This documentary was only broadcast once in five US states in 1995, then it was shelved and never broadcast again. This version is the complete uncut feature, recorded to VHS video when it was first broadcast on celestial tv. I converted this to HD as the quality was very poor, and VHS tape degrades very quickly. Enjoy.
(((Subscribe))) now for more! http://bit.ly/1QHJwaK Hollywood has a long history of producing government propaganda films masked as innocent entertainment. From Disney using Donald Duck to persuade people to pay their income taxes in The Spirit of ’43 to blockbuster films like Red Dawn and Zero Dark Thirty. Media analyst Mark Dice reveals the true power of American cinema.
The “Wonderful” World of Disney
Walt Disney has a long history of making cartoons and movies serving up propaganda to American audiences from World War II until the present time. This is just one of over 100 he made during World War II…
The Spirit of ’43 is an American animated World War II propaganda film created by Walt Disney Studios in 1942 and released in January 1943. The film stars Donald Duck, and arguably contains the first appearance of the character Scrooge McDuck, although Scrooge is not named in the film. It is a sequel to The New Spirit. The purpose of the film is to encourage patriotic Americans to file and pay their income taxes faithfully in order to help the war effort. The repeated theme in the film is “Taxes…To Defeat the Axis.”
In the film, Donald Duck is portrayed as an everyman who has just received his weekly pay. He is met by two physical manifestations of his personality — the classic “good angel on one shoulder, bad devil on the other shoulder” dilemma common to cartoons of the time — identified as the “thrifty saver” and the “spendthrift.”
Featured Image: “Walt Disney (1901–66), the American film producer, director, screenwriter, voice actor, animator, and entrepreneur, was best known for creating such iconic characters as Donald Duck and Mickey Mouse, for whom Disney himself was the original voice. In the 1930s and 1940s, he produced full-length animated films that included Snow White and the Seven Dwarfs (1937), Pinocchio (1940), and Bambi (1942). In 1955, Disney opened Disneyland, a theme park located in Anaheim, California that featured many attractions based on Disney film characters. This 1965 photograph shows Disney and his brother Roy (1873–1971) with Florida’s Governor W. Haydon Burns (1912–87), announcing plans to create a Disney theme park in the state. Walt Disney World opened in 1971. Located just southwest of Orlando, Florida, the attraction grew to become the largest resort in the world, covering 47 square miles (122 square kilometers) and encompassing four theme parks, two water parks, a wilderness preserve, and numerous hotels.” CREDIT: call number C069089CV (Florida Department of Commerce collection) SOURCE: Wikipedia Commons (Public Domain)
Disney established Disneyworld in Florida in a far reaching conspiracy that was aided by the C.I.A. and congress. These shady dealings with the government have come to light in the book, Finding Florida by T.D. Allman, and is discussed by Tabetha Wallace and Tyrel Ventura of Buzzsaw.
Funded and approved by the US Department of Treasury in 1943, this Disney featurette was to encourage every good American to do his “duty” and pay his taxes, which, at this time, were at an all time high. Those who do not wish to pay or don’t pay it gladly are depicted as friends of Hitler and enemies of liberty and democracy.
Contrary to what has been stated on other posts of this film, it was never “banned” by anyone. Not only was it approved by the Treasury Secretary, it received an Academy Award nomination for “Best Documentary Feature.” Even President Roosevelt himself had a hand in approving Donald Duck as the main character.
With advice from former CIA operatives and lawyers, Disney bought up the land for Florida’s Disney World and orchestrated a unique legal situation—and set up an unconstitutional form of government.
An excerpt from T.D. Allman’s Finding Florida.
Starting in the mid-1960s when Disney set out to establish the Disney World Theme Park, they were determined to get land at below market prices and Disney operatives engaged in a far-ranging conspiracy to make sure sellers had no idea who was buying their Central Florida property. By resorting to such tactics Disney acquired more than 40 square miles of land for less than $200 an acre, but how to maintain control once Disney’s empire had been acquired? The solution turned out to be cartoon-simple, thanks to the CIA. . . . Read Complete Report
by Disney – Historical footage from 1965 of Walt Disney discussing his plans for the “Florida Project.” Includes a clip from the press conference held on November 15, 1965 in Orlando with Walt Disney, Florida Governor Haydon Burns, and Roy Disney announcing the plan. . . Description posted with video
Hollywood, Military Cooperation Often Mutually Beneficial
By Steven Donald Smith
American Forces Press Service
LOS ANGELES, Aug. 21, 2006 – Hollywood’s depiction of the U.S. military is often laughably inaccurate to many Americans who wear their country’s uniform. This is not for lack of effort on the part of the military services and the Defense Department.
To achieve maximum accuracy in movies and on television, the Army, Navy, Air Force, Marines, Coast Guard and DoD have liaison offices to help guide filmmakers through the process. The services operate independently of each other in this endeavor but share office space on the same floor of a Los Angeles building. The Defense Department’s entertainment media division is run from the Pentagon. . . Continue at Defense.gov
Operation Hollywood: How The Pentagon Shapes And Censors The Movies
ScienceDaily (Nov. 13, 2012) — Grasshoppers are having to change their song — one of the iconic sounds of summer — to make themselves heard above the din of road traffic, ecologists have discovered. The study, published in the British Ecological Society’s journal Functional Ecology, is the first to show that human-made noise affects natural insect populations.
Animals use sound to communicate for many reasons, including marking out territory, warning of predators and finding mates, and although previous research shows birds, whales and even frogs alter their calls in noisy environments, the impact of human-made noise on insects has been neglected until now. . . . Read Complete Report
On August 6th, 1848, the Royal Navy frigate HMS Daedalus was cruising near the Cape of Good Hope when the Officer of Watch spotted an object in the sea. He drew the attention of the Captain and several crew members on deck to it. It was a large sea snake, or sea serpent, that they estimated to be sixty feet long, 15 inches in diameter, and moved through the sea with it’s head some four feet out of the water.
Strangely enough it seemed to be able to move quickly through the water with neither vertical or horizontal undulation. The creature was dark brown, shading to yellow-white under the throat. On the back there seemed to be a seaweed-like mane. The Daedalus observed it for about twenty minutes.
In 1937 Alfred Peterson, a nurse aboard a British troopship in the China Sea, spotted what at first he thought was a big tree floating in the sea. A few minutes later he noticed it was still there, keeping pace with the ship. This peaked his interest and he took a closer look. What he saw was a 25 foot long, grey-black, body with a head shaped like a giraffe.
Tales about sea serpents have been told and retold by sailors down through the ages. Skeptics have pointed out that many of these incidents could be the result of misidentifications. A floating log, or in the case of the Daedalus, an abandoned native canoe painted like a snake. Some encounters are so close, though, that it is hard to believe someone could be mistaken: . . . Read Complete Report
The only surviving footage of the Sunset Squid sequence (shot by a documentary filmmaker) was in regular screen format. I wondered how it would have looked in widescreen (Leagues was shot in CinemaScope) – so I reformatted it into Letterbox. I think this is pretty close to how the sequence appeared originally, since the documentary cameraman was allowed to place his 16mm Bolex right alongside the ‘A’ Camera during his time on the set.