Hollywood ‘s Oscars awards ceremony is nigh. Two anti-Syria propaganda-documentaries are short-listed in this year’s competition. We use the occasion to offer a photo tutorial on Hollywood enchantment techniques — choreography, cinematography, SFX, CGI, moulage artisanship, rules of award-winning scripts — and how they are applied to incite NATO news audiences to engage in the first rule of Hollywood screenplays: Suspension of disbelief.
Though Hollywood has functioned as press liaison for US-based wars of aggression since after WWII, though propaganda is as old as history, never have Hollywood techniques been used, deftly so, to target a single country, before Syria, beginning in 2011.
The documentary/fraudumentary has its origin in a charming, pre-code, movie. The 1935 Ladies Crave Excitement finds the report-protagonist’s breaking news story is thwarted when ‘the bad guys’ steal his film, and his editor fires him. An idea is hatched to re-create the scene, on film. The dramatization of the news becomes a money-making hit, and a genre is born.
Another pre-code movie showed astonishing prescience, when applied to Syria, NATO media, and Hollywood enchantment: The witty script of It Pays to Advertise claims that virtually anything can be marketed to the public, because fifty percent of people are sheep.
The marketing of Hollywood anti-Syria propaganda is impressively seen in the following AFP photograph, which was viralized on various social media. The backstory involves two gods of Olympus, who came down with puppets, to bring good cheer to traumatized Syrian children. The viralization showed that “it pays to advertise.” Hearts and souls were moved to tears, at the sight of the gods – humanitarians bringing smiles to the faces of these poor children, even if just for a too short respite.
Poor children; those rocks and boulders look so very uncomfortable. Why were they brought so far from the apartments and other buildings, which probably have upholstered chairs in them? It looks like quite a hike.
The criminal words of NATO stenographers are reinforced by every Hollywood magic trick. All special effects (FX, computer generated imagery, moulage, generic make up) are used, separately or in combination, depending on deserved outcome and how many seconds or fractions thereof, the audience will be permitted.
The ISIS giants with the reputed Christian Coptics kidnapped while pilgrimaging to a secret place in the al Qaeda land mass called Libya, is an example of very bad CGI.
The author has been unable to find any Christian sites in Libya, to which the pious might be impelled to pay homage soon after the country was made into al Qaeda hell.
Moulage is the skill of creating mock injuries for training of first responders, and also for graphic Hollywood horror movies.
Two years ago, as the rabid hyenas controlling the UN were hearing voices (from Ghouta), NATO media were peddling non-stop odes to the stethoscope-less, spinal precautions incompetents, CPR ignoramuses, fake bagging, al Nusra White Helmets fake responders, publishing emotional photos showing successful schooling in Hollywood special effects.
PLEASE NOTE: THOUGH MANY OF THE FOLLOWING PHOTOGRAPHS WILL SEEM GRAPHIC, THEY HAVE ALL BEEN CHOSEN TO EXPOSE THE USES OF HOLLYWOOD MAKE-UP, INCLUDING MOULAGE TRAUMA APPLICATIONS. THESE PHOTOS WERE METICULOUSLY PICKED BECAUSE THEY DO NOT SHOW SIGNS OF PHYSICAL TRAUMA. THEY HAVE BEEN ‘DOCTORED’ FOR THE PURPOSES OF EMOTIONAL MANIPULATION IN SUPPORT OF WAR CRIMES. PHOTOS OF BRUTALIZED OR MURDERED CHILDREN HAVE BEEN EXCLUDED FROM THIS ESSENTIAL TUTORIAL.
PLEASE ALSO BE AWARE THERE IS NO WAY TO ASCERTAIN WHICH PERSONS HAVE PHYSICALLY BEEN INVOLVED IN LIKELY KIDNAPPING OF CHILDREN FOR THE PURPOSES OF DEGRADING THEM INTO VICIOUS ADVERTISING. PHOTOGRAPHERS MUST BE CREDITED, BUT THERE IS NO WAY TO ASCERTAIN THE EXTENT OF THEIR COMPLICITY, UNLIKE THE WESTERN WIRE SERVICES WHO PUBLISH THEIR WORK. SUCH NEWS WIRES & MEDIA WHO UTILIZE THEM ARE NEGLIGENT IN DUE DILIGENCE VETTING. THEY ACCEPT THE WORD OF TERRORISTS & THE PUBLIC RELATIONS TEAMS THAT PIMP THEM. NEGLIGENT IN VETTING, THE SAME SMARM DEMAND CENSORSHIP OF THOSE WHO ENGAGE IN DILIGENCE, LIBELING MANY HONEST & INDEPENDENT WRITERS.
This is a moulage prosthetic, in the form of a disarticulated hand, shown in dramatic monochrome. The photo was used as evidence that some divine individual’s body had been dug from some rubble caused by ”regime bombings.” While claiming to be a real hand, no explanation was given on how it came to be neatly separated from the alleged deceased’s arm, nor how it came to defy gravity by standing on its thumb.
Here is a more recent Hollywood moulage prosthetic, this one in brown with touches of Helmets Rubble Ecru painted throughout. Could audiences so suspend their disbelief to imagine as real, someone so obviously tightly buried in concrete, could free his hand, and that such a hand would immediately go into rigor (because a flat hand would not be noticed.).
This gem was taken by AFP’s divining rod with nine lives, Omar Haj Kadour. Speaking of Hollywood suspension of disbelief, Kadour has magically appeared to take photos of: Remnants of two military jets shot down by terrorists using anti-aircraft bombs; the terrorist carnage in al Rashidin; a sandals-wearing Helmet collecting fairy dust sarin samples in Khan Sheikhoun; in Urum al-Kubra, for terrorist bombings of the SARC convoy of 31 lorries filled with humanitarian goods; in Saraqib, for a few flying chlorinated barrel bomb situations; in Khan Touman when terrorists murdered 13 Iranian advisors and kidnapped 2 SAA soldiers who were tortured and then murdered.
