Andrew Johnson - '9/11 and Cold Fusion – a Possible Attempt to Rewrite History?', Plus some new Edgar Fouche videos

Andrew Johnson has posted an excellent article on his website:
"9/11 and Cold Fusion – a Possible Attempt to Rewrite History?"
http://www.checktheevidence.co.uk/cms/index.php?option=com_content&task=view&id=389&Itemid=60
The article contains some interesting new information relating to the 9/11 cover up and is well worth taking the time to read.


He has also uploaded some more video interviews with Edgar Fouche:
Edgar Fouche - Disclosing Secret Technologies - Part 9 - 1998 Disclosure
http://youtu.be/F1co9R_67EE
Edgar Fouche - Disclosing Secret Technologies - Part 10 - Reprisals, Retirement and Return
http://youtu.be/XCnCYj_h_oE
Edgar Fouche - Disclosing Secret Technologies - Part 11 - Underground Facilities, DARC S4 and More
http://youtu.be/hZgWQVHgyc0
Edgar Fouche - Disclosing Secret Technologies - Part 12 - Alien Rapture - Joe Green etc.
http://youtu.be/tYkQBMB1BZI
Edgar Fouche - Disclosing Secret Technologies - Part 13 - Alien Rapture - MJ12 Documents
http://youtu.be/Rjc692amx4w
Edgar Fouche - MJ 12 Documents - Read Through
http://youtu.be/L6ZAN15etZc

Edgar Fouche - Disclosing Secret Technologies - Part 14 - Alien Rapture - Attachment D and More

https://www.youtube.com/watch?v=J2eyl_vUuSk

Edgar Fouche - Disclosing Secret Technologies - Part 15 - Alien Rapture, Sumerians, NSA and More

https://www.youtube.com/watch?v=DrfbDuc_T3U

Edgar Fouche - Disclosing Secret Technologies - Part 16, MFD, Antigrav Technology, Quasi Crystals

https://www.youtube.com/watch?v=5Fpo5oPoEz0


Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html

The Stanley Kubrick Conspiracy - Part 5: Like A Clockwork Orange

Stanley Kubrick approached many controversial subjects within the context of his films. He often alluded to the power and corruption of the elite, as well as the mechanisms used to maintain their power. A common theme in his films, such as “A Clockwork Orange” and “Eyes Wide Shut”, is the notion of state sponsored, often trauma-based, mind control. Before I look at these films in a little more detail, it is important to establish some generic details regarding the mind control subject.

There exists a documented history of state sponsored mind control instigated by (although far from exclusively) the US Central Intelligence Agency (CIA). The CIA came into being, into 1947, as a direct result of the work and influences of The Tavistock Institute - specifically the CIA’s precursor - the OSS.
Thomas Powers, “The Man Who Kept the Secrets: Richard Helms and the CIA”, New York: Alfred A. Knopf 1979.

The CIA was forbidden from having any domestic police or internal security powers and was authorized only to operate ‘overseas’. In many regard, this rule of thumb was disregarded from the outset. Early examples of the agency’s involvement with mind control experiments include: Project Bluebird – believed to have been officially formed to counter Soviet advances in brainwashing. The extent and success of early forays is a little uncertain, although the mainstream belief has always been one of a “varied success rate” and “poor initial test results.” If this was the case, then it certainly didn’t stop the practice; in fact it flourishedhttp://www.wanttoknow.info/bluebird10pg

From the earliest stages, it appears that these projects aimed to study methods ‘through which control of an individual may be attained’. Experimentation included ‘narco-hypnosis’ which involved the use of mind altering drugs and hypnotic programming. Specialised teams were created in the CIA to travel all over the world, using newly developed interrogation and programming techniques. The practice also involved a variety of narcotics (heroin, sodium pentothal, marijuana, LSD, etc.)

