Trong thâm tâm, Beo rất thích và tôn trọng luật sư Dương Hà. Bởi có một cái tích đồng cảm thế này.
Ngày ấy, Dương Thu Hương vừa ra tù. Phương tiện truyền thông ngoài luồng duy nhất là viết ra giấy, photocopy rồi tự tay phát tán. Và thư chửi tất cả những người Hương nghi, nghĩ là hại mình bay như bươm bướm. Beo nhớ nhất là bức chửi Nguyễn Quang Sáng, toàn nhấn vào điểm yếu nhất về...hình thể của nhà văn này để đay nghiến.
Đương nhiên, ăn chửi nhiều nhất là công an.
Hương vào Sài gòn. Hội trí thức yêu nước, lúc ấy trụ sở ở đường Nguyễn Thông, đón Hương và tung hô như nguyên thủ.
Hương và Nhật Tuấn-đương kim phu quân của Beo khi ấy- dẫn nhau đi Đà lạt. Giai Xinh bé tẹo teo và Gái Đẹp đang nghênh ngang nằm trong bụng.
Anh chị tí toáy thế nào, công an chụp được hình (miễn tả).
Một chú A 25 mang tấm hình ấy đưa cho Beo, kích Beo bôi nhọ Hương.
Beo xé bức hình. Thản nhiên sau đó mời cơm Hương. Hương, rất tự chọng, không đến.
Cho tới tận giờ, cả hai đương sự chắc chắn chưa hề biết câu chuyện bức ảnh Đà lạt ngày ấy.
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Vụ án Cù kon nổ ra bắt đầu bằng câu chuyện hai cái bao cao su.
Hãy nhìn bức hình. Có người đàn bà nào trên đời tin rằng chồng mình ăn mặc thế kia để vô tư làm việc với khách từ 8h tối đến 12 h đêm, trong phòng khách sạn máy lạnh chạy vù vù.
Thế mà có, Dương Hà.
Ngay sau đó, để bảo vệ danh dự chồng, Hà đã đưa cô gái ra Hà nội, chụp hình chung rồi tung lên mạng.
Beo suy ra từ mình, đó là những thời khắc cực kì đau đớn và khó khăn. Nó giật thon thót như bị dao cau cứa vào tay.
Có một điều ít ai biết, người quyết định dứt khoát không cho khai thác chi tiết hai cái bao cao su trong vụ án Cù kon chính là tướng Hưởng. Trả lời Beo, ông nói: Con bé ấy nó chưa có chồng, làm thế vô đạo đức.
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Dương Hà mắc sai lầm nghiêm trọng khi tung tin Cù kon tuyệt thực trong tù.
Cơ quan chức năng cả chục ngày không đính chính, thì phải hiểu ra ngay đó là sự im lặng đáng sợ. Phải hiểu rằng họ chờ toàn thể các loại rân trủ trong ngoài nước, ra hết đòn gió.
Nhãn tiền, các nhà rân trủ dính vố đau.
Dương Hà đau hơn cả. Đau hơn dao cau cứa vào tay. Vì giấy phép vào gặp Cù kon lần này không phải với tư cách vợ thăm chồng, mà là luật sư vào gặp thân chủ. Bịa thêm bất cứ điều gì đều...mắc quai các quy phạm pháp luật.
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Đúng như những gì Beo đã nhận định trên blog này cách nay ba bốn năm, phong trào rân trủ nửa mùa ngày càng xuống cấp thảm hại. Phải dụng phải tung hô đến những Đức những Hằng thì quả, không có cách tự diệt nào tốt hơn nữa.
Thuở bô-shit nổi lên, Beo dùng từ thần kinh chính trị. Cho đến thời điểm này, chính trị chết hẳn chỉ còn thần kinh. Quá nhanh trong định lượng của Beo và quá ngắn cho cái gọi là: phong trào rân trủ.