No stenographer reporter has ever noted the anomaly of zero crushing injuries seen in the infinite number of Helmet ‘rescues.’ As this gang has never been shy about its collective violent, criminal insanity — kidnapping, snuff porn murders, carving fetuses from their moms’ wombs, necrophilia, torture of non-compliant children — surely it would have no moral dilemma prohibiting the creation of crushing injuries.
Crushing injuries do not play to the eye.
When you look through these Hollywood suspension of disbelief photos, presented to you by NATO stenographers and NATO taxes, consider the following:
- the absurd, impoverished scripts of Hollywood running scenes, without origin, without destination.
- the processions. Again, without origin, destination.
- young men fake helping in rubble rescues completely dust-free, including shiny hair.
- the impossible ergonomics. Proper body mechanics are essential in picking people from the ground and carrying them. Without proper mechanics, not only can backs be wrenched, but everybody can end up on the ground. Unfortunately, these proper mechanics also do not play well to the eye, and so have been replaced the the dramatic Hollywood reach and stretch.
- the rescues in the middle of nowhere.
This idiocy may have been a demented tribute to Ingmar Bergman:
CGI, VFX, and moulage skills have improved since the pre-reunification of Aleppo, 2016, media hysterics. Hopefully, also, the stethoscope-less death squads will move beyond their two color choices of Helmets Rubble Gray and Helmets Dusty Ecru. In this utterly stupid, poorly CGI’d photo, we see what looks like an uprooted tree, magically standing upright, despite no longer being rooted; a strange line touching the ground, on which miraculously hangs a garment that falls far short of the mark of bathos in the splash of color trope; an allegedly damaged alleged ambulance with door conveniently opened (though not damaged) and an alleged corpse on a stretcher, some feet away, that levitated out of the vehicle (courtesy of the conveniently opened, undamaged door), upon which it made a perfect, heads-up landing.
This scene demonstrates the best of visual artistry in Hollywood staging of emotional war pornography against Syria. It subtly, insidiously, captivates the purchasing audience.
Amidst the bland, Helmets Rubble Ecru, the chiaroscuro of the [fake] savior-hero, [fake] first responder White Helmet is magnificent; his [fake] action — not his face == is the driving force, here.
His body is directed as a still, meant to cause visualization of dramatic movement. This is best noted by his right arm, bent and determined, though going nowhere. The stunning freneticism of the baby is not that this child is afraid of bombs, or inherently wonders where mommy may be.
It is caused by the intentional, precarious, placement of the child, in one of the Helmet’s arms. His posture is made completely unstable, and he has been made to feel like he will be dropped — thus the instinctive flail of his arms, perfecting this dramatic still.
To give the imagery more meaning, note the other White Helmets in the upper right, doing nothing — one bent over nothing, two looking at nothing. Note also the splash of color trope, in the pretty yellow litter. Though in emergency care, the gurney would be flat (those ignored spinal precautions would be maintained), but in this photo, its head has been raised seventy degrees, so that the audience sees it.
This is not a severed leg; it is an impressive Hollywood moulage prosthetic. The ‘foot’ is rubble-painted, though again it is not crushed, and has a collapsible great toe, as the poor man’s finger and thumb nearly touch, as he screams against “Bashar!”
This photo shows a bad job of applying Hollywood moulage and CGI in the marketing of propaganda. Note the poor seaming onto the body, and the lack of bone fragments in the chest moulage.
Rania Kisar was virtually unknown, until CNN viralized her banshee scream to Donald Trump to again help the al Qaeda occupiers of Idlib, against Syria. She runs a charity that does not have 501(c) status, and that does not raise money. She is the self-anointed head of some fake revolution organization. She only wears hijab/niqab when in Idlib. The screenshot of the poor old man swinging the Hollywood fake leg, was taken from Kisar’s video that CNN pimped.
CNN just happened to be perusing the previously unknown Kisar’s Facebook page and decided her video should be shared; it was seen almost one million times in six hours.
The Zombie Man was also in her video, and used as a featured image in NATO news. Note the missing point of origin, the missing shoes, and that the two men are not holding him up.
In Hollywood scripts, one tends to know when the screenwriter runs into writers’ block: A trite, petty, inconsequential, utterly boring running scene is shoe-horned in, to increase fake drama. Anti-Syria NATO stenography media and anti-Syria fraudumentaries are shamelessly relentless in pimping this bathetic contrivance, of the running men.
Hollywood’s suspension of disbelief reigns in these next two White Helmets FX Production photos, in which a man is pulled from the rubble, via levitation (“Hurray for Hollywood!). His hair is nicely painted Helmets Rubble Gray and he arises with his intact glasses on his intact face; the second photo is pure CGI, and the actors are captured not in impossible action — which would have resulted in all falling into Dante’s third level of hell — but in still.
This gem looks like a bad dress rehearsal; someone forgot to move the weapon, and to tell the gentlemen to close their eyes.
Occasionally, a member of the cast forget he is supposed to be somber for a White Helmets rescue scene:
Given Hollywood’s dozens and dozens of hospital movies since the advent of the talkies, it should come as no surprise that anti-Syria propaganda would utilize the hospital as motif. This author prefaces a series of photos with the essential reminder to Syria News readers, that which all diplomats know, but ignore, that which all journalists have the responsibility to know, but ignore: The Geneva/ICRC Conventions are explicit in the creation of medical facilities in war zones.
Those wishing to set up such facilities must receive authorization from the host county, after which the facility must be clearly marked with the ICRC Emblem for the medical clinic/hospital to be honored as a neutral zone, which may not be attacked by any warring parties.
It is statistically impossible that no member of the tripartite P3 aggressor mobsters controlling the UN, nor the UN Relief Chief, Mark ‘Hearing Voices‘ Lowcock, nor any member of stenography media, nor any of the countless NGO’s that have sprung up to devour Syrian blood and bone, has not read Geneva/ICRC. That none has ever voiced concern over real hospitals that were destroyed by the vermin, demonstrates that what has happened to the Syrian Arab Republic since the NATO Spring was dumped on it in 2011, is the most heinous conspiracy in history.
