Thereupon Lina concentrates on the course of events leading up to the November coup of , the so-called Russian Revolution. He also exposes that network of family and other personal relationships which made it possible for very influential, chiefly Jewish financial groups to operate across the borders of the two combating blocs of the First World War. His description of the time after is chiefly devoted to the nameless mass terror, which the Soviet Power directed against the defenseless population, including the destruction of the Russian intelligentsia, and the annihilation of the Russian culture.
Why did the bolsheviks nourish such a deep-set hatred of everything Russian, desiring to destroy it even to the extent that it threatened their own material existence? According to Lina, the reason for this was that the majority of the Bolshevik leadership were not Russians at all but extremist Jews. This is a fact that some debaters feel is controversial. Lina, however, presents detailed evidence that is very difficult to dismiss.
Still, many a reader may find it very difficult to conceive the fact that a powerful empire in our century could so easily fall prey to ruthless gangsters who immediately set out to slaughter tens of millions of innocent people, organized mass famine Ukraine and Northern Caucasia, in , to say nothing of the rest. Anyhow, the facts are there.
The fall of Soviet Power on 24 August made it possible, for the first time, to publicize lots of secret materials about this power and its abusers during more than 70 years. The last chapter of his book he devotes to the fate of his fatherland under Soviet Power, and To cite just an instance: When Soviet Russia occupied Estonia for the first time, in , this was preceded by diverse underground activities by the Estonian Communist Party. These were without much effect, however, mainly because the party was so small in numbers.
That is to say, there was a majority of Jews in the Communist fifth column that attempted to overthrow the Estonian Republic, while at the same time the Jews were not more than 0,4 per cent of the total population. Here, Lina bases his presentation on his own research into the archives of Estonian KGB, now open to researchers.
It is also very upsetting to read about this mass of human suffering — what else could we expect? By Michael Tozer on May 17, But those who have the wherewithal to acquire it will have in their hands one of the absolute keys to understanding modern world history. Between these covers, Lina reveals the result of extensive research into the newly released Soviet archives.
With this, he exposes the truth behind the bloody Soviet regime and, most importantly, the international conspiracy that created and supported it. This book is priced to high for the important content it contains but at least it is available. Take the time to read this book slowly and let the information sink in. What happened in Russia can happen right here in the good old USA. I look forward to Architects of Deception also by Juri Lina once my savings are in order.
If you are looking for another version of history that is well documented you will find this book excellent. First, I want to tell you that I think you are a hero to many people. I wish you could sue the international banksters for their role in creating bolshevism that murdered millions while those at the top got rich.
Your life experiences to me are a tribute to your greatness and deserve compensation from the international snakes who hae ruined millions of lives. God Bless You,. An American Brother. The third edition of your book arrived safely yesterday. I thank you for the secure packaging and prompt shipping. I admire your intellect and organization skills in gathering so much detail and shaping it into such an amazing book. I consider this book to be the most important book published in the past two hundred years.
I wish you the greatest success in selling this important work. I am a retired officer of the US Navy. I spent the best years of my adult life in the service of my country. It is only in recent years that I have found the truths about the evil and horrible nature of the Satanic Illuminati mostly Jews and Freemasons. They have made money by causing wars, and backing both sides. I am so sad that these Satanists have totally infiltrated all levels of the US government.
I have a friend in Moscow who, based on my recommendation, found your book and is reading it. This person was born in I know that the evil murderer Stalin was able to hide his evil from most of the Russian population. I hope that Putin will stand up to, and defeat the New World Order.
No response is necessary. I am sure you are a busy man. An American reader William A. And on Sunday the 14th, Lt. I suspect the doctor was because Heghdal had memorized the names of the other or so captives. At into an act of creative friendship. Sometimes and being delayed would put them in Vinh Linh on the 16th at the earliest, Decades after his release, watching television in a Canadian hotel room, he Hegdhal doing chores.
They were then pulled out and told I know it as Bomb Crater. Sometimes, Fish Pond. The Hobson The closest both geographically and tem- ignoring the North Vietnamese soldiers waving and shout- until his decree of 15 March He ing them away. On the occurs near the end; etc. His other and European views on the Vietnam War. American doctors removed 5 Interview conducted by Dr. All further quo- Insights: War. But it is hard to archive digital media and it is extremely representing that emotion.