Some degree of disclosure of these operations came to light in 1975 when the existence of MKULTRA was exposed by the Church Committee of the US Congress, and a Gerald Ford commission to investigate CIA activities within the United States. According to Wikipedia, “Investigative efforts were hampered by the fact that CIA Director Richard Helms ordered all MKUltra files destroyed in 1973; the Church Committee and Rockefeller Commission investigations relied on the sworn testimony of direct participants and on the relatively small number of documents that survived Helms' destruction order.” http://en.wikipedia.org/wiki/Project_MKUltra
"An Interview with Richard Helms" (Central Intelligence Agency – 05/08/2007):https://www.cia.gov/library/center-for-the-study-of-intelligence/kent-csi/vol44no4/html/v44i4a07p_0021.htm
FOIA MKULTRA Document Archive:http://www.abuse-of-power.org/foia-mkultra-document-archive/

Various Freedom of Information (FOI) requests eventually resulted in a small number of documents being released. MKULTRA came into being (apparently) on 13th April 1953 – although a number of insiders give an earlier date. CIA documentation describes MKULTRA as an ‘umbrella project’ with 149 ‘sub-projects’. These sub-projects include illegal and unsolicited testing of drugs, altered states of consciousness, and implementation of electronics components. Some experiments also involved “remote activation and control” of living organisms.

The phenomenon of state sponsored mind control programming does not begin and end with MKULTRA though. Although MKULTRA is perhaps the most well-known and documented, a myriad of project names (official and unofficial) have surfaced over the years, begging the question of just how far reaching these practices go.

Whilst it is believed by many that the overall goal of these projects was to brainwash individuals to become couriers and spies, some alleged accounts of extreme programming (such as Cathy O’Brien and Brice Taylor) involved examples of physical and sexual abuse and torture, as well as being subjected to occult and ritualistic ceremonies and practices. They loosely referred to their conditioning as “Monarch Programming”.
http://www.trance-formation.com/index.htmhttp://educate-yourself.org/mc/nwomcbturireview.shtml

There are claims that the practice encompassed out of body experiences, and time / space travel. It is also believed that (in some cases) the E.T. contact / abduction phenomenon is a result of some aspect of these programmes.  Some victims alleged that part of their programming was conducted at NASA facilities.

There is also an area of study which analyses the behaviour and associations of people who occupy the public stage. Dave McGowan, author of “Inside the Laurel Canyon”, presents a compelling argument – which connects various “agenda players” to famous individuals (artists, musicians, actors, etc.) who lived in or frequented the Laurel Canyon region of California from the early 1960s onward. These connections include many hallmarks of the mind control phenomenon and counter intelligence operations of the period, as well as ritualistic and occult practices.http://www.davesweb.cnchost.com/

 
As a little aside, I found it interesting to discover that one particularly notable denizen of the Laurel Canyon region during this period was science fiction author Robert Heinlein. Heinlein was dubbed one of the “big three” – himself, Isaac Asimov and Arthur C. Clarke. His book “Stranger in a Strange Land” (1961) was hugely influential with many connected to the Canyon scene. (Riggenbach, Jeff. "Was Robert A. Heinlein a Libertarian?" - Mises Daily, June 2, 2010. Ludwig von Mises Institute.)

It is possible that much of what has been “disclosed” regarding mind control research may actually be a cover in itself – hiding techniques and practices that are unfathomable to the average person. These may encompass the deeper corners of the energy paradigm or extreme levels of consciousness and reality. Although some researchers have posed this hypothesis, it currently resides somewhat within the domain of speculation. Never the less, there are some worrying pointers that deserve our attention. Often times, research and development of technology from the likes of Lockheed Skunkworks and DARPA (Defence Advanced Research Projects Agency) – groups with an intricate association to the energy cover-up, for example - are baffling to say the least. Over the years, various agenda-driven agencies and groups have developed techniques such as “trans-cranial magnetic stimulation”, “microwave effects on the blood brain barrier” and “synthetic telepathy”.

On December 19th, 1971 – less than four years before the spectre of MKULTRA mind control first crawled into the mainstream spotlight - Stanley Kubrick unleashed “A Clockwork Orange” upon the American viewing public. It was released in the UK on January 13th, 1972. The film squarely tackled the paradigm of “free will” versus “state control” – in this case, the morality and dynamics of state sponsored behavioural modification and trauma-based mind control. The film’s science fiction trappings and futuristic settings are also mildly dystopian in nature.