Trong Thế chiến thứ hai, một mặt trận không kém phần khốc liệt và góp phần mang đến chiến thắng cho Hồng quân Liên Xô, đó chính là cuộc chiến tuyên truyền. Sử dụng những bức ảnh của đối phương, với kỹ thuật bấy giờ chủ yếu là chỉnh sửa, xử lý ảnh trong phòng tối và áp dụng các phương pháp vẽ tay, cắt dán, sau đó chụp lại để có phiên bản của một bức ảnh khác theo ý đồ muốn tuyên truyền.
Một công việc mà ngày nay mọi người có thể thực hiện dễ dàng với phần mềm Photoshop, các nhiếp ảnh gia ngày ấy phải mất không ít thời gian để chọn lựa những bức ảnh phù hợp và ghép lại sao cho những đối tượng trong bức ảnh có góc chụp, ánh sáng và tương tác với nhau trông thật nhất. Kết quả của họ thật ấn tượng. Mời các bạn cùng xem những bức ảnh dưới đây, nếu không nhìn thấy ảnh gốc chắc chắn bạn không thể phân biệt các bức ảnh đã được chỉnh sửa.
Một sĩ quan Đức bên cạnh một cây súng máy, được chỉnh sửa thành bức ảnh hành quyết nữ tù binh hồng quân Liên Xô
Một sĩ quan Đức được vinh danh trên chiến xa Tiger trong ảnh đã được biến đổi thành giá treo cổ
Một bức ảnh tù nhân bình thường bên trong một nhà bếp trở thành cảnh lò thiêu xác
Hai anh chàng lính trong ảnh bên một ngôi làng trở thành tội đồ cũng vì cười quá cỡ
Lính Đức cạnh một nông dân Nga trở thành kẻ hành quyết
Bức ảnh quá phù hợp để ghép một cảnh treo cổ nữ y tá Hồng quân
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Dù không dan nguồn như chỉ với vai click là ra nguồn:
CHẾ TÁC ẢNHCỦACHIẾN TRANH THẾ GIỚI II Una de las fotos más conocidas es la de la bandera comunista sobre el Reichstag y que ha sido retocada bastante, añadiendo el humo para potenciar su dramatismo y eliminando los relojes que llevaba el soldado que sujeta al que sostiene la bandera. Một trong những bức ảnh nổi tiếng nhất là lá cờ cộng sản trên Reichstag, đã được sửa lại thêm đủ khói để tăng cường kịch tính và loại bỏ chiếc đồng hồ của người lính cầm cờ. A continuación podrás ver algunas fotos, menos conocidas, tomadas durante la Segunda Guerra Mundial que también sufrieron montaje. Dưới đây bạn sẽ thấy một số hình ảnh, ít được biết đến, được chụp trong Thế chiến II, người cũng bị lắp ráp. La primera imagen es la retocada y la segunda es la original.Hình ảnhtrênđã đượcsửa lạivà dướilà bản gốc.
Whenever anyone questions the extent of Nazi atrocities and the “Holocaust” the jew zionist controlled main stream media always trot out photos as evidence. - Bất cứ khi nàocó aiđặt câu hỏi vềmức độtàn bạocủa Đức Quốc xãvà "Holocaust"là cácphương tiện truyền thôngdòng chính do người Do Tháiphục quốc kiểm soátluôntrưngra những bức ảnhlàm bằng chứng. (Và, những bức ảnh này cũng đã xuát hiện trên mạng TQ trong những dịp người TQ lên án Nhật Bản: http://www.fmjsy.com/zixun/8771/erzhanqijianbeijianfunvtupian.html) However modern techniques are now exposing many of these photos as fakes. - Tuy nhiên nhờ kỹ thuậthiện đại, bây giờđãphơi bàyrất nhiều nhữngbức ảnh là hàng giả.
