'Gremlins' - WWIIDisney/Vietnam/Plum decoy by Spielberg

[barracuda]

It's like an orgy of orz in here.

[Avalon]

The problem with that theory is that Eric Sloane came out with his book Gremlin Americanus the year before the Disney/Dahl book. While I'm not seeing documentation on it, I'll surmise that Disney struck a deal to have their artists co-opt Sloane's drawings. At that point Eric Sloane had been hanging around with aviators for years, and was painting a lot of planes and aviation subjects.



There's a copy currently on Ebay.

http://cgi.ebay.com/Sloane-Eric-Gremlin ... .m20.l1116

Despite the gushing awe of the military writer, less than 300 copies is not "the rarest of the rare." Far from it. It may be in demand as Dahl's first book, and as a Disney project that didn't get completed (and thus minus the usual ancillary tie-ins that would flood the market), but it's available at institutional libraries and on the market for less than a thousand bucks. You could pick up the phone and get your hands on a copy immediately, for the right price.

[Hugh Manatee Wins]

Original 'Gremlins' author Roald Dahl later wrote Cold War propaganda for kidz, just like Brit spook Ian Fleming who wrote 'Chitty Chitty Bang Bang.'

...you are not demonstrating how Fleming and Dahl are alike (the fact that Dahl worked on material with Fleming does not equal Dahl is like Flaming.)

I detect fan defensiveness.

One MI6 guy working on another MI6 guy's 'James Bond' screenplay AND
a psyops script for kidz (Chitty) almost 20 years after WWII...justifies my statement.

Don't you find it remarkable that both MI6 guys, Ian Fleming and Roald Dahl, wrote Cold War-era stories for kidz that equated factories and capitalism with...candy? Talk about sugar-coating fascism.

I'm not even going into the gender crap in Dahl's own stories or how they later became psyops counterpropaganda movies. Waste of time at this board.

[Hugh Manatee Wins]

I don't have the capability of posting all the screen shots from 'Gremlins' to illustrate the political color psychology. I just searched and found a representative one.

.....

and also negative framing of the color green since the Green Party had just been officially formed in Europe in '79 and was growing off the environmental movement.

This statement is pure woo, that is to say, it is an assumption without basis in any facts whatsoever. The color green has a millenium-long association with evil, envy, jealousy, sickness and death that has been exploited by artists since, ohh... forever. Are we to take it on faith that any Hollywood movie since 1979 featuring a green monster is making a conscious effort to work against the Green Party?

Try context - when the movie was released - and drop the straw men.
Plus your assuming I've done no research on my statement is tiresome by now.

- The Green Party and environmentalism were seen as a continuation of the Left which the FBI and CIA had gone to lots of trouble to decapitate back during COINTELPRO/CHAOS.

- Spielberg uses color symbolism just like any other state propagandist.
Black vs white, commie red...then Leftie Green was added to the list.
Spielberg used red-white-and-blue schemes quite a bit in the Reagan death squad 80s when Vietnam Syndrome was still being pumped out of the nationalist ballast tanks.

Perhaps you should know more about how I analyze CIA-Hollywood bilge.

Besides the 'Gremlins' movie, for example, I have several picture books of the movie.
This is the case with many of the Spielberg-Lucas-Disney CIA movies I analyze. Because these producers are top shelf USG psyops and you can learn the game from them.

I also try to find the original book a movie is based on to compare and contrast. Like Dahl's original 'Charlie and the Chocolate Factory' versus the movie version where "Charlie" had to be omitted because it was slang for the commie enemy in Vietnam giving us instead 'Willie Wonka and the Chocolate Factory.' The book has an amazingly long poem against television that was almost disappeared in the movie, for instance.
This tells me more about Dahl's own bent for literacy rather than indicating a non-militarist purity.

Movies are also marketed as smaller story books (either graphics or more commonly film stills), coloring books, spin-off character tales, and, of course, figurines and dolls.

These smaller books are very important to the psyops campaign as tangible. These are how I analyzed Dora the Explorer, not by the videos.

