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  #91  
Old 04-13-2005, 09:47 AM
truebeliever truebeliever is offline
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Default Re: gauging NWO progress by hollywood productions


I've posted a short WMV on my site...it's the cross that appears at the end of every Matrix film. What is it's significance?

Also, Harvey and Bob Weinstein...they are the producers for every Matrix plus a recent supposed anti-establishment film "Equilibrium"...basically a complete rip off of 1984 with a few fanct gunfight scenes thrown in.

www.members.iinet.net.au/~falluga

BTW...in Equilibrium, they call the special 'preist' caste a tetragrammaton...name of God or something?

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  #92  
Old 04-13-2005, 10:05 AM
get_real get_real is offline
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Default Re: gauging NWO progress by hollywood productions

Quote:
nohope187 wrote:
Pure cheese, man. Anything for an extra buck, right? :-P
"where's the beef!"
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  #93  
Old 04-21-2005, 04:05 PM
Draken Draken is offline
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Default Re: gauging NWO progress by hollywood productions

<a href="http://www.rense.com/general64/decon.htm">Deconstructing Hollywood Mind-Control
Subliminal Propaganda Sleazes Onto The Big Screen</a>
By Mark Green and Wendy Campbell
4-16-5

Edison may have invented the 'motion picture' - but Jewish immigrants from Europe created Hollywood. (Read 'How The Jews Invented Hollywood' by Neal Gabler) Remarkably, in the century since Meyer, the Warner Brothers and a handful of other Ashkenazi Jewish immigrants who began the 'studio system', Hollywood maintains a distinctly Yiddish accent. Some critics, however, posit that Hollywood doesn't play fair, since it employs the mesmerizing power of cinema to manipulate the mindset of complacent viewers. How? By relentlessly injecting sordid scenarios and denigrating images of once-respected American archetypes and institutions. Current targets: the Catholic Church and , as usual, Arabs.

One very recent example out of many is the comic-book styled action film "Sin City." Here, many of the villains are sporting multiple crucifixion crosses, a symbol held sacred by many Christians, and mixed in with a smattering of swastikas. Indeed, the film's arch-villain turns out to be a satanic, cannibalistic Catholic cardinal! OK, this is fictional 'entertainment' but Hollywood knows these scenarios have a visceral, even subliminal, impact. That's basically why we don't see any Hollywood-fabricated demons and bad guys sporting a Star of David nor do we see any rabid psychopathic rabbis dished up for popular entertainment.

The unspoken code of Tinseltown is simple: Jewish archetypes and Jewish religious sensitivities are to be respected. Others may be casually smeared.

Although Catholics and Arabs are expected to survive this non-lethal, but inherently pernicious onslaught, considering the laudatory treatment Hollywood's Jews regularly heap upon themselves when portraying their brethren, it's becoming a bit of an outrage, as it should. How is it that Jews, Arabs and Christians receive such different treatment under Hollywood's gaze?

In polite terms, the Jewish presence in American film and media is "without peer."

Hollywood is an insider business. While talent is essential, there is a political element to success in Hollywood. One must pass muster with the specifically Jewish dictates of political correctness. Otherwise, one may find oneself very much unemployed and ignored. It took an actor/producer with the stature of Mel Gibson to buck the kosher Hollywood code to produce and distribute his controversial, but wildly successful film "The Passion." He endured a tidal wave of organized, Jewish protest, including death threats to his family.

Not surprisingly, Bob and Harvey Weinstein of Miramax Films declined to distribute The Passion assuming it would offend their crowd and/or fan the "eternal" flames of "anti-Semitism". On the other hand, the Weinstein brothers did distribute "Sin City" as well as Michael Moore's much ballyhooped Fahrenheit 9/11. Why? Both films respected the unwritten kosher code: vilification and defamation of Arab and/or Christians is perfectly fine, but one must never - even in the context of analyzing terrorism or U.S. foreign policy in the Middle East - demean Israel, Zionism or neo-conservatism. In fact, in Fahrenheit 9/11, Moore totally ignored the roles of Israel, Zionism and neo-conservatives, while tossing in a gratuitous, hefty dose of Arab-bashing. Good boy, Michael. Here's a million dollars!

For the ambitious film maker, it's crucial to remember three things -

1: Jews remain at the top of the Hollywood food chain.
2: They intend to remain there.
3: Don't' forget those first two things.

