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February 24th, 2018 
Awake Goy 
Perception management has long been a facet of the dominant minority (aka “Deep State”) that controls the military, political, financial, and industrial sectors of life in the Western world. Perception management is not only undertaken by political discourse in the political realm but even more so by the media that is supposed to be tasked with presenting the public with factual information but today functions solely as a propaganda arm of the Deep State apparatus. Indeed, the mainstream corporate media frames, shapes, and creates issues for the public to debate and cleverly guides them to the desired conclusions.
In addition to mass “news” media, however, television shows, movies, dramas, sitcoms, and documentaries all play a part in shaping the perceptions of the public in regards to current events as well as to the world around them, both locally and far away.
To control and manage the perception of hundreds of millions of people is quite a task and requires a massive network of corporations, industry, financiers, intelligence, and political coordination, however, and this leads many to believe it is impossible to achieve. That lack of understanding of just how much American media/entertainment is manipulated only serves to make the target population more susceptible to the propaganda.
One small peek into the world of mass perception management can be witnessed when looking into the recent documentary volley fired by the pro-war, anti-Syria Hollywood, National Geographic, BBC machine regarding Syria and the White Helmets. The goal of these documentaries is to paint the White Helmets as selfless, unarmed, non-political heroes rescuing innocent people from the rubble left behind by Assad and Putin’s bombs, the latter being aimed at civilians alone. The reality, of course, is something quite different.
“The function of these movies – is to ensure that the Al Qaeda affiliated White Helmets come up smelling of roses from the rubble of areas of Syria occupied by terrorist and extremist groups lorded over by Nusra Front (Al Qaeda in Syria),” writes journalist and expert on the White Helmets, Vanessa Beeley.
Beeley’s work is extremely important in understanding what is happening on the ground in Syria and I would highly recommend accessing her articles, interviews, and lectures which can be found across the Internet, 21st Century Wire, and TheWallWillFall.org.
One such article, “White Helmets: Channel 4, BBC, The Guardian – Architects of ‘Humanitarian’ War,” is profound in its exposé not only of the White Helmets fraud but of the documentary/news machine that promotes them. In that article, Beeley draws attention to the smattering of “documentaries” flooding the viewing market at around the same time promoting the White Helmets, pushing the NATO/US coalition narrative, and demonizing the Syrian government, Russia, and Bashar al-Assad. She writes,
As if on cue, a vast number of documentaries have flooded the media market. The huge majority have conveyed a very one-sided perspective of the conflict in Syria and have, almost invariably, supported the US Coalition regime change narrative, which has prolonged the destabilization project in the region for the last seven years. Are these documentaries any more accurate than the corporate media they might replace?
For example, on April 5, 2017, National Geographic released a preview of its film, Hell on Earth: The Fall Of Syria And The Rise of ISIS, by filmmaker Sebastian Junger and producing partner Nick Quested. This film was prematurely released to coincide with the alleged and controversial Khan Sheikhoun chemical weapon attacks in Syria, on April 4th. However, as Paul Larudee revealed, the film preview was a fraudulent misrepresentation of the war in Syria:
“The [opening] scene shows a missile destroying a residential building with a thunderous explosion. Imposed over the footage are the words, ALEPPO, SYRIA…[…] The original source footage comes from 2014, and is from the Israeli operation that took more than 2,200 Palestinian lives that summer”
“Shifting public perception” is, indeed, one of the roles of modern documentary makers, who, in many instances, take their funding from the same Time Warner, AOL and Walt Disney media investment pools in order to produce heart-stopping, emotion-wringing perception-changers for a western public whose opinions on state foreign policy is undoubtedly, hugely influenced by these ostensibly ‘factual’ documentaries.
During the 7 year-long US Coalition-engineered, financed and armed Syria project, very few organisations have been so feted in political, media and Hollywood circles, as the NATO member-state-financed White Helmets.
Last year’s Oscar award for the Netflix documentary on the White Helmets is followed by the 2018 nomination for Last Men in Aleppo, the latest glossy, emotionally-charged promotional movie, featuring members of the alleged “first response” group doing what they do best – clambering over rubble, terrorist cheerleading and gazing skywards at imaginary helicopters.
The function of these movies – is to ensure that the Al Qaeda affiliated White Helmets come up smelling of roses from the rubble of areas of Syria occupied by terrorist and extremist groups lorded over by Nusra Front (Al Qaeda in Syria).
The admitted source of a number of these films should make viewers question their motives at the very least. One such organization, the Syria Campaign, is funded by an oil magnate that seeks to gain by the fall of the Syrian government, and the organization itself functions as media wing for the White Helmets. Many of the films that it boasts of creating are thus nothing more than marketing propaganda for al-Qaeda/Nusra’s own propaganda wing known as the White Helmets.
Beeley mentions this in her article when she writes,
Syria Campaign is effectively the White Helmet PR agency, seed-funded by UK resident and Syrian oil magnate, Ayman Asfari, who, incidentally, has also financed Theresa May’s Conservative government and is under investigation by the Serious Fraud Office in the UK, having been already sanctioned in Italy for insider trading. He can, most certainly, be described as an interested party in the outcome of the Syrian conflict with openly declared political ambitions once the UK FCO-endorsed “regime change” is secured – plans that have been thwarted by a secular Syrian resistance with the support of their regional and geopolitical allies.
According to one of their many job offers, Syria Campaign have focused their advocacy efforts on the White Helmet organisation (emphasis added):
- Created award-winning films that have been viewed by tens of millions of people and shown in the White House.
- Generated thousands of media stories about Syria around the world.
- Unlocked tens of millions of dollars in aid through targeted advocacy.
- Placed key aspects of the conflict at the top of the political agenda.
- Raised millions of dollars in direct support for life-saving Syrian heroes.
- Built a community of more than 500,000 people across the world taking action in solidarity with Syria’s heroes.
In this push for mass perception management, Beeley, in her article, pinpointed what she believes are the three main defenders and peddlers of the White Helmets mythology. The Guardian, BBC, and Channel 4 are the outlets she focuses on, acknowledging many more like CNN and the Huffington Post. However, the British outlets mentioned above are those that she deems the most heavy purveyors of the White Helmets myth, a hypothesis which most likely bears out to be true. I highly recommend reading Beeley’s article to get a grasp of some of the individual players in each of these outlets as well as the scale to which they have gone in order to promote and defend the White Helmets.
But while these outlets promote and defend the White Helmets one question remains as to who is producing and funding them? Beeley’s article provides some answers. The first organization she mentions is Doc Society, formerly known as Britdoc, which is based in both New York and the UK. According to the organization, it is a “non profit, founded in 2005, committed to enabling great documentary films and connecting them to audiences globally.”
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