Each of the book versions is basically Psyops Concentrate, a collection of propaganda posters carefully chosen to transmit the symbols, semantic differential, positive/negative framing, role models, sanctioned values, and somatic markers...that are the framework of the real time film presentation.

By examining each of the different product versions of a movie (including remakes) I can see what is consistently represented as psyops cues.
The variations are also informative. Some will turn up in the coloring book but not the movie. Probably because coloring in pictures provides more intense focus and exploits sensory-motor development, a highly desired level of neurological involvement and the reason why spooks want boys out playing sports to become warriors, not just watching. See 'Hook.'

But I don't just analyze a movie by itself. There are other psyops products marketed concurrently that are often massaging the same themes.

So when CIA-Disney's 'The Black Hole' (1979) picture book does heavy negative framing of green and includes a pictogram telling us the Kremlin controls the Green Party...and CIA-Spielberg does heavy negative framing of green in a thinly veiled allegory about containing communism...
AND I've noted all the color schemes Spielberg uses in all his films and the book stills...I can conclude that the specific statement I made about use of color in 'Gremlins' (1984) is entirely congruent with all other information.

notice the shape of the fake lens flare

What is meant by the word "fake" here? Are you saying the lens flare was digitally added?Can you document this? Or is this more baseless assumption?

Yes, it was added to a key somatic marker, and emotional highlight.
Carefully timed, not a coincidence.
I took a photo off the TV and went to a couple of camera shops to show the old guys behind the counter. They agreed that it was added.
There are such things as pentagonal flares but in tandem with a BELL shape and with that timing? Psyops.

Before I noticed this one, I'd already found many uses of subliminal pentagons, especially by Spielberg. They are in Tom Hanks movies (such the shill) and CIA-Disney picture books. Not uncommon. So it's just another one.

Why did you just ignore the BELL shaped one I mentioned?
Does that one impede relishing blanket dismissal and scorn?

FWIW, "The specific spatial distribution of the flare depends on the shape of the aperture of the image formation elements. For example, if the lens has a 6-bladed aperture, the flare may have a hexagonal pattern."

How does a lens flare make a BELL shape? This is a few seconds after the pentagon.

Beyond that, do you have any hard evidence that Disney has tried to downplay or disavow their propaganda work during WW2?

It used to be hard to get ahold of their WWII pieces.
There's an essay online about a professor going to Disney to see some WWII stuff in their vault. They acted like he was trying to steal nuclear secrets.

http://www.ocweekly.com/2004-06-10/film ... -on-earth/

It remains one of my favorite college lectures: during a film-history course at Orange Coast College during the late 1990s, professor Steven Valley shared his Kafka-esque ordeal in trying to view propaganda films the Walt Disney Studios produced during World War II. Phone calls to various Disney historians went unanswered, Valley recounted; written requests never reached their destination; visits by Valley to Disney's Burbank archives resulted in trips from one office to another, all to no avail. After months of fruitless inquiry, Disney brass finally relented. They shoved Valley into an unlit basement room, carted in a TV/VCR set, popped in a videocassette containing the desired cartoons, and left him for about three hours. No notes were allowed. No recorders. No questions. Upon the tape's completion, security guards escorted Valley out and told him never to ask for a second screening since it wouldn't happen.

Knowledge of their role during the conflict is a commonplace among just about anyone who has any interest in these matters. I have personally been aware of this since early childhood.

This was not a static situation. It changed with...context.
It used to be easy to point at WWII USG work as good citizenship.
But then in 1971 'How to Read Donald Duck' by Chilean scholars exposed Disney for what it is, psyops. The book was successfully kept out of the US for a few years and during the 80s and 90s the WWII work was downplayed.
Eventually it became a better tactic to just let the stuff be seen and not make a big deal out of it.

Later CIA-Disney co-opted the word and named their video game division "Propaganda Games."
http://propagandagames.go.com/propagand ... isney.html

[Hugh Manatee Wins]

Your toyz are nothing compared to the movie version of 'E.T.'s space ship' which looked absurdly like the US Capitol, multi-tiered and as though lit at night so you could see the windows and columns. Need a real screenshot.
But even with your toy tops partly cut-off, you can see the building's shape, nothing like your usual saucer, is it?

