Reinhard Gehlen, the Nazi the US hired as their European intelligence czar. Hey, there's that swappable 'd' and 't' thing again.

1979....ah. Why keyword hijack "Reinhard" then?

The US was running Nazis like Klaus Barbie in South America and DEA agent Michael Levine was getting mad about being thwarted from nabbing big cocaine dealers by the CIA protection of Nazis. Levine even sent a whistlblowing letter to Newsweek not realizing it was a CIA asset and owned by the Washington Post where Naval Intelligence officer Bob Woodward holds court.

Funny how these parapolitical mirrors run all through US pop culture. Not.
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Look.

Postby Hugh Manatee Wins » Sat Jun 30, 2007 2:50 pm

MacCruiskeen wrote:"nonsense wastes bandwith"

Yes...

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I rest my case. But I'm wondering if you are a CIA psyop designed to discredit humanity.


Read my posts. See how much CIA dirt I expose. Your welcome.
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dirt

Postby professorpan » Sat Jun 30, 2007 3:15 pm

Read my posts. See how much CIA dirt I expose. Your welcome.


The only dirt you expose, dear manatee, is the dirt in between your ears muddying your thinking.

Pan, orz, do you deny that Disney works with the US government to condition young minds?


I've seen no evidence -- in particular, your brand of "evidence" -- that Disney works with the government to condition young minds. So, while I don't rule it out completely, I see nothing to convince me it's true.

So THERE -- I must be one of THEM, right? Because in a binary, paranoid worldview there are only those who agree with us... and THEM. And anyone who disagrees is clearly one of THEM (as you've insinuated multiple times about me, but haven't had the temerity to actually say. I'm still waiting to see if you have the cojones to come out with your suspicions, but I suspect you'll continue to slander and spread innuendo... as is your style).

Ya think all kids and parents are on the internet digging up parapolitics or are they mostly watching TV and consuming pop culture? Exactly.


Ever go to a video store and listen to parents and kids negotiate what to watch? brrr...


Precisely, my good manatee. Hence no need to employ a voice actor with the name of Oswald to hijack their attention from Lee Harvey Oswald! They don't give a hoot about Oswald -- they just want to see a funny movie!

Again, it's amazing that you can't see the equation -- how much money and effort the CIA/Disney would have to expend... for what? To get some kid and his parents to... what? Think of the name Oswald? NOT think of the name Oswald? It just doesn't make a lick of sense.
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Re: dirt

Postby Hugh Manatee Wins » Sat Jun 30, 2007 3:37 pm

professorpan wrote:I've seen no evidence -- in particular, your brand of "evidence" -- that Disney works with the government to condition young minds. So, while I don't rule it out completely, I see nothing to convince me it's true.


You do know the overt history of the Pentagon taking over Disney during WWII, you know, back when the Office of War Information was writing Hollywood's scripts, right?

Yes or no?

You think that the most effective propaganda medium for kids and adults alike, film, was then let go and left to mere 'market forces?'

Yes or no?

If "yes," that's irrational and contrary to all indications. Remember your constant admonition to do "honest" research, pan? Your turn.

I recommend reading-
Image

Babes in Tomorrowland: Walt Disney and the Making of the American Child, 1930-1960 (Paperback)
by Nicholas Sammond (Author)

Here's a tiny scrap on post-WWII Disney-

Image
"Walt Disney with the Richard Nixon family at the 1959 opening
of the atomic submarine ride at Disneyland."

Image
"Our Friend The Atom was produced by Disney in
cooperation with the U.S. Navy and General Dynamics,
builders of the nuclear submarine USS Nautilus."

Image
"Heinz Haber, narrator of Our Friend the Atom, with
the mousetraps that illustrate nuclear fission."
(Haber was a Project Paperclip Nazi U2 scientist-HMW)


http://www.awn.com/mag/issue3.1/3.1pages/3.1langerdisney.html

>begin article<

Animation World Magazine, Issue 3.1, April 1998

Disney's Atomic Fleet
by Mark Langer

In 1959, the largest "atomic" submarine fleet in the world was owned by Walt Disney. While I'm not proposing that a bad day in the Magic Kingdom might have resulted in nuclear Armageddon, the Disney fleet is an historical fact that stems from the cooperation among Disney's business empire, major American arms manufacturers and the U.S. government.

Disney had long established relationships with the federal government dating back to the early 1940s. In a sense, Walt Disney went to war before America did, producing war shorts on contract for the National Film Board of Canada and military production films for Lockheed Aircraft. Days after the Japanese bombing of Pearl Harbor, Walt Disney was in Washington meeting with top government officials. The result of these meetings was The New Spirit(1942), an animated film made to encourage citizens to pay "taxes to smash the Axis." This began a close relationship between Disney and the U.S. government in the production of films for propaganda, training, and educational purposes. These films not only served the needs of the government in wartime, they added over two and a half million dollars to the Disney studio's coffers in the first year of the war alone.