“Alex (Malcolm McDowell), the main character, is a charismatic, sociopathic delinquent whose interests include classical music (especially Beethoven), rape, and what is termed "ultra-violence". He leads a small gang of thugs (Pete, Georgie, and Dim), whom he calls his Droogs. The film chronicles the horrific crime spree of his gang, his capture, and attempted rehabilitation via controversial psychological conditioning.”http://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)

The film, adapted from Anthony Burgess' 1962 novella of the same name, presented a disturbing and violent image of a dystopian, future Britain. Kubrick, writing in Saturday Review, described the film as: "...A social satire dealing with the question of whether behavioural psychology and psychological conditioning are dangerous new weapons for a totalitarian government to use to impose vast controls on its citizens and turn them into little more than robots." http://seriouslyforreal.com/celebrities/a-clockwork-orange-1971-2/
In many regards, Kubrick played with the subconscious of the viewer. Malcom MacDowell’s narration of the film forced the viewer to become unwittingly sympathetic to the central protagonist. This is unsettling, given that the character is an inherently unsympathetic, guiltless, and violent psychopath, rapist and murderer. In fact, the design and tone of the film depicts an overall landscape that is largely metaphorically devoid of humanity. Such aspects underline Kubrick’s skill as a subtle and subversive director and storyteller.
 
The central concept of the film (and novella) is rooted in the notion of behavioural psychology (see: research of psychologists John B. Watson or B. F. Skinner’s eponymous “boxes” and the practice of “operant conditioning”) and made manifested via the films’ deux ex machina: “The Ludovico Technique”. As is usually the case, the suggestion of this technique existing outside the narrative framework (in other words, “in the real world”), was dismissed as being nothing more than a “parody” of Aversion Therapy treatment –“in which the patient is exposed to a stimulus while simultaneously being subjected to some form of discomfort. This conditioning is intended to cause the patient to associate the stimulus with unpleasant sensations in order to stop the specific behaviour.” http://en.wikipedia.org/wiki/Aversion_therapy
 
The work, upon which “The Ludovico Technique” was based, connects closely with the activities of those involved with The Tavistock Institute and Stanford Research Institute. A number of insiders have stated that “Ludovico” bears a striking resemblance to less publicised techniques once practiced by the CIA. Moreover, some state the technique (name and all) is a real one.

There is much controversy surrounding “A Clockwork Orange”. The realisation of the film was marred by the original state of Burgess’ novella, which originally included a final “hopeful” chapter to the story – where “free will” is shown as having triumphed over state intervention. The 21st (and final) chapter was omitted from the editions published in the United States prior to 1986. The UK version included the final chapter. It is often said that Kubrick allegedly based the film on the US version of the novella (leaving the film with a stark climax) and that he had been previously unaware of the original ending to the story. This was instrumental (perhaps intentionally) in creating a tone that manifested an infamous notoriety to the film. Following release, the UK press seemingly associated a number of instances of violent crimes to the film, claiming that individuals had aped the mannerisms and behaviour of Alex and his gang of Droogs. There was a fierce backlash against the film, often prompted by UK Parliamentary figures, mainstream media watchdogs and the various arms of censorship in the UK.

However, the origins of this furore seem to be mired in speculation. It is uncertain if there really ever were any crimes committed that were purely inspired by the film itself. In the 1999 UK documentary: “Return of a Clockwork Orange”, Robin Duval (then Director of the British Board of Film Classification”) said, “There were allegations it had invited or stimulated some yob gangs. What we don’t know, at this distance, is how true that was. I mean, there’s a… as a regulator – over a very long period of time – one thing I have learned is that it’s not uncommon for somebody who finds themselves in the dock to say ‘well guv’, it’s not my fault, I saw this movie or TV programme and I was lead to it by what I saw’… and it’s quite possible that there was an element of that with ‘A Clockwork Orange.’” (1999 UK documentary: “Still Tickin': The Return of A Clockwork Orange” - http://www.imdb.com/title/tt2107788/combined

The producers of this documentary attempted to interview Edward Heath and Jack Straw (both allegedly, according to some researchers, may have helped in some manner to encourage the aforementioned ‘public outcry’), but they declined.

In the end, the film was withdrawn from circulation in the UK and it is from here on that the story becomes decidedly strange. For many years, fingers were pointed in numerous directions blaming all and sundry for the effective “banning” of the film. Even the then Home Secretary of the Conservative Government, Reginald Maudling, was alleged to have played a part.
Minister Demanded Clockwork Screening - http://news.bbc.co.uk/1/hi/entertainment/677288.stm

Furthermore, the whole affair seemed to stoke the fire of film censorship and classification, perhaps even playing a part in the eventual “video nasty” controversy of the early 1980s. It is known that many VHS “pirate” copies of the film were brought into the UK from France, where the film ban was not in place. The “video nasty” phenomenon itself was a decidedly murky affair, involving thinly veiled attempts by the UK government to police the burgeoning home video market, and playing a significant role in the legacy of 21st century copyright laws. It has also been claimed that the whole paradigm was actually an experiment in social engineering: designed to generate a cultural backlash that would actually encourage individuals to embrace greater degrees of depravity and violence in television and film. It is possible that Kubrick was utilised to further any and all of these agendas. However, there is no way to know this for sure.