It is a breach of the UN Charter to engage in criminal propaganda against a member state, but the master criminals rule and the house servants cower.
June 2019, NATO media went into a frenzied campaign to save al Qaeda in Idlib, under the auspices declaring every street of the governate held a hospital, and each was almost the last. Most sources chortled that ‘facilities’ were no longer going to share coordinates with the UN. The inference to be made is that the mafiosi running the US were told where the takfiri had housed themselves.
From time to time, NATO media do not share the enchantment of Hollywood CGI and moulage art, but turn toward the prosaic Goebbels Big Lie.
The take our word for it mantra is frequently used by anti-Syria propagandists is a not infrequent stand-in for Hollywood enchantment, especially when declared in a byline published in the NYT.
Imagine a group of New York lawyers sneaking into Syria via Turkey, without visas, and without stepping on any of the almost 200,000 land mines still not cleaned, despite Turkey signing the Mine Ban Treaty in 2003. Imagine them setting up a law office in Idlib. Imagine NATO media interviewing these criminals, and pretending that they legitimately practice law.
No one would tolerate such nonsense; why, therefore, is it tolerated by criminal physicians and fakes claiming to be doctors?
NATO media also call in the NGOs to perpetrate the Goebbels Big Lie.
Physicians For Human Rights (PHR) is frequently used as source material, showing the incestuous relationship among the rabid dogs of war. Co-Laureate of 1997, PHR is another one of the many anti-Syria charities that receive 501(c)(3) tax exemption status, something that sounds almost like a quid pro quo given its attacks on Syria sound as though written by the State Department. PHR also yells about attacking hospitals and medical personnel being a war crime, while averting its gaze from actual, International Law. PHR claims to have “systematically documented these war crimes [sic] since the start of the Syrian conflict in 2011,”
How does it document?
“PHR uses open-source data and field sources to document the deaths of medical personnel killed in Syria since March 2011.”
This is an admission of documentation via Facebook, Instagram, and Twitter posts by al Qaeda in Syria, and by al Qaeda’s Public Relations Bureau, the stethoscope-less White Helmets.
How bereft of professional decency are health providers who shameless sing the praises fake first responders, who know nothing about emergency care, who only know to steal, loot, kidnap, and Fstop?
How can actual licensed professionals sully the altruism of the medical arts, while rolling around in the gutter of name thieves, organ traders, housing thieves, and even those who fit into the category of the criminally insane?
Empire sheds its arrogance when piling up the bodies. It tries to keep its sadistic jokes in house. ‘Syria Civil Defense‘ was purloined from the real and accredited first responders in Syria. ‘White Helmets’ was purloined from Argentina’s Comisión Cascos Blancos initiative launched in 1993 and adopted by the UNGA in 1994.
This gruesome-looking Hollywood moulage trauma sculpting is excessive, except for students training to make zombie apocalypse movies.
Omran practically became a household name, courtesy of NATO media stenographers. He is the epitome of a Hollywood moulage trauma application for the explicit purpose of selling war crimes to the naive public.
No advertising announcer noticed that the child was not injured. None noticed he sat calmly in his chair, while White Helmets were taking photos and videos.
No one noticed that there was no White Helmet even pretending to engage in first response emergency care.
Few know that Omran had a ‘sister’ who was also fake rescued from generic rubble by the fraudster, CIA backed Helmets. The Director decided she was a distraction, and she ended up on the editing floor.
During last summer’s spate of frenzied incitement to save al Qaeda unhospitals and fake doctors, in Idlib, inclusivity propaganda incorporated everyone and everything but the proverbial kitchen sink. In addition to charities run by persons whose licenses should be suspended because of breaches in maintenance requirements and those who show their integrity by citing criminals as proof, we were treated to Hollywood CGI photographic evidence, an alleged physician with perfect Skype in a secret, underground, fully operating theater in which he was performing 30,000 brain and spinal surgeries Q3H, a decent job by a set designer, the warm fuzzies, and a conspiracy by ten members of the UNSC — led by P3, the world’s leaders in genocide — against member state Syria.
Only NATO stenographers, low-level operatives, and willful idiots would claim this area, under construction as evidenced by earth moving equipment and a temporary road having been built would claim this is the Helmets gang digging up the corpses of 3,000 physicians from under the invisible rubble of a fake-bombed hospital
Many Hollywood screenwriters work in advertising — it pays to advertise — while awaiting their big breaks. They know how to market. Children, with their cuteness, their vulnerability, their fearlessness, are quite marketable, in most age groups; who can forget that sweet, teen girl who witnessed the barbarity of Iraqi troops smashing incubators and then smashing premature neonates to the floor, while she was doing volunteer work?
Truly adorable kids can especially market war propaganda.
The photographer who took this photo, claimed it was in a refugee camp, that the adorable little girl had been so traumatized by ‘regime soldiers pointing their guns at her,’ that when she saw the camera she thought it was a gun, and raised her hands.
She is so adorable, that she seems to have turned up in a fundraising marketing campaign for one of Bill Clinton’s favorite charities.
The following photographs show the Hollywood ”it pays to advertise,” in a most depraved way. The FX’ing of children, the marketing of children to coerce western audiences lay waste to reason, to be manipulated into enraged feelings, reeks of macabre hatred of children, including a certain normalization sadoerotic pedophiliac pathology.
The author has chosen the following photographs because these children appear to have had no physical harm inflicted upon them for the Hollywood marketing of war criminal propaganda against Syria.
It is, nonetheless, impossible to gauge the psychological devastation fused into their young, malleable, psyches. The brain is plastic at this age, and its anatomy and physiology can be permanently destroyed by emotional horrors — during this essential when children most need adults to help them grow into healthy maturity.
