ALTERNATIVE MEDIA PLATFORMS
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Yep, Hollywood has always been the propaganda machine since its beginnings. The State Department and Pentagon dictates much of what is seen or heard. They are the 'muscle' of the NWO Zionist machine. Thanks Daniel!
Dont know how many of you, who can see it...... so ill post a couple of alternatives many theyll work.
http://www.nohazik.com/video_FPZL5WTilRE_Operation-Hollywood:-How-T... norwegian subs
http://www.filmsforaction.org/watch/operation_hollywood/ norwegian subs
http://mydocumentarys.com/video/YGW8S7D19WA5/Operation-Hollywood- german subs
http://redpill.tv/operation-hollywood/ without subs
I had heard about this but never knew to what extent or how the Military changed movie script.
Pentagon's actions are quite logical since we are literally at war that is fought for the planet ownership. And the planet includes everything and everybody underground and above up till the exosphere, the outer limit of the atmosphere. We the people are the ones who until now have been loosing it battle after battle. It's a quiet war with silent weapons. It's a war where all imaginable, unimaginable, everything and everybody may be used as a weapon. People have to open their eyes because we are under fire every day of our life.
Just imagine the latest movie comes out in the theaters, and NO ONE goes to see it. We need to boycott wtheaters, big named stores, big brands, and whatever else generates these perverted criminals. Do not buy...do not comply. That is what I have been doing for
Have your favorite movies been censored or meddled with by the Pentagon? Since the 80′s, and the success of Top Gun, Hollywood has increased its production of big budget war movies, using military bases, submarines and aircraft carriers that the armed forces have generously made available to the studios. In exchange, the Pentagon's experts vet hundreds of screenplays each year.
Using lots of movie clips, "Operation Hollywood" explores this cozy relationship between Hollywood filmmakers and the U.S. government, and questions the wisdom of letting the Pentagon use movies to promote the U.S. army's image.
Every year, Hollywood producers ask the Pentagon for help in making films, seeking everything from locations and technical advice to Blackhawk helicopters and nuclear-powered submarines. The military will happily oblige, it says in an army handbook, so long as the movie "aid[s] in the recruiting and retention of personnel."
The producers want to make money; the Defense Department wants to make propaganda. Former Hollywood Reporter staffer Robb explores the conflicts resulting from these negotiations in this illuminating though sometimes tedious study of the military-entertainment complex over the last 50 years. Robb shows how, in the Nicholas Cage film Windtalkers, the Marine Corps strong-armed producers into deleting a scene where a Marine pries gold teeth from a dead Japanese soldier (a historically accurate detail).
And in The Perfect Storm, the air force insisted on giving the Air National Guard credit for rescuing a sinking fishing boat, instead of the actual Coast Guard heroes. Even seemingly flawless recruiting vehicles had troubles: in Top Gun, the navy demanded Tom Cruise's love interest be changed from a military instructor to a civilian contractor (fraternization between officers & enlisted personnel being a no-no).
At its worst, the author argues, the Pentagon unscrupulously targets children; Robb reveals how the Defense Department helped insert military story lines into the Mickey Mouse Club. To help, Robb suggests a schedule of uniform fees by which producers could rent aircraft carriers, F-16s & the like. It's an intriguing idea, though producers can go it alone: as Robb points out, blockbusters Forrest Gump, An Officer & a Gentleman & Platoon were all made without military assistance
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