Halfway Out of the Dark
August 22, 2011
DETECTING AND UNDERSTANDING ILLUMINATI INTERFERENCE
left, a scene from "V is for Vendetta" -- "The most blatantly honest Illuminati project I have yet viewed."
(The author is a former professional movie critic.)
The Illuminati exert influence in popular visual media to an extraordinary extent. Every major film script that is in pre-production mode is submitted to key Illuminati subordinates whose role is to assess the script for potential alterations or insertions. These changes may be major or minor, depending on the material of the script.
Additionally, these subordinates comprise a tightly managed think tank which surveys the progress of Illuminati propaganda in global societies. The members make decisions about which themes are ready for further amplification in popular media. Then, detailed descriptions of desired creative projects are handed down to a further subordinate (but not necessarily knowledgeable) group of highly skilled writers, who create the scripts for these projects.
Different projects are created to target different sectors of the global population. That may seem logically obvious, but it's worth stating. Grossly blatant Illuminati messages are more often couched in films of excessive violence, sexual content, outright weirdness, and so on, in order to distract viewers from the fact that external ideas are being inserted forcefully into their minds.
Actually, that's not quite right: excessive violence, and such, activates a psychological openness to the receiving of ideas. The explanation for this is that once a viewer makes the decision to ACCEPT the violence and the sex, and so on, his or her mind remains open to the ideas that the film is meant to insert into their minds.
Very often, the decision is made not to insert any open messages into film projects. This is due to two very simple rules: too much openness exposes the process; and, gradual influence is far more powerful and effective in the long run. In the event that no open messages are going to be inserted, two other options remain which still allow for gradual influence to build.
The first is Signature Symbology. The Illuminati have, over time, generated a huge set of symbols and visual icons which, in partnership with the more blatant messages, exert an impressive (some would say frightening) measure of influence on public thought.
These are the Signatures of Illuminati interference in a project. When viewers see a symbol inserted into a film, this event draws up memories of past encounters with that symbol, and of any messages or themes attached to that symbol.
This is often what some people call an "unconscious" or "subliminal" process. I call it "unreflective", for the simple reason that most people are just not paying any attention to the influences that affect them deeply.
Of course everyone wants to leap on the "Illuminati eye" as a blatantly repetitive symbol these days. That's a misguided judgment, and I'll get to that part soon. An example of a less obvious Signature Symbol is the gargoyle. Any film or other production featuring even brief glimpses of gargoyles is announcing that it has the Illuminati stamp of approval.
The second option is influence over the music attached to a project. Film music - well, music in general - holds a powerful influence over viewers and listeners. Similar musical themes across various projects excite unreflective (or subliminal) memories even more deeply than do visual symbols.
One of the tactics of the Illuminati is to present a large set of what we could call Distraction Symbols. The very name "Illuminati" is itself a Distraction Symbol. Distraction Symbols are meant to occupy the attention of both the mildly curious thinkers and the overly excitable conspiracy theorists.
Oftentimes, Distraction Symbols are in fact genuine signature symbols, but the publicly presented meanings of these symbols are well-planned and tightly controlled propaganda. The meanings of Distraction Symbols have been either completely falsified or else skewed just enough to push amateur analysts in the wrong directions.
Let's ask some questions. What do the Illuminati wish to accomplish? What do the subordinate participants in Illuminati projects wish to accomplish? What are the major themes the Illuminati focus on presenting? Why have they selected these particular themes?
WHO ARE ILLUMINATI?
There is no actual body of persons calling themselves the Illuminati. There DOES exist an actual body of persons telling everyone to CALL them "the Illuminati", but this is not what they call themselves. Nor is their character equal to the propaganda they have sponsored that purportedly describes "the Illuminati".
The most blatantly honest Illuminati project I have yet viewed is V for Vendetta, directed by James McTeigue, left, starring Natalie Portman and Hugo Weaving. By the way, all three of these people are key production elements in major and obvious Illuminati film projects. (McTeigue also directed The Matrix (1999); Matrix Reloaded (2003) Star Wars - Attack of the Clones (2002)
This film was set in Great Britain, but it contains multiple Illuminati admissions of direct responsibility for events which have already occurred in the United States, and in the U.K., including both the destruction of the Twin Towers and the subway bombings in England. There are also announcements of future plans. Civil war in the U.S. is a feature element, as is the use of viral infection, over nuclear warfare, to reduce the population. To paraphrase: "Nuclear war is irrelevant in a world where a virus can destroy an entire population while leaving its treasures intact.
There is a scene in V for Vendetta where the central figures of the film, a man dressed in black and wearing a smiling mask (a Guy Fawkes mask, you can look it up, or watch the film), and a woman named Evie (after Eve, the symbolic Mother of Humankind), perform the following exchange:
Evie: How strange that I suddenly see your face everywhere.... I don't understand.
Evie: How you can be one of the most important things that has ever happened to me, and yet I know almost nothing about you. I don't know where you were born, who your parents were, if you had any brothers or sisters... I don't even know what you really look like.
V: There is a face beneath this mask, but it's not me. I am no more that face than the muscles beneath it, or the bones beneath that.
This is Illuminatis' admission that their public representation of themselves is a very deliberate sham. They have intended all along to keep their membership, their ultimate intentions, and their core character as hidden as necessary. Therefore, if we examine what they present in overly forceful ways, we can discover what they are not. Conversely, if we examine their more subtle touches, we can discover what they are willing to admit to - that is, what they MUST admit to, in order to build the future they have planned for Humanity.
Here we come to the issue of SEEDING. This is it. This is what Illuminati influence in public media is all about. The Illuminati are - like it or not - causing and controlling change, globally, but they are not doing that only by means of instigating economic crises and violent international conflicts.
The Illuminati are seeding the public with notions that gradually grow larger and more influential over time. They did it with Feminism; they did it with flexi-sexuality; they are doing it with anti-religion and with child sexualization now. They do this because the future society they have planned must be structured differently from what we all know now. A different structure requires citizens with different thinking who will accept that structure.
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