Cinema imagery- Kubrick, Spielberg, Hanks; Tarkovsky; Wilder

by **rerevisionist** » 25 Mar 2011 13:12

Just musing over 2001 with its rather pitiful obvious models (and incidentally starless skies...think of the 'moon landings'). I wondered if Kubrick might have been in on the story about nuclear weapons - could this be the explanation for his casual frivolity? I don't know how well up he was on special effects - maybe he knew all about them; maybe on the other hand he just got underlings to do the work*. At any rate he surely must have been able to examine nuke test footage in great detail And he seems to have never been short of money - red light warning there, that he was probably funded apart from his work. Spielberg's film on the Crystal Skull (or something) has a Spielberg version of a nuclear test in a US desert; and of course Spielberg is notorious for the 'Shoah' fraud - there's a brilliant youtube exposing the breathtaking fraudulence of fake witnesses as directed by Spielberg. I mention Hanks because he holds something of a record in deception - Forrest Gump (lies about Vietnam), the moon thing (lies ditto), Philadelphia (lies about AIDS), Private Ryan (lies about WW2).

*Added later: Yes, he used underlings. The colour effects at the end of 2001 were suggested to him - he was called from his office to inspect the computer graphics, and gave his approval.

by **NUKELIES** » 25 Mar 2011 13:22

I hadn't thought of Tom Hanks - but yeah those movies are a propaganda. Especially that AIDS movie - the ending was so sick and twisted with him all shrivelled up and dying.

I'd thought about Kubrick being involved with nuclear propaganda. But I think most of the "test footage" was shot before his time, and I think Dr Strangelove featuring nuclear bomb footage might have been a reference to the footage being faked. "Eyes Wide Shut" demonstrates that Kubrick was big on revelation of the method.

Mod's note: this is on Kubrick and Eyes Wide Shut film. From a newspaper site, probably trying to sell a book by Frederick Raphael:-

In the summer of 1994, Kubrick sent Raphael, then living in France, a novel to read and judge suitable for screen adaptation. It was Traumnovelle, or "Dream Novella," a turn-of-the-century erotic fiction by Arthur Schnitzler. [Note: Best-known for La Ronde]
But in a mark of Kubrick's weird and secretive nature, he refused to tell Raphael the identity of the work's author (Raphael guessed). The novella by Schnitzler, who also wrote the play on which the Nicole Kidman stage vehicle The Blue Room was based, concerns the kinky, extramarital adventures of a Viennese Jew and his wife.
Kubrick wanted to shift the narrative to modern-day New York. Raphael ... visited Kubrick at his English country estate. Upon returning to France, Raphael noted the director's "strangely passive curiosity," and told his wife that one visit with the inscrutable Kubrick could give a (male) screenwriter a good impression of what it was like to be a woman: "You don't know exactly what he wants, but you know he doesn't know what he wants, and hopes you can supply it. He has virtually no ideas at all."
Kubrick's bizarre relationship to his own ethnicity deeply troubled Raphael, a fellow Jew. While demanding an almost slavish fidelity to the Schnitzler novella, described by Raphael as being "impregnated with Jewishness," Kubrick nevertheless instructed Raphael to expunge all Jewishness from his adaptation.
Raphael speculates that understanding Kubrick the Jew is fundamental to understanding the man. He speculates that Kubrick's penchant for secrecy and paranoia came from an outsider's fear of being found out and hounded by "those people," i.e., Gentiles. For Raphael, Kubrick is "the sedentary wandering Jew, rootlessly rooted within his own defenses."

by **rerevisionist** » 25 Mar 2011 16:23

Jesse, I thought I'd do a little burrowing; guess what - part of my '1957 fake British bomb video' is included right at the end of 'Dr Strangelove'!

http://www.youtube.com/watch?v=CN8M6vO_kCg 1957 British H Bomb fraud

After a bit of checking, it seems Kubrick was born in 1928. And made 'Paths of Glory' in 1957 - supposedly anti-war, but apparently just a courtroom drama, nothing to do with starting wars - the same year as that 1957 British (or maybe American? - I've seen a version with a US voiceover) newsreel film. So he was 29 at the time and if not seasoned at least a director.

'Operation Cue' (as in my video http://www.youtube.com/watch?v=N15LMWUywHs ) was made in 1955, remade 1964.