Like it or not, the gatekeepers of American mass media are disproportionately of Jewish stock. Though they famously disdain "white racism", prevailing Hollywodd customs affirm aggressive white Jewish networking. The results are nothing less than astonishing.

Much of America has come to "think Jewish" as attitudes have magically shifted on matters such as race, 'minority rights', school prayer, abortion rights, celebrating the 'holidays', and 'promoting our values' via an aggressive mission to impose democracy in all Mid-East countries except for the ethnocentric, and many say openly-racist, Jewish state of Israel.

OK, Israel may qualify as a "democracy" in the same way the white, apartheid South Africa did but there's one huge difference: concerted interevention from around the world finally brought the segregated Apartheid country of South Africa to its knees. White racial discrimination was declared to be "evil." Interestingly, Jewish activists played a decisive role in that campaign.[Hardly surprising considering the "concerted effort from around the world" equals Marxist-Leninist funding and covert support for terrorist guerrillas like the ANC, and Communism being a well-known Jewish, or shall we say Khazar affair./Draken] However, Jewish Israelis and international Zionists - both Jewish and now so-called Christian Zionists - suffer no similar intense pressure, except by a growing grassroots movement of human rights and peace activists, who, thus far, lack any real significant political clout. Without apology, Israel and its supporters get to play by their own rules.

It's no accident that America's expanding global militancy implicitly hold the "security" of the Jewish state as its centerpiece. And with the help of vital US aid, Israel militarily maintains its commitment to a segregated society, with hellish consequences for the indigenous non-Jewish Palestinians.

How are the highly-placed "friends of Israel" able to bamboozle so much of the world? Through a complicated but interconnected array of media and grass-roots propaganda, political pressure, complex legalisms, victimhood identity via the Holocaust, and raw political muscle. In today's America, just an allegation of "anti-Semitism" can damage the career of public figures. And to fortify this taboo, Americans are regularly fed a hefty ration of Holocaust lore.

As a sidebar, here's an additional fact that would be funny if only it wasn't true: Holocaust "experts" are almost all Jewish. Does their collective obsession produce scholarship, or an appetite and license to propagandize? In any case, for the latest Holocaust news, about all one needs do is simply turn on the TV or pick up any 'major' newspaper. Yet, an accurate telling of the Jewish experience in America should spotlight not suffering or persecution, but success, acceptance, privilege and influence. Jews are, in fact, America's pre-eminent success story.

Although reportedly substantially less than 3% of our population, Jewish per capita income is unsurpassed, as is their presence at our nation's top universities and think tanks. As noted, American Jews make up a majority of Hollywood's ruling class and beyond that, Jewish over-representation is an accomplished fact in the fields of law, medicine and the entire entertainment and general media, including print and TV. This is no small matter. With the average American watching over four hours of TV or film every day, listening to radio, and perusing mainstream newspapers and magazines, these figures are evidence of a profound ethnic imbalance in the management and dissemination of news and information. For America's Jews, this translates into formidable political power.

The enduring fact remains that whoever owns and controls the media, can also leverage public opinion, and from there, government policies.

Indeed, Jewish media mavens have the means to easily advance their particular viewpoint of history, with far reaching consequences. And with the Jewish state of Israel embroiled in a condition of near-perpetual war since its founding in 1948, the question must be posed: might many of our country's most accomplished editors and story-tellers, who qualify as Israeli-Americans, have at least a minor conflict of interest?

Put another way: how can they NOT?

After all, Israeli 'security' remains the essential focus of organized Jewry. Countless pro-Israel organizations famously apply incessant pressure on government officials, political parties, candidates, journalists and fellow 'tribe-members' to lobby on Israel's behalf [See my thread, <a href="http://www.clubconspiracy.com/modules/newbb/viewtopic.php?topic_id=1059&forum=3&PHPSESSID=667d c75a893ce9e961effc867fbbf016">Mossad local assistants or sayanim operating in western countries</a>./Draken], since countless billions of dollars in U.S. aid are harnessed to advance the Jewish state's regional hegemony.

Consequently, maintaining a public willingness to favor America's present interventionist, pro-Israel/anti-Arab foreign policy is an essential component in any scenario culminating in The Final Zionist Solution. It's essential therefore that American gentiles "think correctly" on key Jewish issues. Thus, when Jewish interests are at stake, good and evil are neatly drawn (preferably in clear, unambiguous fashion) so that American consumers of news and entertainment can easily and passively draw the proper conclusions. Thus Arabs (particularly Palestinians) are "terrorists", Nazi demonology is a growth industry, and Holocaust Revisionism (widely misrepresented as "Holocaust Denial") is being peddled as a threat to global security. In fact, in numerous "free, Western democracies", such as Germany, the Netherlands, Austria and Switzerland, for example, to question the version of The Holocaust promoted by Zionists, including the six million figure and the gas chambers, is an actual crime punishable by fines and imprisonment.