Then I select that image as the best. And expensive to put that on 35mm yourself. Incredibly disappointing! The same approach applies to all phenomena in the film? Leonard: Absolutely. A holistic view is my starting point. The whole is Is there more interest among filmmakers to archive their own films? I find that a big problem, that documen- Hollandse Nieuwe Raw Herring, gle shot cinema. And I do that with an orbital camera movement. For a taries are evaluated according to their subject. I find the form and the Subject-oriented to the next element in an organic manner.
You must have the freedom films soon become dated. Unless they are very well filmed. I always want to weave, as it were, into the situation with your camera, and to dance to have the subject that goes deeper than just one issue to do with along with the event itself. Even with films such as Promised Paradise, which is about terrorism in Jakarta and about the bomb attack on Bali, I want People no longer accept manipulation through editing and cutting.
I want to talk about the manner in which It offers so much additional value. So that it provides a portrait of an era which is actually a ing smaller. Only when the camera is no longer a physical thing do we piece of history and that, hopefully, will be picked up in the future as finally have the freedom that film can actually offer.
The disappearance teaching material or suchlike. Do you have any idea where your approach comes from? The single-shot technique and now the collective-shot technique Leonard: My father was a great storyteller. I was just seven and I often were both developed further by you. They present an amazing new heard the stories he told about Indonesia, before and during the war opportunity for documentary film technique but also for feature and during the Bersiap Dutch name for violent and chaotic phase of the films.
The funny Leonard: Yes. Especially the collective-shot technique. I would like to thing is that he told the same stories to other people but slightly differ- make a feature film in which the actors also handle the camera them- ent each time. The form and content varied in the interaction with the selves. And where there is no dividing line between crew and cast.
So person listening. Are there other films of which that the two melt into one world. In a recent experiment at the New hundred ways. Subjectivity goes further than that. If I tell the story right Were you commissioned to make that film? And Leonard: Yes, it was commissioned by the EO, a Dutch television chan- Leonard: No, it is mainly the entire tradition of documentary filmmak- between what actors are doing and what the technical crew is doing.
I found that bit very fascinating in nel Evangelical Broadcasting Association and paid for by the fishing ers that I think about. And especially Ivens for his courage in making Each act always proceeded through the rhythm of the metronome.
That itself. But the problem with film is that you capture it and it is then an industry. I found the subject interesting because it fits entirely into the Indonesia Calling! An anti-Dutch film, then. I was also threatened when method lets you record a long scene in a single shot. I considered not using the material. Is Each one of your images is anecdotal.
It provides a layer, a meaning, ing Breakers. Grierson filmed the Scottish fishermen during a time it is. The aim of Drifters revealing this. I hope they do not come after me. Leonard: Yes. An image should consist of several layers. That way it can be was to show that the craft was disappearing and becoming completely Leonard: Yes. But people always act.
That is one problem that makes the interpreted in different ways by the viewer and by me as well. I often do mechanised. In my film you can see the fishermen using machines to But do the threats continue? On the other hand, nowadays there are camer- not even know why I want to use a particular image and also at a certain empty the ocean of fish.
After all, the Dutch fished in the fishing area Leonard: Yes, the threat still exists. However, I think the issue is impor- as hanging everywhere and people are either constantly acting, because spot. I find that out later on. Filming intuitively then. Something Joris Ivens did too. Joris Ivens situated Branding just as you did, in Katwijk, the Neth- If you keep on dumping copious amounts of fish back into the sea, in Leonard: Yes.
Film academies often teach: You have to focus right away erlands. Do you notice that assignments are easier to come by because of your on what you want to shoot, and in my view that is wrong. Ivens knew material with the immaterial. That is also a prominent feature in success? He then used his your film. Did you receive any comments or censorship from your direct com- Leonard: I get asked regularly anyway, but I only pick the subjects that intuition in order to make a choice. How they deal with the missioner in relation to this?
I am now looking at how I can apply 3D to my research my relationship is to what Ivens did: his manner of focussing and what world around them influenced by new technologies. Ivens did that too. Leonard: Yes, he was actually afraid because he had drawn up a contract and my work at the university. A ridiculous contract in which he gave them editorial power. And I like focus is and then I start filming. I then reported him to the Film Fund.
There they said, this that because you can take another step forward. And I also find that my your hands as it were. I use reality You see opportunities for 3D and documentary? And I do this according to my own Leonard: Absolutely. With just a small camera you can already film in 3D.