After Kubrick’s death in 1999, it was reiterated by his family and associates that Kubrick himself was responsible for withdrawing the film. According to film critic Alexander Walker, Kubrick was visited by Hertfordshire police, warned about “the power of the film”, and how “real Droogs could turn up on his doorstep” to threaten his wife and children. It has even been suggested, by some sources, that it was the police who decided that a measure was needed to diffuse “public negativity” toward the film. Thus the decision to pull the film was made. 1999 UK documentary: “Still Tickin': The Return of A Clockwork Orange” - http://www.imdb.com/title/tt2107788/combined

In the history of film, it is almost unheard of for the director to withdraw their own film. It only ever really happens if the film is a flop and, even then, the decision is usually made by the studio financing the film. “A Clockwork Orange” was a critical and commercial success, garnering numerous awards and lining the financial pockets of Warner Brothers very nicely. Britain, after America, has always been a key source of box office income for Hollywood. Are we to assume that Warners Bros. simply asked no questions and agreed to the ban? Any film maker that can achieve such a feat must carry a lot of clout in the industry. However, this is Stanley Kubrick we are talking about!

In the late 1970s, Anthony Burgess was interviewed about the negative reaction to the film. He maintained that he had been held partly responsible by critics. However, Burgess firmly blamed Kubrick - specifically citing the non-inclusion of the final chapter of the book as the cause. “I became associated with violence because of the film. If a couple of Nuns were raped in Berwick-on-Tweed, I would always get a telephone call from the newspaper… ‘Mr Burgess, what do you think of this?’ They would never telephone you Stanley… because you keep out of the way!” 1999 UK documentary: “Still Tickin': The Return of A Clockwork Orange” - http://www.imdb.com/title/tt2107788/combined


The film remained withdrawn until Kubrick’s death. Almost three decades maintaining the “ban”, is a long time to allow public animosity to die. It was revealed by close friends that just before his death, Kubrick had discussed ending the ban with Warners, Of course, his untimely death followed and Warners decided to re-release the film anyway. A number of researchers have alluded that this may have, in some fashion, added to the oddities that surround his death. As with most of his films, “A Clockwork Orange” not only makes thematic nods to the world of hidden global agendas, it also utilises visual cues. Provided one understands the relevance of secret society symbolism, the significance of the subtle pyramid shape on the brick wall of the prison yard (precisely as Alex is recruited for “The Ludovico Technique”) or the semblance of pyramid motifs and the “Eye of Horus” in the movie’s publicity posters becomes clear.

Despite all this, perhaps Kubrick’s greatest folly was yet to come. When it did, however, it would turn out to be his last.
To be continued...

http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-1.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-2.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-3.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-4.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-5.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-6.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-7.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-8.html


Kubrick Related Articles:
Updates, 6th Annual British Exopolitics Expo & More Stanley Kubrick Apollo Fakery - http://thetruthseekersguide.blogspot.co.uk/2014/11/updates-6th-annual-british-exopolitics.html
Foxes, Saturn, Kubrick, Doctor Who and The Singularity - http://thetruthseekersguide.blogspot.co.uk/2014/08/foxes-saturn-kubrick-doctor-who-and.html
A Movie About Kubrick Faking the Moon Landing? - http://thetruthseekersguide.blogspot.co.uk/2014/07/a-movie-about-kubrick-faking-moon.html
Stanley Kubrick - Updates - http://thetruthseekersguide.blogspot.co.uk/2014/04/stanley-kubrick-updates.html


Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html

The Stanley Kubrick Conspiracy - Part 4: Shine On...

Stanley Kubrick’s film “The Shining” was loosely based on Stephen King’s novel of the same name. King had written a screenplay adaption of the novel (for Warner Bros.) before Kubrick became attached to the project. Kubrick chose not to read the script because he intended to infuse the bare bones of the story with his own ideas. King’s fans are sizeably unfavourable of Kubrick’s adaption. Although most of the plot is there, the message and emphasis is very different from the original novel. Some researchers (most notably, Jay Weidner in his documentary film “Beyond the Infinite: Kubrick’s Odyssey II” http://jayweidner.com/) have studied “The Shining” and believe that the film is so markedly different because Kubrick used it to somehow make a confession to the world about his alleged involvement in faking the Apollo 11 Moon landing.