<a href="http://www.zundelsite.org/">Ernst Zundel</a> was deported from the U.S. ostensibly for "visa violations" to Canada where he spent two years of his life in solitary confinement. Following that outrage, he was then recently was deported to solitary confinement in a German jail. His crime? Publicly questioning aspects of the Holocaust. Who's next?

Organized Jewry, progenitors of "speech codes" on countless American campuses, are raising the bar from censoring up to outright criminalizing free speech.

A balanced and accurate view of history DOES matter. Yet, when the facts don't fit, the media gatekeepers can purposefully misinterpret, obfuscate or simply overlook them. This may explain why, for instance, there is so little media interest in the annihilation of 20 million anti-Bolshevik Russians preceding WWII. After all, 20 million Russians KILLED BY THEIR OWN GOVERNMENT is the all-time tsunami of war crimes. But who were the perpetrators? Where are they now? The average American simply knows nothing about the dominant Jewish role in Communism's pernicious rise. Of course, this oversight is no accident.[See my <a href="http://www.clubconspiracy.com/modules/newbb/viewtopic.php?topic_id=545&forum=17&PHPSESSID=667d c75a893ce9e961effc867fbbf016">GULAG&Communism Still Operational thread</a>./Draken]

Considering that over 275 million humans have perished in wars during the past century, America's nurtured obsession with, and elevation of, Jewish suffering in Europe during WWII might be seen as a peculiar idiosyncrasy. Indeed, many surmise that the American Mind is indeed under Zionist management. The irony of our nation's preoccupation with Jewish war causalities during WWII 55 years after the fact becomes even more repellent when we consider the horrendous, ONGOING persecution of gentiles in Palestine-Israel under Jewish occupation.

As for American cinema, there has been a sea of changes in the past generation. There's now a multicultural array of celebrities, including many Jewish ones. On the downside, Christianity doesn't get the kind of coverage it enjoyed when Frank Capra was directing. Thus, we are treated to seeing an array of stock Christian con artists, whores and criminals. As for Arabs, they're still welcome to play terrorist schemers, religious fanatics, or just plain unsavory characters. This is the mean-spirited side to American film that goes unacknowledged and unchallenged.

Recently, after reading several glowing reviews, we succumbed to seeing the aforementioned over-praised, over-hyped, action-revenge movie, Sin City. Directed by Frank Miller and Robert Rodriguez, with special 'guest director' Quentin Tarantino, Sin City is a gritty, sexy, violent and surrealistic foray into a stylized, comic-book version of post-modern urban mayhem. By contemporary standards of blood-letting, this film delivers far more than its share, but there is probably worse in circulation. Sin City's denigration of Christian icons, however, approaches new excesses, something that was also very evident in Tarantino's previous Kill Bill movies.

Not only do many of the villains in this hyper-violent yarn wear gaudy necklaces and earrings hung with Christian crosses, even multiple layers of them, "Sin City" manages to associate blue eyes with depravity...although for Hollywood, that's nothing new.

The two heroic characters (and they were not wearing any Christian crosses, or swastikas, of course) where portrayed by Mickey Rourke and <a href="http://www.shortnews.com/shownews.cfm?id=47384">Bruce Willis</a>. It's Willis' character who finally manages to kill the the evil Catholic priest.

At any rate, we can rest assured that Hollywood shall likely refrain from depicting Jews in such a negative fashion. As for the rest of us, we are not supposed to complain. In fact, we're not even supposed to NOTICE, since it might indicated a racial loyalty which for anyone else except for Jews, is a modern sin.

This very real double standard speaks volumes about who holds real power in contemporary American
film and entertainment.

In a true democracy, EVERYONE has a voice. We advise that you use it. Or you may lose it.