Here is a small sample below to show how it was done: - Dưới đâylà vài mẫu nhỏ cho thấynóđã được thực hiệnnhư thế nào:
Dino A Brugioni: Photo Fakery: The History and Techniques of Photographic Deception and Manipulation -Man trá Làm giả Ảnh: Lịch sửvà Kỹ thuật củanhiếp ảnh Lừa dốivà Thao túng
Dino A. Brugioni was one of the founders of the CIA’s National Photographic Interpretation Center. - Brugionilà một trongnhững người sáng lậpTrung tâm Phân tích Nhiếp ảnh Quốc giacủaCIA. He also co-authored the CIA’s “Retrospective Analysis of the Auschwitz-Birkenau Extermination Complex.” - Ông cũnglà đồng tác giả"Hồi tưởngPhân tích vềphức hợptrại Tập trung Hủy diệt Auschwitz-Birkenau." củaCIA.In the “About the Author” section of this book it notes that he “became the CIA expert in photo fakery and photo manipulation.” - Trong "Về tác giả" củacuốn sách nàycóghi chú rằng ông"đã trở thànhchuyên giaCIAtrongman trá làm giả ảnh trá vàthao túng hình ảnh."
Of course this topic is of interest to revisionists. - Tất nhiênchủ đề này làmối quan tâm của nhữngngười xét lại. It is doubly interesting in that the self-admitted CIA expert in photo fakery is also the one who wrote the CIA’s report based on aerial photos to prove the Holocaust. - Thú vị nhân đôiở chỗ làcácchuyên giaCIAtựthừa nhận man trá làm giảảnhcũnglàmột trong những ngườiviếtbáo cáo củaCIAdựatrên những bức ảnhtừ trên khôngđể chứng minh Holocaust.
Brugioni was hired by the CIA in 1948 - Brugioniđược thuê bởiCIAvào năm 1948. He notes that - Ông ta lưu ý rằng:
“it became immediately apparent to me, even as a neophyte in the intelligence game, that the Soviets had embarked on a massive program of misinformation during the war years. - nóngay lập tứctrở nênrõ ràngvới tôi, như mộtngười mới vào nghềtrong trò chơitình báo,rằng Liên Xôđãbắt tay vàomột chương trình thông tin sai lạclớntrongnhững năm chiến tranh.On reviewing still photos, I found that the Soviets had used heavy brush techniques to delete details of their weapons. - Rà soátcác hình ảnh tĩnh, tôi thấyrằng Liên Xôđã sử dụngkỹ thuậtchảinặng đểxóa các chi tiếtvềvũ khí của họ. Care had also been taken to portray their leaders in the most favorable light. - Tương tựcũng đã đượcthực hiện đểmiêu tảcác nhà lãnh đạocủa họtrong ánh sángthuận lợi nhất. Reviewing Soviet newsreels, I found that many battle scenes had been deliberately staged; often, dramatic scenes of one battle would be superimposed to show up in films of other battles. - Xem xét phim thờiXô viết,tôi thấy rằng nhiềucảnh chiến đấuđãđượccố tìnhdàn dựng;thường là,những cảnh ấn tượngcủa mộttrận chiến sẽxếp chồngđể hiển thị trongphim củacác trận chiến khác”
With this said, Brugioni attempts to lead the uninitiated and the neophytes through the history and techniques of photo fakery. - Với điều này,Brugioninỗ lựcđể dẫn dắt người mới vào nghềthông qua lịch sửvà các kỹ thuậtvềman trá làm giảảnh. The book is filled with photographic fakes. - Cuốn sáchchứa đầygiả mạonhiếp ảnh.Interestingly the 5th chapter, entitled “Spotting Fakes” includes a discussion of the concentration camps and Brugioni’s work on the subject. - Điều thú vị làchương5,mang tên "Phát hiện ra Giả mạo" bao gồmmộtcuộc thảo luận vềcác trại tập trungvà công việcBrugionivề đề tài này.
Note that Brugioni in no way claims that these aerial photos are faked - Lưu ý rằngBrugionikhông có cách nàocho rằng nhữnghình ảnhtrên khôngbị làm giả— although it strikes me as incredibly odd that they conclude his chapter on “spotting fakes.” It almost strikes one as a sort of game or challenge on the part of Brugioni.
