Carl James interview on Richplanet TV

Here are the links to my two interviews with Richard D. Hall for Richplanet TV. Hope you find them interesting!
Best wishes,
Carl.
Stanley Kubrick & The Moon Landings - Show No. 210
Part 1 - http://www.richplanet.net/starship_main.php?ref=210&part=1
Part 2 - http://www.richplanet.net/starship_main.php?ref=210&part=2
Part 3 - http://www.richplanet.net/starship_main.php?ref=210&part=3
Part 4 - http://www.richplanet.net/starship_main.php?ref=210&part=4
NASA Puppets, space travel & perception management - Show No. 211
Part 1 - http://www.richplanet.net/starship_main.php?ref=211&part=1
Part 2 - http://www.richplanet.net/starship_main.php?ref=211&part=2
Part 3 - http://www.richplanet.net/starship_main.php?ref=211&part=3
Part 4 - http://www.richplanet.net/starship_main.php?ref=211&part=4

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 Kubrick Conundrum on YouTube

My recent Truth Juice Birmingham presentation (3rd March 2015) - "The Kubrick Conundrum" - is now available to watch on YouTube.
The presentation has been uploaded in two parts.
Part one covers the possible connections between Stanley Kubrick and Apollo/Moon fakery.
Part two examines the myriad of esoteric symbolism in his films and discusses the larger implications of his last film Eyes Wide Shut.
Here are the links:
Part 1 - https://www.youtube.com/watch?v=ipRkQFWEvSA
Part 2 - https://www.youtube.com/watch?v=mHaGkX-5-6M
Please feel to circulate far and wide and give me a "thumbs up" on YouTube if you like!
Many thanks to Andrew Johnson (http://www.checktheevidence.com) for all his support and recording of the talk. As always, my gratitude to Clare and Andy who invited me and tirelessly continue to organise events at TruthJuice B'ham (http://birmingham.truthjuice.co.uk/). Also to all those people who took the time to come and listen, have a chat with me and generally show their support.
I really appreciate it folks!
All the best,
Carl.








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 7: Saturn and the Black Cubes

The larger “Saturnian” context of Kubrick’s films cannot be overlooked. Saturn Worship (also known as “The Saturn Cult”) is seemingly based upon the once overbearing deification of the planet we have come to know as Saturn. A number of researchers assert that the ringed planet may once have occupied a closer position to Earth in the solar system (according to mythology, Saturn was brightly visible from the Earth, occupying a relatively fixed polar north position in the sky), that the Earth and Mars may have orbited Saturn (and that this group of celestial bodies may have once existed outside of our current solar system), that Saturn may once have been a small sub-brown dwarf star, etc. Some researchers claim that a period of (possibly catastrophic) upheaval reconfigured the solar system into its current alignment. Troy D. McLachlan has written an interesting series of articles on this subject:http://saturndeathcult.com/the-sturn-death-cult-part-1/a-timeless-age-in-a-purple-haze/

Conventional science would have us believe that such large scale events haven’t occurred since the initial formation of the solar system. However, the research of Immanuel Velikovsky (as well as several others) suggests this is perhaps not the case. Notions such as “The Electric Universe” model and the effects of plasma physics and (even) hyper-dimensional energy suggest the possibility that our solar system is in a constant state of change. “The Immanuel Velikovsky Archive” http://www.varchive.org/

For an alternative scientific examination of all things Saturn, Norman R. Bergrun’s “The Ringmakers of Saturn” is also an interesting read. http://www.ringmakersofsaturn.com/

Whatever one makes of the various notions regarding Saturn, the powerful interpretation of this planet in ancient mythology and early religion seems to indicate that Saturn was revered highly above other deified celestial bodies (perhaps even more than the Sun and Moon). Modern celestial deification (in the form of the imagery and metaphor portrayed in advertising, art, music, Hollywood and so on) has pushed the significance of Saturn further into the background, favouring the Sun, Moon, and other planets like Mars and (particularly) Jupiter.

However, some elite and secret society belief systems quietly continue to look upon Saturn as a supreme deity. Saturn Worship is often personified by the significance of a black stone or cube. This object has been interpreted as everything from the alchemical “Philosopher’s Stone” to the mythological “Pandora’s Box”. “Literal” black cubes are visible in numerous worldwide locations – ranging from the Apple 24-7 Store in New York, to the Black Cube of Kabba or Mecca.