Oh, and when it whooshed through the sky and disappeared leaving a rainbow, actually it was a red-white-and-blue 'rainbow,' just patriotic bunting.

Spielberg used 'E.T.' and 'Poltergeist' to apply woo to the meme "missing/left behind" because of General Tighe's damning testimony about US soldiers left behind in Vietnam with the commemoration of the Vietnam Memorial imminent.

Pilots' authentification codes were intentionally destroyed so they couldn't 'phone home.' Hence the slogan of 'E.T.'

Later Tighe was badjacketed in 'Battlestar Galactica as "Saul Tigh."

This is the scandal described in 'Kiss the Boys Goodbye: How the United States Betrayed Its Own POWs in Vietnam' by Monika Jensen-Stevenson and William Stevenson.

http://www.amazon.com/Kiss-Boys-Goodbye ... 0771083289

The resemblance is not startling.

[compared2what?]

Spielberg used 'E.T.' and 'Poltergeist' to apply woo to the meme "missing/left behind" because of General Tighe's damning testimony about US soldiers left behind in Vietnam with the commemoration of the Vietnam Memorial imminent.

Pilots' authentification codes were intentionally destroyed so they couldn't 'phone home.' Hence the slogan of 'E.T.'

Later Tighe was badjacketed in 'Battlestar Galactica as "Saul Tigh."

What's the clinical data wrt how and when people reflexively conflate the associations they've attached to a word or phrase they hear in one context with the associations that attach to the use of the homophonic or homonymic equivalent use of that word (or phrase) in the mass media?

I've often wondered about that.

Because on the one hand, a very large part of your analysis depends on the assumption that such conflations do occur.

Yet on the other, a very large part of the basic human capacity to acquire and use language coherently depends on a contradictory reflex. Whereby -- for example -- you can safely assume that most if not all people reading the text quoted above will process the phrase "left behind" solely in the single sense that you used it. And that they'll have no trouble doing it without any confusion at all, just as effortlessly and automatically as they would if the words "left" and "behind" didn't both also have multiple additional meanings.

As well as if the phrase "left behind" wasn't also the title of a mega-million selling series of books, video games, movies and graphic novels about the rapture. Or maybe the apocalypse. Not sure, never read them. However, you know what I mean. That blockbuster end-time-y Tim LaHaye franchise. That one, not to mention it.

Anyway. I'm sure you get my point. Which is that communication wouldn't hardly even be possible were people not fully pre-set not to be distracted by stuff like thoughts of Don Henley and Glenn Frey when reminiscing about the 2004 Superbowl.

So how do the clinical studies on which I assume that you rely reconcile that seemingly major spanner in the works of your thesis, Hew-Hue-Hugh?

Also, per what factors are people induced to tie Tigh with Tighe? And not with, say, "Thai"?

Please answer and do not just ignore the question. Please. I humbly beseech you.

[orz]

Hugh lensflares can form all sorts of shapes, and anyway I very much doubt it even resembles a bell, until I can check for myself I'm certainly not taking your word. You've demonstrated many times how visually illiterate you are, your preconcieved ideas blinding you to some very basic stuff.

[orz]

Also set aside your typical wood for the trees style; forget the CIA controlling lens flares, how about the fact that the post 9/11 re-release had all the guns absurdly digitally removed along with a line referring to terrorism etc?

[nathan28]

EARTH CHANGES TERRA 2012 MAYANS
***Contains actual keyword hijacks
***May be triggering (especially if you are running a strange linguistic datamining program or google.)
***self-discrediting post

I cannot believe homosexual satanists that I posted that HMWs had actual data backing up H1N1 toxic vaccine an assertion a few chip in deep space minutes ago.

Also set aside your typical wood for the trees style; forget the CIA controlling lens flares, how about the fact that the post 9/11 re-release had all the guns absurdly digitally removed along with a line referring to terrorism etc?