****

Mark Green and Wendy Campbell practice what they preach. For more information about their views and their taboo-shattering documentaries, please visit www.marwenmedia.com.
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  #94  
Old 04-28-2005, 03:50 PM
Draken Draken is offline
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Default Re: gauging NWO progress by hollywood productions

<a href="http://www.solargeneral.com/ja/films/savingprivateryanreviewedbymichaelahoffmanii.html" >Saving Public Myth

Movie Review of Saving Private Ryan

Directed by Steven Spielberg; Reviewed by Michael A. Hoffman II</a>

"Saving Private Ryan," Steven Spielberg's latest cinematic entry in the canon of Hollywood "history," is not a "holocaust" film. It's about World War II combat on the Western front and the alleged honor and compassion of the U.S. government.

Mr. Spielberg would have us believe that after 54 years, the Allied myths about World War Two continue to hold true--Studs Terkel's pivotal reference point--"The Good War"--is confirmed. There are good wars, by golly, and WWII was it. Hip, hip, hooray!

Don't look for shades of moral gray or the existential self-doubt that attends retrospective accounts of Korea and Vietnam. Those were bad wars (we were fighting Communism) and American vets are supposed to grieve in a fit of collective nervous breakdown for even having participated.

So how does Spielberg go about celebrating the "values" of the "good war" in a time of slackers, grunge and Generation X?

He plays on the heart-strings of the same type of naive draftees who marched to Omaha Beach in the first place, the heartland kids who, in 1998, are desperately weary of the sickness of soul afflicting America and who want heroes and something to believe in again.

Spielberg imagines he has the antidote to our ennui. Hollywood is always willing to wave its celluloid wand of approbation over the killing fields of the Gulf War and World War Two because the enemies of Zionism were "our" enemies in those conflicts.

Patriotism, bravado and faith in army generals are conditionally legitimate here (whereas in Korea and Vietnam such attributes among America's fighting men were just shy of a war crime).

After a brief preface at an Allied cemetery, "Saving Private Ryan" opens with the U.S. infantry landing on the blood-soaked beaches of Normandy, where those "German SOBs" actually had the gall to shoot at the invading Americans.

The nearly-psychedelic scenes of gore and carnage--perhaps the most thrilling and beguiling ever staged--will surely hook a mass audience. The premise of the film is a huge slice from the dusty dish of "Capra-corn" (after pro-Soviet sentimentalist Frank Capra). It seems that Uncle Sam cares about his troops. No less a figure of "sterling manhood" than FDR's General George C. Marshall takes a personal interest in Private Ryan, the sole survivor among four brothers who marched off to make the world safe for Communism.

Marshall touchingly recites by heart the words of that other champion killer of white men--Abe Lincoln--to set the sentimental stage for a search-and-rescue operation for the surviving Private Ryan--a parachutist who landed off-course in enemy-occupied France.

A special team of Army rangers is dispatched. The team is deliberately comprised of one of those multi-ethnic American units that were staples of B-movies and Marvel comic books. There's a timid egghead, a dumb Italian, a pushy Jew, a surly Yank from Brooklyn and a Sgt. York type from the South.

The Jewish trooper waves his "Star of David" necklace at German POWs and taunts them with shouts of "Juden, Juden." This is the only hint of the underlying conflict in the film. But there are no depictions of any husky German grunt spitting on the necklace. There is no sense that a "holocaust" is transpiring a few thousand miles eastward in Poland.

Why Spielberg didn't hit this angle harder is anyone's guess. It's my hunch he intuits how weary American audiences are of "holocaust" themes. He chose to advance his agenda by less transparent means.

One of these is the suggestion that the Wehrmacht--mostly conscripts, if we recall our history--are practically war criminals just for fighting the Americans.

Spielberg telegraphs an unambiguous message about the necessity of shooting unarmed German POWs and how foolish it is to spare them (the Jewish soldier eventually dies as a result of his captain having failed to authorize the murder of a German POW).

One of the most compelling figures in the film is Jackson, the Sgt. York character who's a rabid German-hater. When a POW speaks to him in German, he erupts in a rage, screaming, "Shut that filthy pig Latin!"

"Pig Latin"? Is Spielberg mocking the presumed ignorance of the servants of the New World Order? German being the language of philosophy and rocketry, among other stellar Teutonic achievements, Spielberg would seem to be both applauding and mocking the anti-German bigotry of this "hick," who mutters a psalm every time he blasts any German who gets in his sniper rifle's sights.

How the Germans ever conquered Europe and North Africa and fought the Red Army to the gates of Moscow is certainly a mystery if one credits their portrayal in "Saving Private Ryan."