The specific photos included in this chapter are one of Belsen after the British burned the barracks. - Những hình ảnh cụ thể bao gồm trong chương này là một trong số Belsen sau khi người Anh đốt doanh trại. It is followed by the same photo run through various stages of computer enhancement to “reconstruct” the camp from the ash left from the burned buildings. - Được theo sau bởi cùng một hình ảnh chạy qua các giai đoạn khác nhau của việc tăng cường tính toán để "tái tạo" trại từ tro tàn các tòa nhà bị đốt cháy. Brugioni also includes an aerial shot of Belzec. -
Brugionicũng bao gồmmột ảnh Belzectừ trên không. He notes that the photo “revealed the massive pits where the bodies were buried.” - Ông lưu ý rằng những hình ảnh "tiết lộ những chiếc hố khổng lồ nơi các thi thể được chôn cất." He also includes one shot of the Birkenau camp from 25 August 1944 and one of Auschwitz I from the same date. In his text he notes - Ông cũngbao gồm mộtảnhtrạiBirkenautừ25 tháng tám năm 1944và là một ảnhAuschwitzI cùng một ngày. Trongvăn bảncủa mình, ônglưu ý:
“In 1978, photo interpreter Robert Poirier and I discovered World War II aerial photos of the Auschwitz-Birkenau death camp that had inadvertently been taken on leader film during an Allied reconnaissance mission against the nearby I.G. Farben Synthetic Rubber and Fuel Plant. Using a variety of density slicing and enlargement techniques, Holocaust victims who had arrived in boxcars at Auschwitz could be seen being marched to their deaths in the gas chamber. Others could be seen lined up at a processing center for slave labor assignments. - Năm 1978,thông dịchhình ảnhRobertPoiriervàtôi khám phá ra không ảnhChiến tranh Thế giớiIIvề những cái chết ởtrạiAuschwitz-Birkenaumàđãvô tìnhđượcchụp trongmộtphi vụ trinh sátcủa Đồng minhchống lạiI.Glân cậnFarbenRubberSyntheticvà nhà máynhiên liệu. Sử dụng mộtloạt cácmậtcắtvà kỹ thuậtmở rộng,những nạn nhânHolocaust,những ngườiđã đếnAuschwitztrong xe thùng có thểnhìn thấy đượchọ đi đếncái chết của họtrongcácphòng hơi ngạt. Những người kháccó thể đượcnhìn thấy xếp hàng tạimộttrung tâm phân công những nhiệm vụlao động khổ sai."
An examination of these two photos in comparison with the CIA report is interesting. Neither picture matches that in the CIA report. The photo in the new book of Birkenau might be the same photo that is labeled No. 4 on page 9 of the CIA report.
The Auschwitz I photo is closest to Photo No. 2 on page 7 of the CIA report. The Birkenau photo. In Photo Fakery the picture is cropped very differently (if it is the same photo).
The labels are also different. In Photo Fakery much more of the Women’s Camp is shown and the “Gas chambers” are at the very far right of the photo. Actually you can not even see the extreme right of KII or KIII. The photo goes right into the binding of the book. Therefore the Undressing Room which is clear in the CIA report (KIII) is not shown in Photo Fakery. In Photo Fakery there is a label reading “Gas Chamber Crematorium” which points to the thick line (fence? hedgerow?) behind KII.
The label in the CIA report that says “Engine Room” and points to KIII is now labed “Crematorium.” The label in CIA that reads “Prisoners on way to Gas Chambers” now reads “Group on way to Gas Chamber.”
Although the labels are different and the cropping is very different the prisoners seems to match up exactly. Therefore it seems that Brugioni chose to use the same photo in both books but to alter its appearance in the new book. The odd alleged “Zyklon openings” in KIII clearly visible in the CIA report are now off of the photo entirely. It’s not that they don’t appear, it’s that the photo is cropped to exclude them.
