Vanessa Beeley Exposes Entertainment Industry/NGO Network Pushing White Helmets Propaganda (2)

Read the first part of the article

Beeley continues:
“The other day, while in the midst of my research into Doc Society, I went back to the Threshold Foundation website and found that the statement had been removed and replaced with a congratulatory statement on the White Helmets documentary Oscar success. The Wayback machine showed me that the statement had been removed during March 2017, so just after the White Helmets documentary had been given the Academy award for whitewashing Al Qaeda in Syria.

The statement is still available on Google Drive.

What coercion was brought to bear upon the Threshold Foundation to maintain their unwavering support for the White Helmet construct? Was the statement published by a rogue element within the organization who objected to the White Helmets being a ‘centerpiece’ in the ‘humanitarian war’ designed to reduce Syria to another failed state, like Libya? We may never know.”

Last Men in Aleppo

On to the discussion of the now famous Last Men in Aleppo film that was turned into the most recent trendy propaganda piece. According to Beeley, Good Pitch was instrumental in promoting the film which was directed by Firas Fayyad, a man who claims to be an “exiled” Syrian currently living in Denmark. “Good Pitch has managed the entire incubation and delivery process for this film”, Beeley says. It’s undeniable that Fayyad and his film went from obscure to Oscar nominee in an incredibly short amount of time. 

Doc Society is largely to thank for that. This is because, according to Beeley’s research, Good Pitch put Fayyad into contact with Danish Larm Films and Aleppo Media Centre, a French Foreign Office operation that has produced and provided a large portion of the pro-Al-Qaeda narrative coming from East Aleppo, most notably Omran Daqneesh, the little boy seen covered in dust with a trail of blood running off his head who was filmed being put into an ambulance by White Helmets terrorists. 

That incident has since been thoroughly debunked by alt media journalists like Beeley, Eva Bartlett, and the boy’s father as a cynical and dangerous propaganda stunt. Good Pitch helped take Fayyad’s film from an idea to reality, staying with the film and the filmmaker and helping both every step of the way.

Beeley comments on the reason Good Pitch might have for midwifing the Last Men in Aleppo film. She writes:

“Soren Jespersen, the producer of Last Men in Aleppo:

‘We hope that our film will bring the suffering of the civilian population in Aleppo onto the agenda and hopefully put some pressure on the politicians, diplomats and the people in power to actually do something. Good Pitch is a network and a connection to people who are experts or have access to people in power and can help us get our film screened in important places – so, Good Pitch is very much about meeting the right people. They get things done.’

‘Doing something’ means NATO-enforced No Fly Zones and escalated ‘humanitarian’ conflict. It means the protraction of the war for the Syrian people. It means the derailing of any peaceful or diplomatic resolution in Syria and the region.

Mary Robinson, former President of Ireland at the Good Pitch Europe Programme 2017:

‘We believe change is needed, we know change is needed and one way to bring about change is to tell a good story.’ 

That transformational narrative is so relied upon by those invested in ‘humanitarian responsibility to protect wars’ that have led to the serial devastation of sovereign nations from Libya to Iraq to Syria and beyond.

The film went on to have its world premiere at the Sundance Film Festival where it won the World Documentary Grand Jury Prize in January, 2017. Then, it moved on to win the CPH:DOX Festival Top Prize in March, 2017, the prize for Most Innovative Documentary at the POV Critics’ Choice Documentary Awards in October, 2017, and an Oscar nomination in March, 2018.”

As Beeley writes: “I believe it’s safe to conclude that there is a vast, well-financed PR machine operating behind the scenes of the White Helmet organization, whitewashing their discredited image and mapping out their political, media and Hollywood trajectory – in lock-step with the PR campaign is a media defense force headed up by Channel 4, BBC and The Guardian. The hub of the film and PR sector is Doc Society.”

Doc Society Partners

As mentioned above, Doc Society keeps some very questionable company. Beeley writes:

“Founding partner is Channel 4 and major partners are the BBC, Ford Foundation and Bertha Foundation.

Only The Guardian is missing, or is it?

‘The Guardian is partnering with Bertha Foundation to tell international documentary film stories with global impact. We are commissioning a series of 12 short documentary films from independent filmmakers. The series covers global stories with a focus on films that have the ability to advance the contemporary issues they address and raise awareness of people and movements making a difference in the world.’, says the newspaper.

The Last Men in Aleppo won the Sundance Film Festival Award 2017, hardly surprising, considering that Sundance is also a major partner of Doc Society: Robert Redford is President and Founder of the Sundance Institute.

‘The Sundance Documentary Film Program supports non-fiction filmmakers worldwide in the production of cinematic documentaries on contemporary themes. Established in 2002 with founding support from Open Society Foundations.’

Add to that the Bertha Foundation, Rockefeller Foundation, CNN Films and National Geographic, among others.

We find that the Open Society Foundation sponsors of the Sundance Institute are also fans of the Good Pitch concept, made by Doc Society: ‘Good Pitch has created a community of like-minded change makers who believe in the power of using stories to drive social justice throughout the world’.”

For those who may be surprised that the famous Sundance Festival is closely linked to George Soros’ Open Society Foundation, taking a look at the way in which Sundance has praised the White Helmets films should erase any doubt as to their linkage. After all, the Open Society Foundation apparatus has been widely supportive not just of the White Helmets, but of terrorists in Syria as a whole.

As Beeley writes in her article, quoting the Sundance Festival itself:
“A review of the Sundance Film Festival described the three ‘Syrian’ entries as ‘three documentaries on the ravaging of Syria’, naturally there is no reference to the ravaging of Syria by the US/UK nurtured terrorist groups who have infested this sovereign nation, financed, armed, equipped and promoted by 74 UN member states, the Gulf States and Israel. Last Men in Aleppo achieved its primary objective:

‘Last Men in Aleppo follows the White Helmets during the last months of that bombed-out city’s existence, as they go about their heroic task of scanning the skies for Russian and Syrian bombers, racing in jury-rigged trucks to newly collapsed buildings, and digging through the rubble to pull out the few living and many dead. In the evenings they worry about getting their own families out of Syria and about the family members who are already refugees in Turkey and Western Europe. They are some of the most amazing people you will ever see on the screen’.”

Having visited Syria numerous times, including Aleppo, Beeley was particularly angered at the way that Nusra Front crimes against the people of Aleppo had been whitewashed. Even more so, how Nusra Front terrorists were then painted as selfless humanitarians. Indeed, we recommend accessing her article to read the concluding paragraphs which include her powerful condemnation of this terrorist propaganda construct created in the West.

This tangled web of NGOs, “societies”, foundations, and corporations is only one small peak into one small aspect of the world of perception management. It is important that Americans and Westerners in general understand that the Media Industrial complex as well as the Entertainment Industrial Complex do not have their best interests at heart. In fact, the reality is quite to the contrary. These networks exist for the sole purpose of creating a reality in the minds of the general public that, irrespective of the truth, can be used to then control the direction and even the thought processes of masses of people. In this case, the desired goal is to convince the population of the Western world that the White Helmets are anything other than a terrorist unit wearing hard hats.


March 26, 2018


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