They fight with basic soldierly resolve only as long as they have the advantage--a fortified pill box, a machine gun nest or a Tiger tank. But as soon as the tide turns, the German soldiers toss their arms up in surrender and jabber in hysterical fear and pleading.

They fight with the same wooden stupidity as did the extras on the set of the old 1960s TV series "Combat"--whenever they're in American sights they get hit and drop, whereas, once off the beach, Americans can run in front of a legion of German rifles and dodge bullets with miraculous invulnerability.

There is just one swastika visible in the film (a graffito painted on the Atlantic Wall). Even an SS tank commander appears sans monocle and armband. Spielberg obviously sought to avoid hyperbole and schlock.

He makes his anti-German point with a much lighter touch, but he makes it all the better by this near-subliminal technique. It's simple, really, an old trick from the propaganda manual: he endears us to the American troops by showing them griping and complaining, joking, sobbing and gambling.

We share their life stories and their jests. We "bond" with them. They are not robots. They gripe about "Fubar"--an acronym for an expletive for U.S. government incompetence and high command absurdity (the government is incompetent even in its great compassion and goodness--a concession to combat infantry "realism").

The Germans are mere ciphers, however. Never does Spielberg take us to their campfire to hear their songs and stories. We almost never glimpse their humanity. No German words are ever translated into sub-titles. German becomes an unintelligible clamor--a "pig Latin." We are glad whenever the German boys die and Roosevelt's troops prevail.

The closest Spielberg comes to humanizing the German troops is in a brief standoff between an American and a German, when they both run out of ammo and hurl their helmets at each other; and in a quick flash of a German soldier making a hurried gesture resembling the Catholic sign of the cross (blink and you miss it).

In a nearly three hour film, those 15 seconds do not counter-balance the straw men Spielberg has fashioned. He has shown even these skimpy scenes only to make his point more convincingly--yes, he grudgingly seems to be saying in these snipetts--the Germans are sort of human, maybe--but not anywhere on par with the noble and lovable Americans.

This would not wash in a 1990s war film about Korea or Vietnam. Asian soldiers would have to be painted in the full strokes of their humanity or the filmmaker would risk charges of racism. Germans? A bunch of "krauts."

Spielberg's defenders will claim he humanized them in a scene with a German POW who babbles about "Betty Boop" and "Steamboat Willie." But his mutterings are grotesque, not poignant. This is not a means for humanizing Germans, it's a demonstration of how supposedly weak and disgusting the German soldier--the "Hitlerian superman"--really is once he's disarmed; his behavior being perilously close to that of a coward.

There is not a single good German in "Saving Private Ryan," just as every single one of the hundreds of German soldiers depicted in Spielberg's "Schindler's List" were, to a man, nothing but homicidal robots.

"Saving Private Ryan" is a whitewash of the ignominious record of George C. Marshall and a celebration of senseless fratricide and jingoism. This war-mongering emanates from that compassionate paragon of humanitarianism--that bearded and bespectacled teddy-bear--Steven Spielberg, "repository of warmth and wisdom."

Sweet dreams, kiddies. Sooner or later it will be your turn to die for the New World Order in another Glorious Crusade against "tyranny." The killing fields await another generation of American manhood, prepped and primed by the latest Hollywood enchantment.

Prepare the prosthetics and wheel chairs, puff up the pillows at the Veteran's hospitals, speed up production at the body-bag factories, the U.S. World Police Force Inc. is on a "patriotic" roll--across the technicolor screen and around the world.
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  #95  
Old 04-28-2005, 04:31 PM
nohope187 nohope187 is offline
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Default Re: gauging NWO progress by hollywood productions

I remember when Saving Private shithead first came out, people were saying how the coolest part of the movie was the gory parts at the beggining and their favorite character was that fuckin redneck who muttered psalms before making his kill. This movie was nothing more than 3 hour recruitment at for the Amerikan military.
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  #96  
Old 04-28-2005, 07:46 PM
nomad nomad is offline
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Default Re: gauging NWO progress by hollywood productions

Quote:
nohope187 wrote:
I remember when Saving Private shithead first came out, people were saying how the coolest part of the movie was the gory parts at the beggining and their favorite character was that fuckin redneck who muttered psalms before making his kill. This movie was nothing more than 3 hour recruitment at for the Amerikan military.

Very true ... isn't it interesting how Mel Gibson

had to cut scenes out and edit the BIBLE ! ! !

and all the NWO movie makers get carte blanche

for everything.
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Old 04-29-2005, 01:55 AM
truebeliever truebeliever is offline
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Default Re: gauging NWO progress by hollywood productions

Great posts Drak.