The film does appear to have some form of subtle code embedded in the imagery and narrative. The scenes in the manager’s office (where Jack Nicholson is interviewed for his job as custodian of The Overlook Hotel) are curious. The manager, Stuart Ullman (played by Barry Nelson) bares a passing similarity to the assassinated US President John F. Kennedy – who swore that mankind would “go to the Moon”. Ullman is dressed in red, white and blue (the colours of “Uncle Sam”) and wears a hairpiece that increases his JFK lookalike persona. Framed in the centre of the office window is a statuette of an Eagle – “The Eagle has landed”. The Apollo 11 module was called “The Eagle” and the mission patch features the image of an Eagle. The Eagle is also used as a symbol of the US political, economic and military power structure. It also features prominently in freemasonry. All three of the Apollo 11 astronauts were/are freemasons. It has been suggested by a number of researchers that the scenes between Ullman and Jack are a representation of Kubrick’s “deal” with the agenda players.

The key moments that connect to the Apollo program involve Jack and Wendy’s young son, Danny. Danny is witnessed sitting on the carpeted floor of a Hotel corridor playing with his toy vehicles. The toys are arranged around a hexagon shape that constitutes part of the carpet pattern. Not only is this shape very similar to the shape of NASA’s Saturn V launch pad, but the hexagon shape is intrinsic to the ritualistic “Saturn Worship” belief system. Danny sits in the centre of the hexagon. As he stands up from the centre of the shape, the picture on the front of his woollen sweater is clearly visible. It is a white rocket with the words “Apollo 11 USA” on it.

Danny walks from the hexagon, along the corridor to a room with an open door. The room is 237. In King’s novel, the room was 217, but Kubrick decided to change it. According to Jay Weidner, the American Heritage Science Dictionary states that the Moon travels around the Earth at an average distance of about 381,600km (or 237,000miles). 237,000 miles = Room 237. The key tag in the door reads “Room No 237” – the letters can be loosely rearranged to spell “Moon Room”. When Danny exits Room 237, he has marks on his face and the sweater is torn. He falls silent and refuses to talk about what happened in the “Moon Room”.

There are also other noteworthy, but less defined, pointers throughout the film. The opening scene shows a landscape that is reflected in a lake and appears to form the letter ‘A’. The reflection has also been interpreted as “that which is above, reflected below” – i.e.: The Moon on the Earth. In the scene where Jack sits at the typewriter, he is filmed from behind. He is surrounded, and framed, by architecture and a chair with motifs that allude to the number 11 (Apollo 11). Above the fireplace (in the Colorado Lounge) are huge paintings of Indian Totems that look similar to the Saturn V rocket taking off. The apparitions of the murdered twin girls may also allude to Gemini (represented by twins) – NASA’s Gemini project preceded the Apollo program. The food storage room also contains shelves of “Tang” – a drink that became synonymous with the US space flight program.

At one point, Wendy and Danny are seen watching TV. Bizarrely, the position of the television set clearly shows no mains cord leading to a power point. How is the television even working? Are the images on the screen somehow being faked? Jack is also seen tampering with the Overlook’s main communications in the manager’s office, cutting off transmission to the rest of the world.

The Adler typewriter appears to change colour to a dark shade of grey midway through the film. It is clear that this would not have occurred under Kubrick’s meticulous auspices – not unless he intended it. In fact, this appears to be the case: scenic artist Ron Punter was instructed to repaint the typewriter by Kubrick himself! Also, “Adler” is the German word for “Eagle” (“The Eagle has Landed”) – German scientists and engineers were key to establishing NASA and initiating the Apollo space program.

The German angle is further examined in the 2012 documentary “Room 237” (directed by Rodney Ascher and produced by Tim Kirk). The documentary presents the notion that (alongside the Apollo 11 cover-up and the genocide of the Native Americans) Kubrick’s film is an examination of the WWII Holocaust.

http://www.room237movie.com/

It has been claimed that Kubrick took an interest in Nazi memorabilia and spent a substantial amount of time and money building up a collection. There appears to be no apparent evidence of this claim though. However, Kubrick did have a connection to this period of history via his wife Christianne, whose uncle Veit Harlan was a writer and director of Nazi propaganda films for Goebbels.