This fraud rescue scene contains the Hollywood visuals of moulage injury and CGI. The strangely self-contained fire adds the splash of color trope to the bland Helmets Rubble Ecru shade. In attempting to incite dramatic comparisons in faces between the fake rescuer — from nowhere, again — and the victim, the cosmetologist overdosed in baseline colorations, making the little girl appear dead via liver mortis moulage application. (her head would have drooped, were she dead. It probably took several takes to capture her with her eyes closed.).
“Liver mortis, also known as hypostasis, is the discoloration of the skin due to the pooling of blood in the dependent parts of the body following death. The blood pools because the heart can no longer circulate the blood. Gravity will make the blood settle and the areas where it settles turns to a dark blue or purple color, which is termed ‘lividity.”’ — Indiana University – Perdue University Indianapolis (IUPUI). The Hollywood-Helmet make-up supervisors add a touch of Helmet Rubble Ecru or Rubble Gray to the mottling.
As usual, she is barefoot, and her hair, inexplicably matted, teased, for that Elsa Lanchester Bride of Frankenstein scary appearance. This photo appears to have been taken with the Helmet leaning, or sitting, not walking down hazardous chunks of concrete.
Here, we see a similar-looking girl, whose ‘bride’ hair has the emotional touch of a ribbon. Her face has also been painted the color of death. Her eyes are also closed, but in this photo, we see her arms wrapped around the ‘hero”s neck.
Scalp capillaries have a tendency to appear to geyser, when injured. A bit of pressure quickly helps them clot off. The Hollywood moulage artist really overdosed on the blood, below, taking advantage of the fact that few in the audience have had significant training in anatomy and physiology.
In an emergency setting, real blood would immediately be wiped from this child’s face, in order to quickly ascertain the source of injury, and closing it off, via pressure, in cases of capillary bleeds. Nobody would waste time with a loose gauze wrapping.
The process of oxidation almost immediately begins to turn red blood brown.
Red blood is the marketable color, though.
This overdone blood moulage also defies gravity and lacks the source of blood. No matter, though, as the NATO stenographers understand that it is only red blood that is marketable in the suspension of disbelief world; the source of injury is of no concern, as virtually none seek it.
There were two takes for the following ‘rescue and recovery’ stills, both of which have been shared in approved MSM news, and on approved social media sites. The author points out some significant anomalies, for those amenable to breaking through the Hollywood marketing of emotional war pornography against the Syrian Arab Republic:
- Another men only photo. Despite the ongoing claims of women and children casualties, in the al Qaeda haven of Idlib, women are almost never allowed to be seen.
- Helmet — apparently a junk-food junkie, despite ‘sanctions’ against Syria’s economy — holding the reputed dead baby, is spotless, despite alleged recovery of baby.
- Alleged dad’s hair contains a bit of Helmet Rubble Gray coloring, though not enough to hide his nice cut. Red blood moulage injuries have been applied to his face.
- Allegedly dead baby’s visible extremities have been painted Helmets Rubble Ecru, with livor mortis moulage applied in defiance of gravity’s involvement of blood pooling. The left inner heel mottling that is seen diagonally up to the calf, is incompatible with the right foot mottling, unless child was in an upright but right-leaning position at time of alleged death, and after having suffered a compound fracture of the left tibia and/or fibula, which would have allowed for pre-mortem torque of leg. Right great toe livor mortis is not possible with the livor mortis of the other toes, painted on a left to right angle.
- A real parent traumatized by the violent death of a baby would have to be pried loose from that baby; he would not let someone else hold her.
- In first take, ‘dad’ apparently does it wrong, holding baby’s foot next to his mouth. In the second take, he appears to have been told to kiss the foot, and his eyes seem to be checking for approval from the director…while the photographer jumps the gun on capturing the image.
Macabre can not begin to describe this lurid, sadoerotic, pornification of children, normalized in Hollywood uses of enchantment, in crimes against peace, in ironic demonization of Syria.
The minions of Beelzebub appear to have used every manipulative visual possible, in this capture of degeneracy against children: Sepia, with an slight splash of color; likely use of depth vision camera to simulate binocular vision and therefore the ability of the viewer to perceive depth; a hand tied in a limp position; should he lower that hand, he runs the risk of strangulation; terrific haircut for the afraid-looking boy; the dead-looking girl positioned against him, and on his lap. What more could the child molesters want?
As for background trauma care in this obscene photo, there is none.
Under no circumstance is a bandage ever wrapped around the patient’s neck. If a bandage is temporarily used to stabilize an injury, it is wrapped so that it actually stabilizes the injury; allowing an affected body part to succumb to gravity creates further injury.
Here we have a photograph of lesser, non-sexualized, child abuse. It utilizes the dramatic appeal of deliberate monochrome with tactically placed splashes of color troping. There is no visible seam at this Syrian boy’s waist, which strongly suggests that he has been buried, up to his waist, and then painted with Hollywood VFX.
Note the nearby feet of two men standing idly by, while the sadistic photographs are taken; two booted feet belong to one, one sandaled foot, to another. It is not yet time to ‘rescue’ this child.
Note also that every part of his unclothed body has been painted Helmets Rubble Gray — in this case, matching the deliberate monochrome: Arms and hands, all of his face, and his ear.
The moulage red blood clumps contrast visually with his black hair, hair that only has a few crumbs of Helmets Rubble on it.
How did his head get injured, if he is only up to his waist in rubble, broken pieces of which show no blood spatter. Though there is a bit of blood painted on his shirt, his arms, hands, face, and ear, have none.
Here we have another scene of mother-less kids.
It would appear that the Helmets’ Hollywood moulage gang crashed into the Helmets’ Hollywood CGI gang for this one, of five scared-looking boys, two painted in too light Helmets Rubble Gray and/or moulage blood, suggesting having been dug from rubble, despite being too overdressed; three likely survivors of another fake chemical attack in which all moms, of course, perished (and dads were busy rescuing other dead moms’ kids.