Getting Through the Slump
In 1941, Disney was asked to go on a goodwill tour of Latin and South America by the Office of the Coordinator of Inter-American Affairs. The U.S. government was concerned about Axis influence in this part of the world, while Disney and the motion picture industry were interested in developing new markets for their product since the war had cut off traditional export areas in Europe and Asia. Patriotism and good business were intermeshed by the complimentary interests of government and the film industry.

With the end of the war, came a slump in the animation industry. Rising costs of production made animated film, always a marginal enterprise, even more so. Disney sought to strengthen his company's financial position through diversification. Walt Disney Productions already had developed reciprocal ventures with other companies that dated back to the early 1930s, when Disney licensed his characters to corporations like the Lionel Train Company and the Ingersoll Watch Company (now Timex) to produce Mickey Mouse handcars and watches. Mickey Mouse comic strips and a lucrative contract with the Western Printing and Lithographing Company (publishers of the Little Golden Books) were other major sources of income.

Building on this, Disney first moved into live-action films which were more cheaply produced than their animated counterparts. On Christmas Day of 1950, the first Disney television program was aired -- One Hour In Wonderland -- which was a promotion for the upcoming animated theatrical feature Alice In Wonderland (1951). The special reached twenty million viewers, which was a phenomenal number for early television. This not only pleased the sponsor, Coca-Cola, but made a deep impression on Disney executives. At the time, Walt's brother Roy Disney remarked that One Hour In Wonderland "leads us to believe that television can be a most powerful selling aid for us, as well as a source of revenue. It will probably be on this premise that we enter television when we do."

When Disney did enter television, it was part of a move that further diversified Disney's business interests. Disney agreed to produce the "Disneyland" television series for ABC, if the network's parent company would join Disney and Western Publishing as the major investors in the new Disneyland theme park. The television show, amusement park, publishing interests, and movies would all promote each other in a synergistic relationship. By establishing interlocking business relationships with allied companies, Disney was able to create interlocking systems of promotion among different media.

Atoms for Peace!
The Disneyland amusement park and the "Disneyland" television program were enormously successful, catapulting Disney out of financial difficulty and turning the company into a media giant. This success was noticed by the government in a critical time for American public relations, both internally and internationally. After WWII, the use of atomic energy for defense figured large in the United States government's plans. However, these plans faced growing opposition both from the scientific community and the public in the wake of the American experience in the Korean war and a series of mishaps related to atomic testing.

In order to counter opposition to the military use of atomic weaponry, the Eisenhower administration began a public relations effort called "Atoms for Peace," in which positive propaganda would be developed to promote the use of atomic energy. In a letter to President Eisenhower on December 20, 1955, Acting Director of the United States Information Agency Abbott Washburn reported on his bureau's efforts. Wrote Washburn, "We have also had favorable preliminary conferences with Walt Disney (whose overseas audience surpasses all others) on an `Atoms for Peace' cartoon." (Disney would go on to animate television commercials for Eisenhower's 1957 re-election campaign.)

Our Friend The Atom
Disney was the ideal venue for the government's propaganda effort. Not only did Disney have a long-standing track record of creating government propaganda, but, as Time magazine reported in 1954, almost one billion people worldwide had seen at least one Disney film. After all, Disney was a leader not only in the film industry, but in publishing, television and the amusement park business.

Our Friend The Atom (January 23, 1957), the "Atoms for Peace" cartoon to which Washburn referred, was produced by Disney in cooperation with the U.S. Navy and General Dynamics, builders of the nuclear submarine USS Nautilus. As a "Tomorrowland" segment of the Disneyland television show, Our Friend The Atom relates the history of atomic energy, beginning with a clip from the earlier film 20,000 Leagues Under The Sea, which erroneously maintains that author Jules Verne predicted the use of atomic energy. The film then progresses to an animated fairy tale of a fisherman who finds a bronze bottle in his net. Opening the flask, the fisherman is confronted by a genie, who explains that after centuries of confinement, he has resolved to kill whomever opens the bottle. The fisherman feigns surprise that so large a being could fit into the bottle. The genie returns to the vessel to prove that it can be done, and the wily fisherman corks the bottle up. Finally, the genie relents and promises to grant the fisherman his wishes if the bottle is uncorked. Says the narrator, "The story of the atom is like this fable, come true through science. For centuries we have been casting our nets into the sea of the great unknown in search of knowledge. Finally, we found a vessel and, like the one in the fable, it contains the genie."