Kubrick’s personal assistant Leon Vitali has been incredibly critical of “Room 237”. “That was Stanley’s typewriter,” he said. “A lot of decisions made on the set were about pragmatism: ‘This looks good. It sits on the oak table pretty perfectly.’ Not to mention, it’s a great typewriter. I used that typewriter for 10 years, actually.”

http://www.nytimes.com/2013/03/31/movies/aide-to-kubrick-on-shining-scoffs-at-room-237-theories.html?hp&_r=0

 

Finally, The Overlook Hotel has a huge garden maze in the grounds. The arrangement of the maze is bewildering and confusing - both to the viewer and the characters that enter it. Metaphorically, only a guide would know how to navigate the maze. Is Kubrick this metaphorical guide?

 

At the close of the film, a photograph, containing the image of Jack, is shown on the wall. The photo is the 11th picture on the wall and (in close up) Jack is in a crowd of 11 people. He is clearly seen to be hiding a piece of paper in his hand. What does this represent?

For further research on the allegorical and symbolic importance of “The Shining”, I highly recommend Jay Weidner’s research. The film is also examined in the interesting documentary “The Shining Code 2.0”http://www.youtube.com/watch?annotation_id=annotation_860992&feature=iv&src_vid=a2g-qvloXns&v=b0hOiasRsrA

 

An excellent article, entitled “Stanley Kubrick’s Keys to the Shining”, also examines the minutiae of details included in the film and their larger esoteric significance. http://lickmyweb.com/headlines/stanley-kubricks-keys-to-the-shining/

The soundtrack to the film “The Shining” also contains audio artefacts that sound like a human voice saying the word “shone” at specific moments in the film. It is interesting that “shone” is the past-tense term for the word “shine”. The Shawn Montgomery documentary “The Shone Report” describes the film as “one of the most analysed films of all time. There is something quite extraordinary going on just beneath the surface. Whereas this is true of all of Stanley Kubrick’s films, The Shining stands out as his most confusing and intricate film exercise.” http://www.youtube.com/watch?v=c1v9EKLQD_g

 

“The Shone Report” examines sixteen (although some people claim there are more) identical audio markers that appear to be strategically placed in the first 48 minutes of the film. Jack Nicholson looks directly into the camera precisely as three renditions of the word “shone” are heard. The first and last of the 48 audio artefacts occur as the narrative deals with themes of communication – the first as a telephone rings and the last as Wendy talks to the Ranger over the radio. In the film, the act of “shining” is a form of mental communication. Each example of “shone” occurs relative to a question being posed – usually one asked by a character.

Some people claim that this voice sounds remarkably like Kubrick himself. It is claimed that these artefacts are simple mistakes or imperfections in the film’s audio track. However, it is worth remembering that Kubrick was a meticulous master-craftsman who overlooked no detail – no matter how small. Is it possible that these artefacts are a cypher of sorts? I believe that some serious attention needs to be paid to this, perhaps even involving a sound technician back-engineering the soundtrack. It may be possible that these artefacts can provide clues to additional references within the film itself.

In Part 5, I will examine Kubrick's "A Clockwork Orange", connections to mind control, and the larger global agenda.
Stay Tuned!

http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-1.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-2.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-3.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-4.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-5.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-6.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-7.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-8.html


Kubrick Related Articles:
Updates, 6th Annual British Exopolitics Expo & More Stanley Kubrick Apollo Fakery - http://thetruthseekersguide.blogspot.co.uk/2014/11/updates-6th-annual-british-exopolitics.html
Foxes, Saturn, Kubrick, Doctor Who and The Singularity - http://thetruthseekersguide.blogspot.co.uk/2014/08/foxes-saturn-kubrick-doctor-who-and.html
A Movie About Kubrick Faking the Moon Landing? - http://thetruthseekersguide.blogspot.co.uk/2014/07/a-movie-about-kubrick-faking-moon.html
Stanley Kubrick - Updates - http://thetruthseekersguide.blogspot.co.uk/2014/04/stanley-kubrick-updates.html


Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html

The Stanley Kubrick Conspiracy - Part 3: Lights, Camera, Moon!

 

For all the examination of the “Stanley Kubrick and the Moon Hoax” article and the “Dark Side of the Moon” mockumentary, it is worth remembering that a great deal of strong circumstantial evidence existed long before the notion was ever fully articulated.