The four “dots” that line up behind KII are still visible in the new book. Note that the photo under discussion appears to be the same photo in John Ball’s “Air Photo Evidence” page 40. The new book crops it from “Prisoners undergoing disinfection” and cuts off at the vents of KII and KIII. The Auschwitz I photo is similar to Photo 2 from CIA.
However in the CIA report it claims the photo is from 4 April 1944 in Photo Fakery it is labeled 25 August 1944. The photo in Photo Fakery is on an angle. Whereas in CIA the barracks are straight up, they appear at an angle in Photo Fakery. All labels are different. Otherwise the photos cover the exact same section of the camp.
This photo is similar to John Ball’s on page 44. However the photo in Photo Fakery is upside down and cropped to only show the far right of this view. Actually there are details in Photo Fakery which go further to the right than the photo in Ball’s book.
A final word from Brugioni on False Captioning:
“The falsely captioned photo differs from other groups of fake photos in that, although the photography has not been altered, the context of what the photograph purportedly conveys is simply falsified. Proper captioning of a photograph includes descriptive data regarding the ‘who, what, where, when, and why’ of the subject or scene. In falsely captioned photos only one or more of these elements is usually mentioned. This type of fake is frequently used in criminal cases to trap defendants who have tried to silence witnesses from testifying against them.”
One wonders is that “group on way to Gas chamber” “Prsioners on way to gas chambers” or “Prisoners on way to Barracks” or “Group out on morning jog?”
During
World War II, the Allies and the Axis powers made heavy use of radio
for propaganda purposes. Most of this spin was aimed at their own
populations, but some was tailor made for consumption by enemy soldiers
and civilians. Both sides recruited native speakers to broadcast radio
messages to the opposition in the hopes of spreading disinformation and
sowing discontent. These mysterious radio personalities became minor
celebrities during the war, and some were even arrested and branded as
traitors when the fighting ended. Find out more about six World War II
broadcasters who used the radio waves as a weapon.
1. Axis Sally (Mildred Gillars) Several
American Nazi sympathizers worked as broadcasters for German state
radio, but perhaps none was as famous as Mildred Gillars. Born in Maine,
Gillars was a former Broadway showgirl who moved to Berlin in 1934. She
remained in Germany after the war broke out, and eventually became one
of the Third Reich’s most prominent radio personalities with “Home Sweet
Home,” a propaganda show directed at American troops. Gillars
broadcasted under the radio handle “Midge,” but American GIs soon gave
her a more infamous nickname: “Axis Sally.”
Gillars’ Axis Sally spoke in a friendly, conversational tone, but her
goal was to unsettle her listeners. One of her favorite tactics was to
mention the soldiers’ wives and girlfriends and then muse about whether
the women would remain faithful, “especially if you boys get all
mutilated and do not return in one piece.” Prior to the Allied invasion
of France, she also starred in a radio play, called “Vision of
Invasion,” as an American mother whose son needlessly drowns during the
attack. Like a lot of propaganda, Gillars’ radio shows rarely had their
desired effect—many GI’s only listened because they found them funny—but
she was still considered a traitor by the U.S. government. When the war
ended, the voice of Axis Sally was arrested and eventually spent 12
years behind bars. 2. Lord Haw Haw (William Joyce)
William Joyce, shortly after being captured in 1945. (Credit: Getty Images)
Beginning in 1939, millions of Britons regularly tuned in to a German
propaganda broadcast hosted by a smug Nazi sympathizer nicknamed “Lord
Haw Haw.” Several men were identified with the name, but it was most
famously associated with William Joyce, an American-born fascist who had
spent most of his life in the United Kingdom. Joyce was an outspoken
acolyte of Adolf Hitler who had fled to Berlin at the beginning of the
war. He soon joined the state broadcasting system, where he found an
outlet for his particularly fiery brand of rhetoric.