There is a paral- about your collective-shot by the participants themselves. The point is in fact: the cameras things when you actually participate in an event. Images of nature, metaphors such as a star that turns out to should not be too large. There is a really tiny camera available now called Alex Vernon is assistant professor of English and chair the film about herring fishing as well. In the end, however, I realised that be a dewdrop, for example, in your new film footage of fish, sun, Iconics.
Doctors use them in operations to see where they need to make of American Studies at Hendrix College in Conway, things were very different from my preconceived ideas. My initial sym- twinkling, beating of the waves. You can only see this if you realise incisions in 3D. Editor of Arms and the Self: War, the Military and Autobiographical Writing Kent State University pathy for the fishermen due to the idea of a vanishing craft gave way to that everything is related.
Press, , author of Most succinctly Bred , mixed feelings when I saw that they had tons of dead fish which they Leonard: I found it symbolic that the wave of the wake cuts through the All of these technical innovations come from aerospace, the military Soldiers Once and Still: Ernest Hemingway, James Salter, just threw back into the sea.
If you have mixed feelings after seeing the virginity of the water. His book film it is because I felt that way. Leonard: Yes, if it can give us that freedom: make use of it! Are you published in Spring Back to the tradition a moment. You belong to the fourth genera- sensitive to that?
I see a book lying here about archives. Do you ever think about your tion of Dutch documentary filmmakers. You developed a new tech- Leonard: I try to translate my emotion into image. I have a feeling, look film legacy? Music and film can blend together in this way. At the same time I have the possibility, especially since I am not using the real ambi- ent sound, to highlight the role of music in the film.
The result of this concept is as follows: each element is paired with a sustained chord and some elements are also musically accentuated, which I see as an artificial ambient sound. As the film progresses these two lay- ers blend more and more together to an extent that their clear roles at the beginning are at the end more ambiguous. Also, elements of the film that are musically accentuated become increasingly frequent as time passes.
For instance, the same cello pizzicato can be heard in the following dif- ferent contexts: indicating a new scene; accentuating an ac- tion in the film window closing, footsteps, raindrops, wind- shield wipers, an umbrella closing, ect.
I setup the work as follows so that this ambi- guity would be effective: I first developed a tempo matrix of eighth notes using a computer program coupled with the A NEW length of each element that I analysed. Coll EFJI. Class mates of Joris Ivens, The first half of the film was composed with this method front row, second from in mind. This work was part of the grand opening concert for the Studio for patterns which occur during an scene change or an action Dedicated to movement and the moving image only a old, already married and had two children.
During this con- in the film. Some five vintage prints are part of the Joris for this secretarial function. The only practical on purpose or not. This number of photos has been extended against the wishes of his boss Mr. In Edwin Doorenbos left to the stark contextual dependency of the film. On the backside he himself put his personal U.
Also hand traditional costumes, earning money by singing on the Opening night of the Studio The beginning of my compositional process was the anal- is my wish that the viewer will hopefully observe new details written dates and names are mentioned. I looked at an array of different elements in the film and the music that they normally would not have. Edwin Doorenbos is best for instance ; repeating motives flowing water, rain drops ; his juvenile love affairs.
We see Joris and his friends in April known for acting in Komedie om geld The trouble with the variety of machines airplanes, cars, trams, bicycles, The composition and concept ous motives that span throughout the film I admit that this remind us of the paintings and photos of Dutch painter type of analysis provokes this result.
At this point I want Alexander Grebtschenko was Breitner, 20 years earlier. The photo proofs that young to make clear that I purposefully ignored any extraneous born in , in Varna, Bulgaria. Ivens was aware of art and found some satisfaction in He studied composition with Prof. I wanted to inform my view- Cornelius Schwehr and Electronic aesthetics. I had not given any Music with Prof. It was easy to see that the evocativeness of Regen Freiburg.
From to he name, used by his family and given to him by his parents. My next step was to find sic at the Musikschule Konstanz. His love Anna moved to The Hague two months after these or create an exigency for the film music as I never had the Currently, Grebtschenko works photos were taken. After graduating from school she found intention of creating an atmospheric music for this film. At the age of the silent film, which helps lend a more realistic depiction schule Freiburg.
In The Netherlands it was Jan de Vaal who managed the national film archive from until He started in with nothing, only an empty cupboard, and created during four decades a film collection of international prestige and importance. The Ivens Foundation initiated the publication of a book about this Dutch film buff, who safeguarded Dutch film heritage. Mirjam van Kempen-van der Veldt started in with the writing of this book. Especially in the beginning, when he was First of all, I just love digging through boxes and boxes of trying to set everything up, he tirelessly wrote an infinite Mirjam van Kempen at the old files and letters.