Whoa, whoa, whoa, you mean look at actual, verifiable editing of a pernicious nature for questionable poltical purposes? Hold on there!

And while we're at prez drinks rat-piss bud light it let's NEVER FORGET that in forged birth certificate Eyes Wide Shut they digitally Sibel Edmonds subpoena altered the orgy scene to town hall disruptions have robed figures standing Goldman Sachs in front of all the people fucking OMG TPTB 50 years in Afghanistan HID TEH ULTIMUT SECRETZ OV TEH ILUMINATY TEH KUBRICK 4 tuna extinction TEH 'R' (or wuz it nc17s?) RATINGS

[nathan28]

Likewise...


So in E.T., where a space alien pretty much cons a little boy to go on a trip with him (http://memeparty.com/tag/this-guy-looks-legit/), the obvious parallel isn't, oh, gee, I don't know, MC projects and their cover story, it's POW/MIA in Vietnam?

Hmm, "greys with big eyes." Now how on Earth could that be?

http://rigorousintuition.ca/board/viewtopic.php?t=9483&postdays=0&postorder=asc&start=90 (link may be triggering, for real this time)

[Telexx]

Original 'Gremlins' author Roald Dahl later wrote Cold War propaganda for kidz, just like Brit spook Ian Fleming who wrote 'Chitty Chitty Bang Bang.'

...you are not demonstrating how Fleming and Dahl are alike (the fact that Dahl worked on material with Fleming does not equal Dahl is like Flaming.)

I detect fan defensiveness.

- Lost performative (judgment where the basis for the judgment (I'm a fan) is not stated). (PS: I'm not a fan of Dahl).

- Nominalisation of the word 'defensiveness' (turning the process of being defensive into an object as so to ascribe negative attributes to me without having to express them, e.g. 'you would challenge my logically impoverished statements, after all you're a defensive fan)...

One MI6 guy working on another MI6 guy's 'James Bond' screenplay AND
a psyops script for kidz (Chitty) almost 20 years after WWII...justifies my statement.

- Another lost performative. You're not providing evidence, you're just stating how working together means Fleming and Dahl are alike (this fact alone 'justifies my statement')...

In truth, all you're doing is demonstrating that Dahl and Fleming operated in the same circles. To state they are alike without comparing motives, ambitions, personalities, beleifs, values, etc, etc, etc is meaningless.

Don't you find it remarkable that both MI6 guys, Ian Fleming and Roald Dahl, wrote Cold War-era stories for kidz that equated factories and capitalism with...candy? Talk about sugar-coating fascism.

More complex equivalence! Factories, and capitalism, do not equal fascism! To write a story set in a factory does not equal writing 'cold war propaganda'. Can you provide evidence, Hugh that specifically supports this assertion that Dahl wrote 'cold war propaganda'??

In truth Dahl was a complex man, and I'm not defending his character, I'm just pointing out that holes in your reasoning.

Kthx,

Telexx

[barracuda]

I detect fan defensiveness.

Beginning your defense of this valueless post with an ad hominem attack simply demonstrates how very weak your evidence is. Isn't this the sort of behaviour you routinely condemn others for when they refer to you as an idiot, a Larouchite, or a disinformation source? But here it's okay I guess.

One MI6 guy working on another MI6 guy's 'James Bond' screenplay AND
a psyops script for kidz (Chitty) almost 20 years after WWII...justifies my statement.

Don't you find it remarkable that both MI6 guys, Ian Fleming and Roald Dahl, wrote Cold War-era stories for kidz that equated factories and capitalism with...candy? Talk about sugar-coating fascism.

I'm not even going into the gender crap in Dahl's own stories or how they later became psyops counterpropaganda movies. Waste of time at this board.

Now we get the predicted Chinese fire drill. So in other words, no, you have absolutely no evidence that the children's literature produced by Dahl was cold war propaganda. Why don't you just admit it, you haven't read any of Dahl's 15 or so children's books have you? Or maybe just Charlie and the Chocolate Factory? And how long ago was that, if ever? Why do you continue to talk out the side of your neck about books you've never even read? More importantly, why are you continuing to slander this author, simply on the basis of your (worth almost nothing) unread, unresearched opinion of him? Are you so attached to the thesis of this post that you can't admit you're wrong? Because you are. And when you won't show some humility about being occasionally wrong, you appear like a far right-wing nut case.