Boy 1 has been bloodied to look a bit like the Joker of Batman comics, made into a series of blockbuster movies, as adult audiences seem to enjoy when Hollywood regresses them back to childhood. Though most of the blood is on the left side of his nose, the sadists have painted a half-smile on the right side of his mouth.
Make note of the odd seating. Make note of the disembodied, bloody man’s hand, with the spotless white sleeve.
Who is the pervert who painted in the body-less bloody arm, the ‘magic eye’ bearded man, and the ‘Scream’-like mask onto one of the scared-looking boys? Is it the same deviant who affixed an origami voodoo doll under the bed next to the murdered, mostly naked little girl and murdered, mostly naked little boy on the ‘hospital‘ floor in Douma?
NATO media deployment of various forms of Hollywood VFX is only part of the Piped Piper – like conjuration of the western audience, and works best when added to the sacrosanct laws of screenwriting.
That suspension of disbelief rule requires that the audience be saturated in belief that the impossible is true, no matter how inane. Another absolute in screenwriting is that the audience must feel complete allegiance to, and thorough empathy for the protagonist. It is of no matter that he may be a serial killer, a rapist, a kidnapper, an individual who is criminally insane; the audience must affix itself irrevocably to him.
That this requirement has been successful in the brainwashing of the collective audience, is evidenced by the arrogance of the NYT’s choice of cited witness to the Douma massacre marketed as chemical hoax; a degenerate who was in possession of a fetus, cut from its mother’s body, and proudly displayed on his Facebook account (and which was not a breach of those Kafkaesque ‘community standards’). The achievement is also noted in the NATO audience’s complicit support of femicide in Syria.
Another Hollywood screenwriting motif applied to Syria by NATO stenographers is the rhyming scene. In the movies, the scheme utilizes a certain scene, with some changes that show development, and when accomplished by a creative writer, produces a type of cinematic poetry.
When applied to propaganda against Syria, it can either be insidious, or ham-fisted. Either way, the intention is to brainwash, completely.
This photo has the look of poor quality CGI, but the camera focuses on the girl’s face. She looks upset. The caption claims she was running for cover after an aerial bombing.
The photo was used by several sources, including a US-created, Geneva-headquartered 501(c) NP/NGO/charity whose work has involved demonizing Syria, since 2015. Again: Licensed practitioners practicing without the explicit permission of other states and countries are supposed to have their licenses suspended or permanently yanked. This is criminal, and it is dangerous.
Here is the same girl, apparently about to walk into a motorcycle, while the rest of the scene is men running. Though she continues to have her back to the dark clouds of smoke, the building to the left of of her, in the above photo (the one with the guy with the naked legs), seems to have been moved to bring the Helmets’ logo-ed van, and nearby motorcycles, closer to her.
Is this what the New York Times meant in its augmented reality mini-movie of 25 June 2018, which had over 65k views on that date?
NATO stenographers employ the Hollywood rhyming scene against Syria by: Reusing the same featured image in a series of updates; recycling old photos into new reports to reinforce previous Goebbels Lies; different MSM sharing the same photos as featured images; reposting key images onto their social media pages to fuse those images into the collective psyches of their audiences.
In early 2018, Syria News did a simple report showing the recycling of a photo of two boys sitting in rubble. It had been used as a UNICEF call for vaccinations in Afghanistan, before becoming a multi-recycled anti-Syria propaganda picture.
Occasionally, our western stenographers will use a double rhyming scene when engaged in deification and demonization propaganda.
Take a deep look at his new photo, showing the fake heroic, CIA-funded, stethoscope-less, Nusra White Helmets bravely entering a home reputedly bombed by “regime” and “allies.” Notice the imaginary courageous Helmet walking through the hazardous doorway, like Hollywood’s Robocop, the psyop flick which advertised the need for the US sheeple to rid themselves of the Bill of Rights.
How curious that the oh-so-precarious! doorway on the verge of collapse, has its right side completely intact, and half of the upper doorway completely intact, to the extent that the right angle is perfect, despite the scary wall cracks further right, and above.
What are those strange angles behind our Helmet-Robocop hero?
Did the CGI guy forget to erase them, when completing this photoshoppe? Or, is it the ongoing flouting of arrogance?
The mess in this summer house looks like there was a fire inside, and everything that could not be saved, was pushed out.
This photo is likely familiar, given the many times it has ‘rhymed.’ Note the varying dates by MSM, though it was reported to have been originally taken 27 August 2016, in the Bab al Nairab area of Aleppo governate, after a double aerial bombing…according to MSM.
This particular photograph turned out to be part of a shell game involving two wire services, multiple shots involving Hollywood CGI, a smear attempt, glorification of the fraud responder White Helmets, and more rhyming scenes engaged in anti-Syria propaganda.
Way back in pre-Aleppo reunification days, specifically 9 December 2016, the Syrian Mission to the United Nations sponsored a press briefing by a small group of journalists, lawyers, and human rights activists who had returned from a fact-finding mission in the Syrian Arab Republic.
Though NATO stenographers in attendance were sparse, and despite none reporting on this event, 4 News took enough umbrage over the event — and likely not insignificant concern over potential reverberations of serious reporting — to publish a manipulative ”Fact Check” on 20 December 2016, based on a single statement regarding “children that have been recycled in different reports.”
It also could barely contain its outrage that a clip from the UN press briefing had “been shared more than 3 million times” on a Facebook page.
In a desperate frenzy to corroborate its unfacts, 4 News screeches that all NATO media reported on the alleged bombings, and makes specific note that photographers from both AFP and Reuters took photos on this day.
Channel 4 / 4 News has certainly been a bastion of integrity and fact-checking in its reporting on Syria since the early days of the crisis. Its team illegally entered the SAR, and embedded with terrorists. It had no problem with a rebel who wanted to blow up a bakery. It had no problem that the same rebel was later involved with the kidnapping from a hospital, of 12-year-old Abdullah Issa, and beheading the child — who asked to be shot, and instead was taunted about a ”kitchen knife” — on camera.