Speaking in a clipped, cosmopolitan British accent, Joyce’s Lord Haw
Haw dished out taunts and pro-Hitler rants intended to break the spirit
of his beleaguered listeners. In between chastising Jews and the British
government, he would gleefully report on the most recent casualties of
the Blitz, often warning his audience to expect further punishment from
the German Luftwaffe. Joyce’s influence waned in the later years of the
war, and he was eventually captured near Flensburg, Germany in 1945
after occupying British troops recognized his famous voice. Found guilty
of aiding the enemy, Britain’s most famous turncoat was executed by
hanging in January 1946. 3. Tokyo Rose (Iva Toguri) More
than a dozen female Japanese broadcasters were dubbed “Tokyo Rose,” but
the nickname was most famously linked to an American named Iva Toguri. A
native of Los Angeles, Toguri was stranded in Japan after World War II
broke out while she was visiting family members. She eventually took a
job at Radio Tokyo, where she found herself ushered into a role as an
on-air presenter. Using the handle “Orphan Ann,” the smoky-voiced Toguri
soon became a legend of the Pacific Theater. By late 1943, thousands of
GIs regularly tuned in to “The Zero Hour,” a radio show where she
played pop music in between slanted battle reports and put-downs aimed
at U.S. troops.
Toguri’s prominence saw her branded as one of the war’s most
notorious propagandists, but evidence shows that she was not a Japanese
sympathizer. Not only did she refuse to renounce her U.S. citizenship,
she often willfully undermined her anti-American radio scripts by
reading them in a playful, tongue-in-cheek fashion, even going so far as
to warn her listeners to expect a “subtle attack” on their morale.
Nevertheless, Toguri’s program became conflated with more vicious
propaganda, and she was arrested and convicted of treason after the
Japanese surrender. She was released from prison in 1956, but it would
take more than 20 years before she finally received an official
presidential pardon for her role in the war. 4. Sefton Delmer As
the head maestro of Britain’s “black propaganda” radio programs, Sefton
Delmer used cloak-and-dagger methods to turn the airwaves into a tool
for psychological warfare. Beginning in 1941, Delmer operated a phony
German radio station called Gustav Siegfried Eins, or GS1. Unlike most
propaganda outfits, which merely beamed their messages into enemy
territory, GS1 masqueraded as an actual Nazi radio station broadcasting
to fellow Germans from within the Fatherland.
To act as the voice of GS1, Delmer masterminded the creation of a
fake radio personality known as “Der Chef” (“The Chief”). Played by a
German defector named Peter Seckelmann, the character posed as a
high-ranking Nazi and loyal Hitler supporter who appeared disillusioned
with the rest of the party leadership. Der Chef built his credibility by
criticizing the British and the Russians, but he also railed against
Nazi officials and generals, helping to create the appearance of a rift
within the German high command. Among other tactics, the phantom
malcontent accused Nazi leaders of having tainted the party with acts of
sexual deviancy ranging from rape to pedophilia. To cement his role as a
persecuted patriot, Der Chef was even “assassinated” on air during
GS1’s final broadcast in late-1943. Delmer would go on to set up several
more propaganda stations including Soldatensender Calais, which posed
as a German station for troops in France, and Atlantiksender, which
spread targeted disinformation to Nazi U-boats in the Atlantic. 5. Philippe Henriot In
the dying days of the Nazi occupation of France, propagandist Philippe
Henriot lit up the airwaves with a series of pro-German radio broadcasts
aimed at pacifying the resistance. The French-born Henriot was a right
wing firebrand who had eagerly aligned himself with the collaborationist
Vichy government. In January 1944, he was appointed as the regime’s
chief propagandist and spin doctor.
An eloquent speaker, Henriot played on the anxieties of the French
people by arguing that the hardships they faced stemmed from their
continued association with the Allies and native resistance groups, whom
he labeled “terrorists.” He also used his radio programs as a platform
to counter the arguments espoused by the Free French Forces, who were
then broadcasting in exile from the BBC in London. Henriot’s twice-daily
radio shows were appointment listening for the French public—many of
whom called him the “French Goebbels”—but his influence was ultimately
short-lived. In June 1944, he was assassinated in a targeted hit by
French resistance fighters. 6. Fred W. Kaltenbach
Nazi Propaganda Minister Joseph Goebbels.