For example, Jay Weidner, a researcher who has virtually dedicated his studies to Stanley Kubrick and the global agenda, has plausibly demonstrated that the front-projection process (used so successfully in the "Dawn of Man" sequences of Kubrick’s “2001: A Space Odyssey”) shares key similarities with some of the abnormalities identified in the Apollo “Moon” footage – such as the clear lines of definition between the rough foreground and the smooth background. http://jayweidner.com/

To understand Kubrick’s connection with the agenda elite and the military industrial complex, one must look back at his career as a whole. Kubrick is remembered as being a notorious perfectionist with a meticulous attention to detail. Work on his films was laboured and incredibly lengthy. Actors were pushed to the limits of their ability and patience as (often) scores of takes of one short scene were repeatedly filmed (Tom Cruise was filmed 90 times walking through a doorway in “Eyes Wide Shut”!) until Kubrick was satisfied with the result. It is known that there was no piece of set dressing or background that hadn’t been placed or framed without his prior approval or specific reasoning. The same is also said of his wardrobe choices and actor’s appearances. This should come as no surprise, given that Kubrick began his profession as a photographer – an art that requires a precise knowledge of framing and context in order to be proficient.

Some researchers have claimed that Kubrick became trapped within his profession and that his art became a conduit through which he used allusion and imagery to reveal greater truths that he had come to realise. It is also claimed that his alleged involvement in the Apollo hoax would have abetted these circumstances. However, Kubrick’s disdain for aspects of the establishment was already apparent much earlier in his career.

 

His quasi-science fiction Cold War comedy, “Dr Strangelove: Or How I Learned to Stop Worrying and Love the Bomb”, was a definitive satire on the ominous Military Industrial Complex that President Eisenhower had warned the American people about. Kubrick had originally approached the military to be involved in the production. The proposed tone of the script did not go down well with the establishment and support was refused, prompting Kubrick to use his own ingenuity to realise various military aspects of the film (including recreating the interior of the B-52 bomber).

“Lacking cooperation from the Pentagon in the making of the film, the set designers reconstructed the aircraft cockpit to the best of their ability by comparing the cockpit of a B-29 Superfortress and a single photograph of the cockpit of a B-52, and relating this to the geometry of the B-52's fuselage. The B-52 was state-of-the-art in the 1960s, and its cockpit was off-limits to the film crew. When some United States Air Force personnel were invited to view the reconstructed B-52 cockpit, they said that ‘it was absolutely correct, even to the little black box which was the CRM.’ It was so accurate that Kubrick was concerned whether Ken Adam's production design team had done all of their research legally, fearing a possible investigation by the FBI.” http://en.wikipedia.org/wiki/Dr._Strangelove See also: "Inside the Making of Dr. Strangelove," a documentary included with the 40th Anniversary Special Edition DVD of the film

The stunning realisation of this aircraft (at least by the cinematic standards of the day) allegedly prompted certain figures in The Pentagon to ask just how Kubrick was getting access to such highly accurate and closely guarded information. Over a few short years, Kubrick became a man with extensive agenda connections. He became so powerful and influential within the Hollywood industry that, by the time he worked on “2001: A Space Odyssey”, he actually banned MGM executives from the set of his film.

Harry Lange

NASA became extensively involved with the production of the film. For over two years, his key NASA/scientific advisors on the film were Frederick Ira Ordway III (a former member of the American Rocket Society, space scientist and author of technical books about spaceflight. He worked with ballistic rockets until 1960, followed by three years at Marshall Space Flight Centre) and Harry Lange & (an illustrator and designer for the Aerospace Industry, as well as the head of NASA’s future projects section - illustrating the ideas of Werner von Braun's team; such as nuclear propulsion, space stations, space platforms, etc.) NASA’s influence over the film became so pronounced that senior Apollo administrator George Mueller and astronaut Deke Slayton nicknamed the film’s production facilities at Borehamwood (UK) as “NASA East” - after seeing all of the hardware and documentation lying around the studio.
http://news.bbc.co.uk/1/hi/uk/1247163.stm
http://www.theguardian.com/film/2008/jul/08/obituaries.culture
http://www.palantir.net/2001/meanings/dfx.html