In a combination of live-action and animation, Our Friend The Atom moves from this fairy tale premise to an international history of atomic energy that culminates in American control of the technology. To soothe public apprehension, atomic energy is explained in terms of common household items. An atomic reactor, the viewer is told, is just like a big furnace. An atomic chain reaction is likened to what happens when a stray ping-pong ball is thrown at a mass of mousetraps with ping-pong balls set on each one. The narrator relates that an atomic explosion might be like the angry genie, but with the nuclear reactor and the magic power to transmute ordinary materials into radioactive tools in science and medicine, "Here lies our chance to make the atomic genie our friend." The film ends with the prediction that "clean" nuclear reactors will replace grimy coal and oil power plants. Radiation will be used to produce better crops and livestock. People will zoom from place to place in atomic cars, trains, boats and planes. "Then, the atom will become truly our friend."

One Step Further
Our Friend The Atom, both as a telefilm and a companion book printed in several languages by Western Publishing, was an enormous success. This was followed by the further cooperation of General Dynamics, the U.S. government, and Disney in the development of a new US $2,500,000 ride at Disneyland, composed of eight air-conditioned "atomic" submarines. The "Tomorrowland" section of Disney's Magic Kingdom now had the largest fleet of "atomic" submarines in the world. On June 14, 1959, in front of millions of ABC television viewers, Vice-President Richard Nixon and family joined Rear Admiral Charles C. Kirkpatrick of the U.S. Navy and Walt Disney in the maiden voyage of the Disney submarine fleet. A highlight of the ride was a cruise past a graveyard of sunken ships.

One indication of how successfully this ride propagandized the American atomic arms program came from a reporter for the Christian Science Monitor, who enthused that "all these things were turned, by Disney magic and with Disney color, to sheer fun, as though the real purpose of technological achievement, after all, was human happiness." Although Our Friend The Atom and the "atomic" submarine ride at Disneyland were not to be the only examples of cold-war propaganda carried out by Disney, they were in many ways representative of an ongoing network of connections between sections of Disney's Magic Kingdom, the broadcasting networks, the publishing industry, defense contractors, and the state.

Mark Langer teaches film at Carleton University in Ottawa, Canada. He is a frequent contributor to scholarly journals and a programmer of animation retrospectives.

>end article<

I have much much more on Disney as a model of child propaganda.

So, yes, it would be very easy for Disney to do JFK propaganda (again) by casting the guy with the right name.

Remember that the career of Jackson Pollock was promoted by the CIA front called The Congress for Cultural Freedom. Promoting someone for covert political purposes is a common tactic.
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Defending Disney - Univ of Texas counterpropaganda

Postby Hugh Manatee Wins » Sat Jun 30, 2007 3:50 pm

There are two books published by the (warning warning) University of Texas Press from the same author that portray Disney as a hippie propagandist.

This is a counteroffensive against the truth that Disney is a war propagandist working for the Pentagon since WWII.

Culture war is mighty hot these days as some of us figure out who's behind it.

Image

F
rom Walt to Woodstock: How Disney Created the Counterculture (Paperback)
by Douglas Brode (Author)


Image
Multiculturalism and the Mouse: Race and Sex in Disney Entertainment (Paperback)
by Douglas Brode (Author)
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Postby orz » Sat Jun 30, 2007 4:11 pm

Pan, orz, do you deny that Disney works with the US government to condition young minds?

No, but I do catagorically deny your ideas on how this actually happens are sane, feasible or correct.
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Postby orz » Sat Jun 30, 2007 4:32 pm

So, yes, it would be very easy for Disney to do JFK propaganda (again)

Yes it would. Thing is, they'd do that by making some propaganda relating to JFK, not by hiring a voice actor with the name oswa.... FORGET IT. Why am I even bothering. You are insane, this is boring and moronic rubbish. If you can't see the HUGE gaps in your 'logic' now then you are never going to.[/quote]
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Then how?

Postby Hugh Manatee Wins » Sat Jun 30, 2007 4:33 pm

orz wrote:
Pan, orz, do you deny that Disney works with the US government to condition young minds?

No, but I do catagorically deny your ideas on how this actually happens are sane, feasible or correct.


"Sane?" lol.

Oh. So you admit Disney is a social engineer for the USG.

Then how do they do id if not as I've described - defining keywords and sanctioning behavior? Thats like saying 'I agree that Disney made it fall but didn't use gravity.' lol.

So how is social engineering done to young minds and why don't you think that counterpropaganda (defense) is also deployed?
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