There are just thou- get films for his archive. These letters are a display of his sands of stories waiting to be told out there, and all you passion for film, a passion that transpires in all of his work. Cover of the book. The editorial board consists of it was always the more personal stories that fascinated me prof. Jan de Vaal with: the most. The stories of men in small town villages fighting dr.
Frank Kessler University of Utrecht , dr. The Ivens Foundation and EYE Film Insti- , Henri Langlois in a small make-shift cinema, the stories of filmmakers try- tute Netherlands are preparing a special presentation at Antibes , Alberto de ing to get recognition for their hard work against all odds.
Juliana and chairman Willem de Vaal I quickly recognized the potential of the subject. Yes, Sandberg , Joris Ivens it is a personal story, but through this story another story Can you explain what was go- ing on exactly?
The post-war Dutch film culture is defined by a schism between the commercial circuit and what I like to call the alternative circuit. After the war, there was an eruption of activities re- garding film.
These initiatives shared a focus on film as a form of art. He had the films, the connections and the passion and work ethic to bring it all together. I aim to give insight into the most important players and their broad scope of activities, from distribution to education, ex- Jan de Vaal, 17 december Of course I have discovered numerous hidden plots and A book on the history of the Dutch national film archive.
But actually, the thing that I Filmmuseum, She Owen, sadistically clubbing the head of a mar- escape his second wife, Pauline Pfeiffer, and be- Federation of Film Archives. She is a co-founder of tempts to offer a glimpse into the tempestuous Jerry Stahl, were not interested in presenting famous macho image.
The same counts documentary is rarely discussed or fully ap- In this article the conflict is reconstructed from , Journal of Film Preservation and Archives. However, as in the case of the portrayal secretary of FIAF she functioned as a catalyst of Filmtheater. Fiction mixed with docu- and ever growing association of film archives.
Gellhorn, portrayed by the citing bar in some kind of exotic country. They ited acting experience of Metallica drummer mentary film. Since the European Foundation is asso- Michelle.
Beautifully written and a compelling actress Nicole Kidman, certainly deserves rec- were on a very risky mission trying to counter- Lars Ulrich, who portrays Ivens, contributes to ciate of FIAF. Marion Michelle, who fell in love story. The film does an admirable job of demonstrat- Instead, the screenwriters chose to regurgitate er than a renowned and experienced director.
She covering the Russian invasion of Finland, stow- self-serving braggart who is constantly drunk, tunately it is at the cost of yet another myopic has presented papers on Hemingway and ing away on a hospital ship in order to report sarcastic and combative.
Rarely is Hemingway view of Ernest Hemingway. While it is undeni- the Spanish Civil War at five International on the D-day invasions, and cowering in hor- seen actually plying his craft at his typewriter. It is also true ic, and has contributed a chapter to a new Allied troops. Civil War. The screenwriters missed the oppor- that both Hemingway and Gellhorn had very book on Hemingway entitled Hemingway We like to think of historical docu-dramas tunity to accurately render what is a fascinat- strong and competitive personalities and that in Context Kaganowich played on Stalin's paranoia to murder over 20 million Communist party leaders, functionaries, and army officers, especially those aware of his nefarious deeds.
Stalin and Kaganovich were after their rivals' gold. Satan and God are united in Yahweh. At the peak of Stalin and Kaganovich's terror in , executions reached 40, a month. Alexander Solzhenitsyn estimated a million executed and another two million died in death camps. Literaturnaya Rossiya estimated total deaths due to murder, induced starvation and maltreatment at million, five million a year for the period Lina points out that many killed were women and children who were classed as "enemies of the people.
Huge mass graves surround the major cities of the USSR. One containing , bodies was found in Kuropaty, six miles from Minsk. Every night from to June , the NKVD lined people up at the grave side, gagged abd blind-folded. To save bullets, the executioners tried to kill two people with one shot. The West considered all this to be normal. Bernard Shaw said nations had the right to eliminate undesirables. The historian Nikolai Tolstoi claims that half of these were actually killed by the Bolsheviks and blamed on the Nazis.
During campaigns against counter revolutionaries in another five million people were murdered. Video Audio icon An illustration of an audio speaker. Audio Software icon An illustration of a 3. Software Images icon An illustration of two photographs.
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