The current incarnation of the “Black Cube” appears subtly, cryptically, yet widely in contemporary popular culture. The “Allspark” cube of the “Transformers” film franchise, “Lemarchand's Box” (also known as the "Lament Configuration") in the “Hellraiser” movies, the Borg vessels in the “Star Trek” franchise, and so on, are all potential cyphers indicating the black cube concept.

One particular science fiction franchise – the contemporary revival of “Doctor Who” – appears to have a fascination with the imagery. Recent series included several “black cube” prisons designed to incarcerate Matt Smith’s “Doctor” (“Day of the Moon” and “The Pandorica Opens” – the later cube is called “The Pandorica” as in “Pandora’s Box”), as well as a strange episode (called “The Power of Three”) involving a “slow invasion” by billions of small black cubes. The Saturnian clues in “Doctor Who” were perhaps always there. One incarnation of Saturn (in mythology) is “Kronos”. The latter term is usually associated with “chronology” and “time”. The concept of “time” was allegedly created in Mesopotamia by Sargon. Sargon has also been interpreted as “Saturn”. The Doctor is, of course, a “Time Lord”. The TARDIS’ central control console has always assumed a relatively hexagonal configuration. The hexagon is used in Saturnian symbology as it is a two dimensional representation of the three dimensional “cube” shape.

Bizarrely, NASA has taken photographs showing a huge hexagonal feature that encompasses Saturn’s north-polar region! http://www.jpl.nasa.gov/news/news.php?release=2013-350

Obviously, the central motif and plot-driver of Kubrick’s “2001: A Space Odyssey” is the black monolith artefact. Whilst the monolith is certainly a “black stone”, it does not technically extend to being a “cube”. The monolith’s shape is closely analogous though. The film’s screenplay co-writer, Arthur C. Clarke, allegedly had a fascination with the beliefs of The Brotherhood of Saturn. There are various examples of Saturnian symbolism in many of his novels. Some people consider Saturn to be the apex of Gnostic theology and it is worth noting that Clarke’s ground-breaking work “Childhood’s End” is considered by some to be a “Gnostic thesis”. Although the overlap between Gnosticism and Saturnian beliefs does deserve some scrutiny, I tend to view each as a separate paradigm.

The study of Gnosticism has definite merit, at least in my opinion.

Saturn Worship is fascinating and may (I say tentatively) have its origins in more benign rituals and practices. It does appear to have been ultimately usurped by certain elite parties and perverted and twisted for seemingly agenda-related purposes. For this reason, some researchers have branded all aspects of the Saturn paradigm as evil, deviant, and so on. I have tried (equally with “occult” practices and the like) to avoid weighing in on such arguments and try to stick to what is quantifiable.

Before I move away from the Gnostic subject, I have noticed that researcher John Lash has made some observations about “2001: A Space Odyssey” – not in relation to the Saturn aspect, but rather the role of the computer HAL as a symbol of the destructive nature of Artificial Intelligence, and the increasingly reverential, salvationist or submissive attitude that some humans have toward technology. “This objection comes from my studies of the Gnostic teachings that warn about HAL, simulation, artificial intelligence - AKA the Archon factor so clearly described in Gnostic Coptic texts.” "Take Back the Planet" by John Lamb Lash, 2009 - http://www.metahistory.org/dynamyth/Avatar.php

There is some controversy over the “original” setting of the story of “2001: A Space Odyssey” – was Jupiter really the intended locale (as seen in the released film) or was it Saturn (as featured in Clarke’s novel)? Arthur C. Clarke wrote the novel “concurrently with the film version and published it in 1968, after the film's release.” Arthur C. Clarke, “The Lost Worlds of 2001”, 1972, Signet

Interestingly, in Clarke's novel, the specific destination of the “Discovery” is the Saturnian moon Iapetus (which Clarke spelled with a 'J'). I have often wondered why Clarke chose this bizarre celestial body as the specific location. The NASA Cassini photographs of Iapetus revealed a perfectly linear equatorial ridge (actually three parallel ridge lines) three miles high, which span half the moon’s circumference. The moon also has an odd polygonal curvature to its surface. These abnormalities have prompted some individuals to suggest than Iapetus may be somehow “artificial” in nature. The curious similarity with George Lucas’ Imperial “Death Star” battle station (from the “Star Wars” films) has also earned Iapetus the moniker “the death star moon”.