What a joke about Mel Gibson...just what exactly needed cutting?

Ridley Scott...the current head of Hollywood Propaganda productions has his new epic blockbuster out..."Kingdom Of Heaven".

Here for some previews...
http://www.apple.com/trailers/fox/kingdom_of_heaven/theatrical_menu.html

I've only seen the various previews but one must suspect that coincidence in Hollywood happens alot...the release of so many War movies since 98'- 99' and Scotts fine propaganda effort with "Black Hawk Down".

Now we have the Christians DEFENDING Jerusalem from the hoards...hmmmm, now just who's behind this little one. I'll hold back until i've seen the whole movie...hopefully a FREE pirate as I wont pay for there shit. It helps to be so close to Asia.

Also note a new supposed 'documentary' about Iraq..."Gunnar Palace"...
http://www.apple.com/trailers/independent/gunner_palace-tlr.html

What ABSOLOUTE propaganda tripe..."it's all about the troops...no politics"...of course you cant include politics! It's a morally and ethically indefensible war so the intelligence services have to come up with this tripe!

After all..."it's all about the man next to you". Thats how you get troops to fight a unwinnable and indefensible war...tell them you have to fight for your buddy, your komrade.

Michael Tucker produced and directed this tripe...he got on the "inside" because he had a friend who was a German "armoured vehicle dealer"...or "arms dealer"...do I smell INTELLIGENCE AGENCY!!!!!!!!!!!!!!!!!!!!!!

The supposed doco is a disgrace and blatent propaganda designed to increase the dismal sign up rate while pretending to show how hard the poor troops have it.

Add to that this twerp ripped off George Gettes reasonable attempt at showing the human side of the war through music with his doco "Soundtrak To War" which I posted awhile back.

Tucker was a little upset i got a hold of a pirate copy...to bad Tucker...it now graces the bin where it belongs.
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Old 04-29-2005, 04:22 AM
bohemian bohemian is offline
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Default Re: gauging NWO progress by hollywood productions

Got this passage while searching on the net about Mormons:

"The "Book of Mormon" purports to be an abridged account of God's dealings with the two great races of prehistoric Americans -- the Jaredites, who were led from the Tower of Babel at the time of the confusion of the tongues, and the Nephites who came from Jerusalem just prior to the Babylonian captivity (600 B.C.). According to this book, America is the "Land of Zion", where the New Jerusalem will be built by a gathering of scattered Israel before the second coming of the Messiah. The labours of such men as Columbus, the Pilgrim Fathers, and the patriots of the Revolution, are pointed out as preparatory to that consummation. The work of Joseph Smith is also prophetically indicated, he being represented as a lineal descendant of the Joseph of old, commissioned to begin the gathering of Israel foretold by Isaias (11:10-16) and other ancient prophets. "

coincidence?
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  #99  
Old 04-29-2005, 06:54 AM
55132 55132 is offline
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Default Re: gauging NWO progress by hollywood productions

DW Griffith a pioneering filmmaker called the father of film from the early days and a non jew was blacklisted. He is credited with making the first western and developing filming techniques that have become standard all over the world. Why?

because he had the audacity to make a films that exposed the jewish plotters behind america, one of the films was called "birth of a nation" this film set film standards way over anything at the time.

This film and others has been locked up since 1920 and has not been seen in whole since.

http://www.pbs.org/wnet/americanmasters/database/griffith_d.html

http://www.imdb.com/name/nm0000428/
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  #100  
Old 04-29-2005, 07:20 AM
55132 55132 is offline
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Default Re: gauging NWO progress by hollywood productions

Many people tend to think that jews (the talmudic cabalistic brand) are specially gifted as a way to explain how only 3 percent control most of everything in the usa. However what is little known is that among jews it is stickily forbidden to charge interest on loans between them so they have access to billions of dollars to purchase anything. this is how these criminals have bought there way into mainstream.

all this started mostly in the 19th century thanks to the rothschild funding. First they purchase the press, then commerce like macy’s.. Most of the mills, there first incursion into mainstream entertainment media was through Broadway that up to the 1880's was non Jewish ... today they are purchasing the prime American companies in all fields special high tech and defense and are making them into commodities so that there friends get even richer.

They use all this to attack the non jew’s customs and to impose the Talmudic/cabalistic system.

Fight back

fight with the truth their greatest enemy
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