Might it be coincidental that Channel 4 co-produced the dramatization of the news fraudumentary, For Sama, which has been nominated for — surprise — a Hollywood Oscar?
On 6 February 2020, Channel 4 released one of the most obscene & ridiculous anti-Syria propaganda ‘news shorts.’ Though the video was alleged to have been taken last summer, this British news service chose to release it on the day that the NATO clique at the UN held an emergency Security Council meeting to try to rescue al Qaeda in Idlib.
The conveniently timed release was also three days before the Hollywood Oscar awards.
It is not unlikely that the 4 News lamentations were meant to cause cowering; more likely, it was to plant a seed to grow into further censorship on social media, and, of course, to continue the brainwashing op in support of the US and UK military intelligence death squad Helmets.
Four months later, AFP trotted out two scriptwriters to complain about the tenacity of the girl x 3 memes to persist in the cyber world of social media: “The photomontage has been circulating since 2016, mainly shared by publications and individuals seeking to discredit the [stethoscope-less, fake-bagging, fraud responders who don’t know CPR or spinal precautions but have fabulously expensive cameras and know how to use that Fstop] White Helmets by claiming they were staging rescue operations.
[Syria News reminds our readers that AFP ‘freelancers’ have sold photos of Syrian kids brutalized into unconsciousness to pimp the Helmets and demonize Syria, and that others have been so entwined with terrorists as to warrant an investigation into the seizure of its assets based on France’s 2006 Anti-Terrorism Act and UNSCR 2253 (2015). Trump might even grab its assets given its merger with US-based Getty.]
NATO stenography media which have the corner on the advertising war propaganda market; Reuters and AFP are two of the ‘big four’ news agencies that control 90% of foreign news, spread throughout the world.
They are an arrogant and gluttonous lot, outraged if a sheep or two attempt to break away from the slaughterhouse.
The 50% of those human beings not amenable to being herded by Hollywood techniques in advertising by those stenographers are a tenacious group, though, rallying through sewage in search of the truth, no matter the insults, no matter the attempts at shunning, no matter the censorship.
And, so, on the first of March, 2019, PolitiFact arm of The Poynter Institute which owns Times Publishing Company and whose President Neil Brown is a member of the Pulitzer Prize Board, was forced to issue a lamentation regarding a Facebook post claim regarding CNN and Syrian girl x 3.
As our readers look at the ‘rescued girl montage,’ and scroll through the many photos provided by Reuters and AFP, please consider the many peculiarities pointing to the use of Hollywood VFX, CGI, rhyming scenes, and staging magic, and a bit of Goebbels Lie via omissions.
- NATO media separately used these three photos in various reports dedicated to criminal propaganda against the Syrian Arab Republic, without noting she is the same girl. Given there were neither simooms nor cyclones reported in Aleppo, on this day, it remains a mystery as to why her hair looks different in each picture.
- The follow-up claim was that the three men were involved in a [weird] “hand-off,” which is only possibly legitimate from Man #1 to Man# 2.
- Man #1, #2, & #3 all hold her in unstable positions. This sadism seems to be of no benefit except to enhance Hollywood drama in the child’s demeanor.
- Note the disturbing positions of the men’s hands, in the attributed ‘hand-offs,’ how the girl’s pants are lowered, in each, how her shirt is raised, and how she is being held.
- One Hollywood rhyme shared by three denunciations, is reverence to the fake responders.
- The subtle changes in the Hollywood rhymes include the oddity that while 4 News cites Reuters, it completely neglects to mention the AFP photographer taking pictures at the same event. AFP mentions Reuters as corroboration of AFP .
- The habitual instructions that demand the audience see that which is not there.
- The sudden placement of a very large truck with the White Helmets logo, not seen in other photos. Despite all the settling dust, the vehicle looks as though it has just been precision detailed.
- The complete lack of women. Men are carrying women’s children. Where are the moms?
- Men from one photo appear to be Lilliputians, behind Man #2, & not far from the very large truck.
- Claim of ‘destroyed ambulances’ despite photos showing no ‘destroyed ambulances,’ & one showing an opened door, hinges intact, and dusty insides.
- Claim of men ‘looking for the dead among the rubble,’ while showing men all looking forward, who turn out to be posing for another photo.
- The Extraneous Man. He is chubby, balding, and is strangely short. He is background in the Man #3 AFP photo, in which he is a smidgen higher than the opened driver’s side door. He is background in the Reuters photo of Man #2, near an ambulance that towers over him. Quite astonishingly, he was involved in a rescue in Ahvaz, Iran, after the terrorist attack against the military parade 22 September 2019. There, he was even shorter than the vehicle’s side view mirror. Even more astonishing is that that photo was also by AFP.
As all NATO media adore the Helmets, have never noticed they do not engage in emergency response, and have never been able to find any evidence of malfeasance by them, Syria News adds a short gallery of non – Hollywood marketing of the fraudulent rescue squad (excepting two taken from their Hollywood FX studio.).
The first Hollywood still gives the feel of action, in the forward bend of the three men leaning in the direction of the man wearing the white helmet, and carrying two children. He and the motherless children are made to appear as though exiting the building.
Note that the doorway structure is intact, despite what looks like a collapsed structure on its left (facing the lens). Note three children and the man in the lower left corner all color coordinated in the shades of blue that have been shown successful in advertising.
In this close-up, there is no mother. Two of the three children are clean. The boy’s hair is shiny, and looks as though it were recently, expensively, cut. The boy looks comfortable, because our savior Helmet, holds him properly.
What honest explanation could there be, for three kids coming out of an intact building, showing two of them clean, and one with teased, matted hair, and appearing to have been Hollywood FX’d?
She does not look comfortable, because our fraud hero holds her precariously, insecurely, to intentionally keep her off balance, which makes her appear more traumatized than she likely was from strangers matting and teasing her hair, tearing her shirt, putting dark circles under her eyes and powder on her face.
Notice how calm the boy looks; he is held securely, and he has not been forced into a cosmetologist’s chair for an unknown period of time.