I don't have the capability of posting all the screen shots from 'Gremlins' to illustrate the political color psychology. I just searched and found a representative one.

I would suggest that you take some time out from your obviously busy schedule fighting fascism and sneaking around to find untapped pay phones to learn how to use your computer. The capability for taking and posting screenshots is pretty much an elementary function of any machine produced after 1986, and I'm sick to death of hearing you substitute this limp excuse for evidence as if it's just as good. It's not. Your example sucks, and helps to invalidate your limp "ideas" behind this flaccid post.

.....

and also negative framing of the color green since the Green Party had just been officially formed in Europe in '79 and was growing off the environmental movement.

This statement is pure woo, that is to say, it is an assumption without basis in any facts whatsoever. The color green has a millenium-long association with evil, envy, jealousy, sickness and death that has been exploited by artists since, ohh... forever. Are we to take it on faith that any Hollywood movie since 1979 featuring a green monster is making a conscious effort to work against the Green Party?

Try context - when the movie was released - and drop the straw men.
Plus your assuming I've done no research on my statement is tiresome by now.

I've never said that you haven't done some reading. What I'm saying is that you don't understand what you read very well, especially if it doesn't fit into your dangerous fundamentalist viewpoint. What ever is making you tired, it's got nothing to do with me. Your entire oeuvre is tired - so what?

- The Green Party and environmentalism were seen as a continuation of the Left which the FBI and CIA had gone to lots of trouble to decapitate back during COINTELPRO/CHAOS.

- Spielberg uses color symbolism just like any other state propagandist.
Black vs white, commie red...then Leftie Green was added to the list.
Spielberg used red-white-and-blue schemes quite a bit in the Reagan death squad 80s when Vietnam Syndrome was still being pumped out of the nationalist ballast tanks.

In other words, no, you have no hard evidence which ties the color symbolism of the green monster in Gremlins to attempts by the CIA to diffuse interest in the Belgian or West German Greens (the dates of which don't correspond all that well to your vaunted context admonition, which here carries no weight of authority whatsoever). No hard evidence. None. We're supposed to assume that your four years of analysis makes you some kind of expert (you are not one), and we should just trust you that this is true. Which is very much like what the fascists in power do, or the far, far right wingers do, or the Christian fundamentalists do. So produce some hard evidence that doesn't have to be taken as fact just because it has your worthless stamp of approval on it, or continue posting to your own authority, which is meaningless.

-Perhaps you should know more about how I analyze CIA-Hollywood bilge.

Yes, that's an eye-roll "smiley". Most people on this board, after 8000+ of your posts, have a pretty good idea about how you do that. But please - do go on. I believe you're about to tell us once again (8000+ posts) how you intently study after-market children's coloring books which you aquire at the Goodwill to sus out CIA psyops. Let's hear it...

Besides the 'Gremlins' movie, for example, I have several picture books of the movie.
This is the case with many of the Spielberg-Lucas-Disney CIA movies I analyze. Because these producers are top shelf USG psyops and you can learn the game from them.

I also try to find the original book a movie is based on to compare and contrast. Like Dahl's original 'Charlie and the Chocolate Factory' versus the movie version where "Charlie" had to be omitted because it was slang for the commie enemy in Vietnam giving us instead 'Willie Wonka and the Chocolate Factory.' The book has an amazingly long poem against television that was almost disappeared in the movie, for instance.
This tells me more about Dahl's own bent for literacy rather than indicating a non-militarist purity.