Parts of Kubrick's b/w film have very crudely photographed aircraft and cockpit etc views against landscape - presumably back projected or something similar. Very like the aircraft in the 1957 film, in fact. So maybe there was a close relationship and maybe Kubrick got all the money he wanted.

by **NUKELIES** » 26 Mar 2011 15:59

Kubrick is highly suspect and appears to have been associated with the Hollywood/NASA propaganda machine. 2001: A Space Odyssey is more than enough to suggest this. If the moon landing footage was faked, why wouldn't atomic bomb test footage also be faked?

by **rerevisionist** » 26 Mar 2011 19:13

I found there's a sort of hagiography of Kubrick by Warner Bros (2001, I think) with the usual unintelligent commentary which actors and publicists etc seem unable to rise above. (Incidentally including Alan Yentob, who has helped keep the BBC turning out its relentless stream of shit). I hadn't known Kubrick had intended to do a 'holocaust' film, for example. Of course I was aware his 'Vietnam' film made in London would show zero interest in Vietnam. No wonder he was a recluse. Maybe he was lucky to die before Internet - a good interviewer now could shred him.

by **FirstClassSkeptic** » 03 Apr 2011 15:06

There was a documentary on television about the history and techniques of 'special effects'. Very interesting. It came out just after that movie, Titanic, several years ago.

Maybe it was:
http://www.pbs.org/wgbh/nova/specialfx2/

"Special Effects Titanic and Beyond,"

There was a special effects technician on that movie, and he was saying, "People will watch something and say 'Something's not right.' They don't know what it is, but they know it wasn't right." Meaning that the brain can notice subtle things in a movie special effect that doesn't correlate with reality.

by **rerevisionist** » 04 Apr 2011 12:02

NOT JUST SPECIAL EFFECTS....

... Obviously, on this site, when we look at films we're watching for effects. But of course the words - the underlying assumptions, the bias in vocabulary, the omitted material, the lies, the voiceovers - are important things which ALSO apply in films.

And there's support from the soundtracks. I suspect in a century's time the ridiculous music added to news 'documentaries', as in say BBC's 'Panorama', will be used in parodies of TV and film programmes as shown now, just as scratches and bits of hair and monochome are used to signal old films now. (I just tried to watch some 'Star Wars' stuff - it's really quite funny the way the dull 'baddy' music switches on when the scene changes to the plastic-clad baddies.)

by **rerevisionist** » 13 Apr 2011 13:53

SOLARIS 1972 provides an example of how difficult film-makers seemed to find it to create models. There's what I assume to be a dacha, a wooden house, and the film's climax is to zoom out, to show it surrounded by a vast sea, which is the brain of 'Solaris' (or something). There's an uncomfortable inetrmediate section where the house is still visible, viewed from above, and getting tinier, and clearly it's some sort of small model surrounded by sea, or by glass painting or whatever. It reminded me of the 50-second or so 'nuclear test' clips, as did the swirling mist/fog effect, the counterpart of the smoke/dust used in the clips. This no longer seems to be a problem, I'd guess because computer graphics remove most of the difficulties.

by **rerevisionist** » 13 Apr 2011 14:12

BILLY WILDER another Jewish liar. Good overview here on the history of the way the 'Holocaust' propaganda developed with events. E.g. psychwarfare was radio only, at first. Then Buchenwald clips show Wilder directing a naked man; later they switched to Belsen and developed a new spin, which in turn started to include relatives in the 'Anne Frank' style. The author of this very-well researched internet piece omits speculation as to who was responsible for organising the deception - I think; maybe the controllers of WW2 psych ops are well-known enough.

http://www.holocaustdenialvideos.com/wilder/

by **FirstClassSkeptic** » 16 Apr 2011 15:31

rerevisionist wrote:BILLY WILDER another Jewish liar. Good overview here on the history of the way the 'Holocaust' propaganda developed with events.
http://www.holocaustdenialvideos.com/wilder/

A most interesting web site.

The explaination of the Morgenthau plan to deindustrialize Germany was something I hadn't heard about. The camps were called 'death mills' all all of German industry was held accountable, as an excuse to destroy all German manufacturing.

Cinema imagery- Kubrick, Spielberg, Hanks; Tarkovsky; Wilder

Cinema imagery- Kubrick, Spielberg, Hanks; Tarkovsky; Wilder

Re: Cinema imagery (e.g. Kubrick and Spielberg, and Hanks)

Re: Cinema imagery (e.g. Kubrick and Spielberg, and Hanks)

Re: Cinema imagery (e.g. Kubrick and Spielberg, and Hanks)

Re: Cinema imagery (e.g. Kubrick and Spielberg, and Hanks)

Re: Cinema imagery (e.g. Kubrick and Spielberg, and Hanks)

Re: Cinema imagery (e.g. Kubrick and Spielberg, and Hanks)

Re: Cinema imagery (e.g. Kubrick and Spielberg, and Hanks)

Re: Cinema imagery- Kubrick, Spielberg, Hanks; Tarkovsky; Wi

Re: Cinema imagery- Kubrick, Spielberg, Hanks; Tarkovsky; Wi

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