According to Frederick Ordway, “2001: A Space Odyssey” began production with Jupiter as the intended destination of the “Discovery” mission. In his piece “2001: A Space Odyssey in Retrospect”, Ordway states that Kubrick decided (in September 1965) to change the setting to Saturn.

Kubrick apparently:
“persisted, pointing out the beauty of the Saturnian ring system and the spectacular visual effect of the Discovery’s travelling near or even through it. Would I do some investigation and prepare a memo outlining the latest knowledge of Saturn, its rings, and its moons, he asked? And would I focus on anything that seemed out of the ordinary, something intriguing and unexplainable that Arthur Clarke might weave into a revised screenplay? I prepared the memo, Kubrick was delighted, and Clarke backed the change with great enthusiasm. He brilliantly wrote Jupiter out and Saturn in. Everyone was happy, except for Wally Veevers, Doug Trumbull and others in the Special Effects Department. Despite their wizardry, they felt uncomfortable with the thought of having to accommodate the Discovery's moving within the Saturnian ring system. On top of all their problems, they were not in the mood to tackle a new one that might prove intractable. Anyway, they were all under severe time restraints on myriad other parts of the film.Special effects carried the day as far as the motion picture was concerned. But Clarke was so delighted with Saturn that he maintained it as the target planet in the novel version.” http://www.visual-memory.co.uk/amk/doc/0075.html

By this account, the Saturn premise was ditched due to time limitations and the restrictions of the available effects technology and the film returned to the Jupiter setting. According to Ordway, an atmosphere of tension lingered over the remainder of the production (particularly from Kubrick) following the return to the Jupiter locale.

It has also been suggested that Saturn was always the intended target and that the effects team did attempt to realise Saturn, but that “the production was unable to develop a convincing rendition of Saturn's rings; hence the switch to Jupiter.” The film’s special effects supervisor Douglas Trumbull continued to work towards resolving the technical problems involved in reproducing Saturn's rings. In 1972, he directed the film “Silent Running” and employed “effects developed but not completed for 2001.” http://www.thespacereview.com/article/1337/1 

As an interesting aside, Trumbull employed actor Bruce Dern as his lead man for the Saturnian eco-epic “Silent Running”. Dern was a firm fixture of the Laurel Canyon scene and one of a group of Canyon actors (including the likes of Peter Fonda, Warren Beatty, Jack Nicholson, Dennis Hopper, Jane Fonda, etc.) known as “The Young Turks”. Researcher Dave McGowan describes the Canyon scene as one that was once associated with “Masons, the FBI, the OSS, the CIA, the secret society known as ‘Skull and Bones’, the Rothschild family, military intelligence of every conceivable stripe, the O.T.O., the RAND corporation, the ‘Neocon’ cabal and just about every other nefarious group that regularly pops up in ‘conspiracy’ literature.”
http://konformist.com/archives/2009/03-2009/inside-the-lc-08.txt

Interestingly, Bruce Dern’s paternal grandfather was FDR’s secretary of war and defence. http://en.wikipedia.org/wiki/George_Dern

He also had a maternal uncle (Archibald MacLeish) who was FDR’s Director of the War. Department’s Office of Facts and Figures (War Propaganda). http://www.loc.gov/about/librarianoffice/macleish.html

MacLeish was also a member of the Skull and Bones secret society (class of 1915, one year before Prescott Bush.) http://en.wikipedia.org/wiki/Archibald_MacLeish#Early_years

During a March 6, 2011 interview on Red Ice Radio, Jay Weidner disputed the claim that the limitations of the available special effects technology had scuppered Kubrick’s intention to realise Saturn. He asserted that Kubrick was pressured to make the changes by highly placed occultists “worried that the film was too blatant in its depiction of the role played by Saturn in their occult human transmutation agenda.” http://www.redicecreations.com/radio/2011/03/RIR-110306.php

Some researchers have suggested that these possible “high placed occultists” may have also had NASA connections, given the documented connection between the film’s production and the agency. There may be other subtle clues to the Saturn Worship/NASA crossover – such as the naming of the “Saturn” rockets that were intricate to the Apollo programme.


According to Troy McLachlan, “In dealing with these occult NASA insiders while faking the Apollo 11 landings, Kubrick would have been initiated into their perception that humanity’s destiny is inextricably linked to an occult and metaphysical understanding of Saturn.” http://saturndeathcult.com/crimes-of-the-saturn-death-cult/stanley-kubrick-and-the-saturn-death-cult/

To be concluded...

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


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