Here, you have just found an example - in the only Dahl book you have ever looked into (I say that because there's absolutely no evidence that you've read it, or any of his other books) of the author concretely taking a stand in favor of your own polemic - yet you dismiss it out of hand, apparently because it conflicts with your premise which you are at great pains to maintain, that Dahl is a fascist enabler. Let me reiterate - in the song you are referencing here, Dahl adamantly and memorably and explicitly agrees with one of your central, defining ideas, that television viewing is corporate (fascist) poison that controls the viewers mind. He does so in a manner that is orders of magnitude beyond the capabilities of your precious Mockingbirds - millions of copies of the book sold in many, many editions and countless printings, each lovingly held in the hand of the reader and passed on from person to person, shared in libraries throughout the world.... The number of children who read this story and remembered the Oompa Loompa's song about Mike TeeVee is almost impossible to calculate. Don't get me wrong - the book is flawed in a number of ways, but being pro-corporate media is certainly not one of them. Okay, here we go back to the coloring books, and, predicably, Dora the Explorer is about to make an entrance.

Movies are also marketed as smaller story books (either graphics or more commonly film stills), coloring books, spin-off character tales, and, of course, figurines and dolls.

These smaller books are very important to the psyops campaign as tangible. These are how I analyzed Dora the Explorer, not by the videos.

Each of the book versions is basically Psyops Concentrate, a collection of propaganda posters carefully chosen to transmit the symbols, semantic differential, positive/negative framing, role models, sanctioned values, and somatic markers...that are the framework of the real time film presentation.

By examining each of the different product versions of a movie (including remakes) I can see what is consistently represented as psyops cues.
The variations are also informative. Some will turn up in the coloring book but not the movie. Probably because coloring in pictures provides more intense focus and exploits sensory-motor development, a highly desired level of neurological involvement and the reason why spooks want boys out playing sports to become warriors, not just watching. See 'Hook.'

But I don't just analyze a movie by itself. There are other psyops products marketed concurrently that are often massaging the same themes.

So these spin-off products are important, except for when they don't fit your premise, such as the E.T spaceship toys I posted, which look nothing like the U.S. capitol building. Here's another after-market product wiuth a splash cover shot of the ship...



That doesn't really help, does it? Okay, here's another shot...



Both of these shots were on the first page of a google image search for "e.t. the extra terrestrial spaceship", so we both know damn well you saw them in your "researches", but they don't fit your tepid "premise" so you couldn't use them to bolster your non-existent "point".

So when CIA-Disney's 'The Black Hole' (1979) picture book does heavy negative framing of green and includes a pictogram telling us the Kremlin controls the Green Party...and CIA-Spielberg does heavy negative framing of green in a thinly veiled allegory about containing communism...
AND I've noted all the color schemes Spielberg uses in all his films and the book stills...I can conclude that the specific statement I made about use of color in 'Gremlins' (1984) is entirely congruent with all other information.

Another argument to your own (negligible) authority, based upon four years (wow) of (part-time) research into... what, exactly? You are an expert on nothing.

notice the shape of the fake lens flare

What is meant by the word "fake" here? Are you saying the lens flare was digitally added?Can you document this? Or is this more baseless assumption?

Yes, it was added to a key somatic marker, and emotional highlight.
Carefully timed, not a coincidence.
I took a photo off the TV and went to a couple of camera shops to show the old guys behind the counter. They agreed that it was added.
There are such things as pentagonal flares but in tandem with a BELL shape and with that timing? Psyops.

This has to be amongst your greatest moments ever, Hugh. You took a photo Off the tee vee and took it to a camera shop? Is that what passes for research, or authoitative analysis in your world? And is there some reason you can't scan or upload this picture now? Is your arm broken or something? There aren't enough eye-roll smileys in the whole world to do this one justice.

Before I noticed this one, I'd already found many uses of subliminal pentagons, especially by Spielberg. They are in Tom Hanks movies (such the shill) and CIA-Disney picture books. Not uncommon. So it's just another one.

Why did you just ignore the BELL shaped one I mentioned?
Does that one impede relishing blanket dismissal and scorn?

I ignored it mostly because you haven't produced it. At all. Once again, your authority here has lost it's weight for me. Show me evidence, or admit you don't have it. All this equivocating proves my point, not yours. How's that for dismissal? You don't have any evidence - just your word that the bell even exists, much less what the interpretation of it might be.