Ordway and Lange created an elaborate network of establishment and industry connections to assist the production of the film. In his piece, “2001: A Space Odyssey in Retrospect” Ordway explains, “we relied heavily on advice and material provided by the National Aeronautics and Space Administration and by a considerable number of private companies and universities… I found myself visiting General Electric's Missile and Space Vehicle Department near Philadelphia on Discovery propulsion; the Bell Telephone Laboratories in Murray Hill, New Jersey, on deep space communications; the Whirlpool Corporation at Benton Harbor, Michigan on food equipment to be used aboard Orion III and Aries IB; Honeywell, Inc. in Minneapolis on a variety of vehicular controls; and IBM in Armonk, New York, and its Eliot Noyes contractor in New Canaan, Connecticut, on all our computer sequences. Cooperative arrangements made from our New York base were later continued throughout production at the M-G-M British Studios in Borehamwood, England.” http://www.visual-memory.co.uk/amk/doc/0075.html

The involvement of Bell Labs and IBM is particularly interesting given their agenda connections. Both worked extensively on synthetic speech research. “One of the more famous moments in Bell Labs' synthetic speech research was the sample created by John L. Kelly in 1962, using an IBM 704 computer. Kelly's vocoder synthesizer recreated the song "Bicycle Built for Two," with musical accompaniment from Max Mathews. Arthur C. Clarke, then visiting friend and colleague John Pierce at the Bell Labs Murray Hill facility, saw this remarkable demonstration and later used it in the climactic scene of his novel and screenplay for 2001: A Space Odyssey, where the HAL9000 computer sings this song as he is disassembled by astronaut Dave Bowman.” http://www.bell-labs.com/news/1997/march/5/2.html

The spelling of the name “HAL” is notably only one letter removed from “IBM”.
According to Ordway, it was Arthur C. Clarke (who co-wrote the screenplay of the film with Kubrick) who was responsible his and Lange’s involvement in the film.http://www.visual-memory.co.uk/amk/doc/0075.html

Clarke had extensive connection with those in the highest levels of NASA – including a close friendship with former Nazi and NASA rocket scientist Werner Von Braun. According to researcher and author William Lyne, “In August 1949, von Braun was made an honorary member of the British Interplanetary Society, through his friend, Arthur C. Clarke.” (William Lyne, "Pentagon Aliens", 3rd edition, 1999, pg. 115)

One further point of note, that has somehow embellished the Kubrick / Apollo connection, is the use of three super-fast 50mm lenses (Carl Zeiss Planar 50mm f/0.7 - developed by Zeiss for use by NASA in the Apollo moon landings) in the filming of Kubrick’s 1975 film “Barry Lyndon”.

“For the many densely furnished interior scenes, this meant shooting by candlelight, a feat difficult enough in still photography, let alone with moving images to capture. For months they tinkered with different combinations of lenses and film stock to make this possible, before getting hold of a number of super-fast 50mm lenses developed by Zeiss for use by NASA in the Apollo moon landings. With their huge aperture and fixed focal length, mounting these was a nightmare, but they managed it, and so Kubrick's vision of recreating the huddle and glow of a pre-electrical age was miraculously put on screen.”
http://www.telegraph.co.uk/culture/4524037/Barry-Lyndon-Kubricks-neglected-masterpiece.html

The use of three of these incredibly rare and valuable lenses (apparently only ten were ever made) has raised a few eyebrows. Moreover, the fact that he was in possession of equipment used to document the “Moon landing” has further compounded his connection to Apollo 11. However, Kubrick acquired the lenses during the production of “Barry Lyndon”, after they were no longer being used by NASA (the lenses were all-but sold by the agency to private parties.) Additionally, the lenses were designed for still photography and had to be extensively modified for motion picture filming.

In Part 4, I will examine the notion that Kubrick's film "The Shining" holds many clues to his potential involvement in the Apollo hoax.
Keep Shining Folks!

http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-1.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-2.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-3.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-4.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-5.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-6.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-7.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-8.html


Kubrick Related Articles:
Updates, 6th Annual British Exopolitics Expo & More Stanley Kubrick Apollo Fakery - http://thetruthseekersguide.blogspot.co.uk/2014/11/updates-6th-annual-british-exopolitics.html
Foxes, Saturn, Kubrick, Doctor Who and The Singularity - http://thetruthseekersguide.blogspot.co.uk/2014/08/foxes-saturn-kubrick-doctor-who-and.html
A Movie About Kubrick Faking the Moon Landing? - http://thetruthseekersguide.blogspot.co.uk/2014/07/a-movie-about-kubrick-faking-moon.html
Stanley Kubrick - Updates - http://thetruthseekersguide.blogspot.co.uk/2014/04/stanley-kubrick-updates.html


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Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
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