In the available AFP and Reuters photographs, there is a total of five children in front of this building. Only one, the pathetic-looking waif, has had a Hollywood makeover.
There is no reasonable explanation for this anomaly. Even if she were the only being to have somehow been under the rubble in the building that is obviously shown not to have collapsed, and if she were pulled from the White Helmets rubble without any crushing injuries, she would not have been photographed at the same time as the clean and shiny children, as it would have taken time to dig her out, and surely first responders would not have other kids standing around waiting for her.
However, bringing her out separately, would have diminished the Hollywood marketing value of deifying the Helmets and demonizing Syria.
Here is our first ‘hand-off,’ readily explained, because the Helmet had his arms full. The man in the color-coordinated shirt has moved from the left lower corner, to center stage.
Note that the three places of ‘blood’ on the Helmet’s shirt do not have a corresponding match to the girl’s shirt. From where did the blood come?
Before viewing Man #2 holding the traumatized girl, here is a wide angle photo of outside of the not-collapsed building from which the five mother-less children were brought out by strange men (come to think of it, the fathers are all missing, too). The intact doorway is identified by the blue fabric above it.
Note there is no truck.
Is this Hollywood magic? Here is Man #2 with his back to the not-collapsed building. From where did that very large truck advertising the White Helmets come? How is it so clean, with so much new dust and rubble settling? Are those tiny little men in the lower left corner from Lilliput?
If you put a pencil from their heads to the really clean truck advertising the Helmets, they might possibly reach the height of the headlights.
If the little men were painted in, and if the truck were painted in, and given the little traumatized girl has been painted, what else of these photographs might be a Hollywood fabrication, used to incite enough hatred against Syria for westerners to support its destruction?
Surely, a vehicle can drive up a road and park, without the need for Hollywood digital tricks.
However, that does not explain the appearance of very tiny men near the large truck. It does not explain the possible optical illusion that moved the collapsed floors about 45 degrees, which does tend to enhance the above photo of Man #2 improperly holding the frightened girl.
Can a truck pull up and park within the time frame of AFP‘s claim that its photographer took the four photos of the three men involved in the ‘hand off”s of the traumatized little girl in “less than 80 seconds according to the metadata”?
If this is the ‘metadata’ AFP offers, is there an explanation for photos 3 & 4 coming before photo 2 which comes before photo 1 (serious question)?
Here is Man #3. AFP has given no explanation of why the little girl was handed off, again. Notice that the lowest level of the ‘collapsed floor’ has returned to its original position.
Is this an optical illusion, or, is it Hollywood CGI? If these ‘collapsed floors’ are nothing but a digital movement, and considering the child was intentionally FX’d, is it not possible the entire claim that ‘the regime’ bombed a civilian building is nothing more than war criminal propaganda against a small country NATO wishes to destroy?
Please note the short, balding guy next to the car door that is almost taller than he. He stands behind Man #3.
Here he is again, in a Reuters photo, standing behind Man #2. Why is Man #2 walking away from the ambulance, if that vehicle is an ambulance, and the girl is injured?
Reuters insists that she is injured, but she shows no sign of physical injury. She has been placed alone, in a vehicle, and there is no pretense of anyone caring for her.
She continues to look afraid.
Her foot, hand, and forearm up to her elbow have been painted with Helmets Rubble Gray. Disturbingly, so has her left chest. Whitish coloring has been applied to her face, to make the dark coloring around her eyes look more stark.
Notice that the ghouls forgot to paint her upper arm, where they ripped her shirt.
Why would Man #2 be photographed near to an ambulance but walking away from it? Why would an ‘injured’ child be put into an ambulance to have her photo taken, only to be removed and photographed with Man #3, who had been moved back to the front of the building with the collapsing floors, next to the bombed down building (after Man #3 was photographed walking near another ”ambulance,” a “damaged” one that was not damaged)?
The following Reuters photographs were taken by Abdalrhman Ismail. Ismail wrote on his Facebook page that one of the men who kidnapped 12-year-old Abdullah Issa from a hospital and who taunted him about being beheaded, before another kidnapper cut off the boy’s head with a kitchen knife, “brightened Aleppo.” This is the caliber of degeneracy and depravity that is being glorified in NATO media, and via the uses of Hollywood enchantment.
All of the captions end in “…after double airstrikes on the rebel [sic] held Bab al Nairab neighborhood of Aleppo.”
This is not Hollywood rhyming, it is ham-fisted Gobbels Big Lie.
Reuters insists that “a man walks near a damaged ambulance after double airstrikes…” despite the fact that there is no “damaged ambulance.”
It is Man #3 who walks past what looks to be a rudimentary, undamaged ambulance. The opened door is attached via intact hinges. The roof is intact. No broken glass is seen. It is very dirty and dusty, and trash has been strewn about.
Reuters writes: “People look for survivors near a damaged ambulance after double airstrikes on the rebel [sic]held Bab al Nairab neighborhood of Aleppo.”
This is a criminal lie, indictable under Nuremberg Principle VI.
No matter how much money Reuters pays the wretch who writes that one of the foulest and rancid men to walk the planet “brightened Aleppo,” this is nothing but a nasty junkyard, with piles of refuse and broken down junk cars. One can plainly see that nothing here has been bombed. One can also plainly see that these men are looking straight ahead, not toward the piles of dirt and trash on the ground.
Anyone who allows himself to believe this obscene lie is a corroborator in war crimes against Syria and its citizenry.
Look at these men; they are preparing to have a photograph taken so that NATO media can use them to demonically enchant.
The only Hollywood here, is the very cheap addition of smoke, in the wrong place.
Let us return to the short, chunky, bald, toad, who either posed behind both Man #2 and Man #3, either actually posed, or painted in. Courtesy of AFP, here he is, transported to Ahvaz, Iran, to fake rescue a fake victim of the terror attack on the military parade 22 September 2019. The author added these two photos to the report on the magical AFP photographers.