Beyond that, do you have any hard evidence that Disney has tried to downplay or disavow their propaganda work during WW2?

It used to be hard to get ahold of their WWII pieces.
There's an essay online about a professor going to Disney to see some WWII stuff in their vault. They acted like he was trying to steal nuclear secrets.

http://www.ocweekly.com/2004-06-10/film ... -on-earth/

It remains one of my favorite college lectures: during a film-history course at Orange Coast College during the late 1990s, professor Steven Valley shared his Kafka-esque ordeal in trying to view propaganda films the Walt Disney Studios produced during World War II. Phone calls to various Disney historians went unanswered, Valley recounted; written requests never reached their destination; visits by Valley to Disney's Burbank archives resulted in trips from one office to another, all to no avail. After months of fruitless inquiry, Disney brass finally relented. They shoved Valley into an unlit basement room, carted in a TV/VCR set, popped in a videocassette containing the desired cartoons, and left him for about three hours. No notes were allowed. No recorders. No questions. Upon the tape's completion, security guards escorted Valley out and told him never to ask for a second screening since it wouldn't happen.

Knowledge of their role during the conflict is a commonplace among just about anyone who has any interest in these matters. I have personally been aware of this since early childhood.

This was not a static situation. It changed with...context.
It used to be easy to point at WWII USG work as good citizenship.
But then in 1971 'How to Read Donald Duck' by Chilean scholars exposed Disney for what it is, psyops. The book was successfully kept out of the US for a few years and during the 80s and 90s the WWII work was downplayed.
Eventually it became a better tactic to just let the stuff be seen and not make a big deal out of it.

Later CIA-Disney co-opted the word and named their video game division "Propaganda Games."
http://propagandagames.go.com/propagand ... isney.html

That's IT? Four or five years of research into the psyops history of the Walt Disney corporation, and all you have in answer to my request is this anecdotal paragraph from the Orange County Weekly? Honestly, I asked the question in good faith, expecting to get literally dozens of links.

Hugh, there's no shame in being wrong occassionally. It happens to everyone. Only fundamentalists cannot admit it when in happens. So I ask you:

What religion were you raised?

Do you have a religion now?

Have you ever been directly associated with a political movement?

Have you ever participated in the patriot/militia movement in any way?

Hugh, I have spent a lot of time on this board defending you from attacks which I saw as frivolous and have backed your central premise (Mockingbird society), and still do. But with arguments like these, my patience is beginning to thin somewhat, and my suspicions to thicken.

[Hugh Manatee Wins]

What the hell happened to barracuda? He turned into professorpan. ech.

"You post every single thing you've got and that I demand in a thread or there's nothing no proof no hard evidence of psyops by Spielberg zero and I'm suspicious of you!"

Either you study psyops very thoroughly - because it is subtle and tricky - or can just plink at someone posts to reinforce your own sense of 'more-skeptical-than-thou.'

I came back here exhausted after speaking for six straight hours at an activist meeting-fund raiser to make a polite and clear reply, not set up a multi-media website archive within Jeff's board on demand.

I didn't search for a pic of the US Capitol UFO. And yours doesn't even show the top which is the most characteristic shape or the movie's overview perspective.

Hey - it's easy to find a copy of 'E.T,' I'll bet, so why don't you see for yourself if there's a Liberty Bell-shaped fake lens flare as the music peaks and the boys on their bikes fly through the air into the sunset?

Gawd, this board. It really isn't suitable for the topic. Too much bandwith required.

[Hugh Manatee Wins]

BTW. op did include Spielberg in case considers his work worth examining.

[Hugh Manatee Wins]

Quick response to you, c2w.

Saturday 8/8/09 psyops show on NPR called 'Radio Lab' was all about how we make decisions.

They touched on "priming," in a safe way, of course.

No mention that this is the main tool used in psyops culture constantly doing subliminal massaging of the public mind.

They are trying to stay ahead of our learning curve with forestalling, safe harbors, and all those techniques for minimizing things into old news.