This absurdity is simply outrageous Hollywood staging, with surrounding CGI, except for another ridiculously huge vehicle, except for painting the moron with the psychotically posed ‘victim’ over his shoulder about to walk into the damn opened door.
The arrogant idiocy of this photo was tweeted to AFP, which then made some more ridiculous alterations. Was the intention of these absurd photos to make a mockery of the terrorist carnage which murdered several members of Iran’s military, and civilians enjoying the importance of the Military Parade?
Yes, fake screaming is conducive to Hollywood suspension of disbelief.
Before returning to the photos of the purloined little girl who had a piece of her life stolen so that media collaborators in war crimes could make a Hollywood story of NATO’s White Helmets, let us examine a file photo by Abdulmonam Eassa, another AFP jewel.
How utterly shocking to find yet another trite Hollywood rhyming scene of another fraud hero, posed to seem to have come from somewhere urgent, going somewhere else, with intention.
This is another rhyming scene of poisonous enchantment, nothing but smoke and mirrors.
The boring victim is not unconscious. Were he so, he neck and head would succumb to that thing called gravity, and his left wrist and hand would not be held in absurd spastic posture.
On 21 February 2018, The Guardian pimped an especially fetid emotional war pornography piece, attributed to the English-language illiterate titular head of the White Helmets, calling for the rescue of al Qaeda in Ghouta.
Its featured image showed that whichever malignancy did the staging, had been trained in western classical art. The staging utilized the golden mean and the Fibonacci series. It artistry made it worthy of a showing in The Uffizi.
The photo showed three savage Helmets staged in a fraud rescue of a little boy who had been brutalized into unconsciousness. The same unconscious child was used in a second disgusting fraud hero scene. The two photos and description of the savagery needed to make that stolen child pass out, can be seen here. This author brought the horror to the attention of The Guardian, until the editors relented, and replaced the artistic savagery with a very boring fake rescue scene. All three photos can be seen, here.
On 26 February, AFP pimped the uber anemic Hollywood rhyming scene of the press liaisons for al Qaeda human garbage in Syria. It was basically the bathetic fake dying declaration of the last White Helmet photographer in al Ghouta.
In the early days of the foreign war of terrorism, a few NATO media did limited hang-out reports of sex tourism and particularly child sex tourism occurring in Syrian refugee camps in Turkey and Jordan. They have been buried under a morass of massive reports which readily shift blame for the abomination exclusively onto ISIS.
In November 2019, with Epstein news reports still dominating media, Syria News came upon a claim by an Arkansas-based quasi charity that stated it was funding a Women’s Center in the women-less, al Qaeda occupied Idlib.
The specific report told the utterly fantastic story of a surreal cosmetology class — consisting of two persons, one of whom was definitely a man, mostly hidden under niqab — being tested on their skills.
The results were unsettling, to say the least.
This author respectfully brought this to the attention of the US congressman who had previously voiced his support of the ‘charity,’ asking for oversight, some attempt to investigate what might be perceived as putting little girls on the sex market. The subsequent response came in the form of his photographic opportunity with the NGO 501(c) through which the donations are procured.
We have previously identified how the men have held this child in sadistic positions to keep her insecure, off balance, which adds to the drama of the fear imposed on her.
Other disturbing issues must be identified.
If the reader returns to the original photograph of the man in the White Helmet with the fake blood on his shirt, who fake rescued her from the upright building, her pants can be seen just below her waist, with no abdominal skin showing.
In the vehicle, her pants properly fit her.
Man #2 has his opened hand on her chest, which he can use to give her an imperceptible shove, to create further fear.
His left hand holds her thigh. Her pants have somehow come down, so that her underwear and a bit of her skin below her underwear, is revealed to the viewer.
Man #3’s photograph holding the little girl with missing mom and dad, has been the one most used. No flimsy explanation has been offered on the child’s alleged ‘hand-off.’ We have seen the photo of her near the vehicle marked ‘ambulance,’ and we have seen her inside, sitting alone, in a vehicle which could be an ambulance.
Look at the degenerate placement of Man #3’s hands. With not even a perfunctory, glib excuse for him to be pictured holding her, look at her skin.
Why have her pants been pulled down to fully show her underwear, and nearby skin? Why has her shirt been pulled up to show her abdomen? Why is his hand improperly pushing against her chest?
Without any attempt at even the most feeble explanation, the author — in these days of ongoing Epstein news — is unable to infer anything but the worst possibility.
Has this child, painted with malicious Hollywood techniques, this child removed from her parents, made to look weak and injured, manhandled to feel physically insecure, in fear of being dropped, been so adorned for the purpose of being marketed on the dark web?
Here is one final Reuters/Abdalrhman Ismail photo dated 27 August 2016. Two more motherless girls, fake rescued from the intact building. Neither has been touched with moulage materials. The older girl is held by a strange man in another insecure position. The baby is also held in an unusual position, wearing only a shirt and a diaper.
In a few hours, Hollywood will be hosting its annual Academy Awards. Among the nominees are not one, but two examples of “dramatization of the news” in anti-Syria criminal propaganda.
Last week, four public officials rolled out the red carpet for one of the anti-Syria contenders. They all tweeted about it. One flaunted ignorance of the Geneva/ICRC international laws on the requirements for a real hospital in a war zone. It is unlikely any of the congress members was curious as to why Sama‘s mother wears niqab when embedded in al Qaeda occupied regions of Syria and chooses to never wear it in western countries. It is also doubtful any asked about her husband’s friendship with the savage who helped kidnap Abdullah Issa, the monster who tormented him, the pathogen involved in cutting off the head of the little boy who was kidnapped from a hospital.
Those who use the techniques of Hollywood enchantment to deify the criminally insane and demonize Syria and its citizenry are indictable under the Nuremberg Statutes, Principle VI.
Pity that tribunal was yet another imperial dog and pony show.
This report is dedicated to the memory of twelve year old Syrian-Palestinian Abdullah Issa, slaughtered 20 July 2016, by friends of persons Hollywood will honor, this evening.