As early as 1939, Germany began hiring expatriate Americans to host
radio programs aimed at deterring U.S. intervention in the war. These
American-born fascists included Robert Henry Best, an ex-journalist who
used the handle “Mr. Guess Who,” and Jane Anderson, better known as “The
Georgia Peach.” Still, perhaps the most enthusiastic broadcaster was
Fred W. Kaltenbach. A former Iowa high school teacher, Kaltenbach had
been fired in 1936 after he tried to organize an American copy of the
Hitler Youth. Following his dismissal, he moved to Berlin and became
host of one of the first German radio programs produced for Americans.
He soon earned the nickname “Lord Hee Haw” for his homespun style and
similarity to the British propagandist “Lord Haw Haw.”
Kaltenbach’s show took the form of fictional letters to his American
friends back home in which he championed a policy of isolationism and
railed against the evils of Jews and the British Empire. After the
United States entered the conflict, he began broadcasting pro-Nazi news
stories along with attacks on Franklin D. Roosevelt, whom he labeled a
“warmonger.” Kaltenbach’s diatribes saw him charged with treason along
with seven other American propagandists, but he never faced trial.
Captured by the advancing Red Army, he disappeared shortly after the war
ended and was later reported to have died in Soviet custody.
Did You Know?
World
War II propaganda often masqueraded as traditional musical
entertainment. In 1940, Nazi propaganda minister Joseph Goebbels helped
create “Charlie and His Orchestra,” a swing and jazz band whose lyrics
glorified the German war effort and lampooned Allied leaders like
Winston Churchill and Franklin D. Roosevelt. The band recorded more than
250 tracks, many of which were broadcast to Allied servicemen in the
hopes of lowering morale.
The Soviet photographer Schekoldin was taking
photos of people in the USSR. - Nhà nhiếp ảnhLiên XôSchekoldinđãchụp ảnh mọi ngườiở Liên Xô. As it is was reported in the article, he
was taking his photos but was not publishing them as they for sure were
different from the propaganda photos of that time. - Như nó đượcđược ghitrong bài viết,ôngđãchụp ảnhnhưng lại không đượcxuất bản chúngnhưhọchắc chắnlàkhác biệttừcác bức ảnhtuyên truyềncủathời điểm đó. In the interview
Schekoldin describes his style as "soc. cretinism - socialistic
cretinism". - Trong cuộc phỏng vấnSchekoldinmô tảphong cách của mìnhlà "soc. cretinism - socialistic
cretinism". "It was my reaction to the official propaganda, for the
brainwashing." - "Đó là phản ứng của tôivớicông tác tuyên truyềnchính thức,cho việctẩy não".
Contemporary news agencies are often
blamed for photo manipulations. - Các cơ quan thôngđương đạivẫn thường đổ lỗicho các thao táchình ảnh. It started long ago in fact. - Nóbắt đầutừ lâutrong thực tế. Back in
the times of WWII graphic artists learnt to distor reality and show what
they wanted to show but not what really had happened. - Trở lạitrong thời kỳWWIInghệ sĩ đồ họahọc được cáchlưu trữthực tế vàcho thấy những gìhọmuốn thể hiệnnhưngkhông phải những gìthực sựđã xảy ra. Thus, they often
added excessive Nazi atrocities, terrible ruins and looting to fill
papers with horrifying images. - Vì vậy, họ thườngthêm vàoquá mức những tội áccủa Đức Quốc xã, tàn tíchkhủng khiếp vàcướp bócđể lấp đầybáovới những hình ảnhkinh hoàng.
However we do not have to exclude that
such atrocities and other terrific events could really happen, it was
just difficult to catch them with a camera due to their spontaneity.
- Tuy nhiên, chúng tôi không cần phảiloại trừ rằnghành động tàn bạonhư vậyvà các sự kiệnkhủng khiếpkhácthực sựcó thể xảy ra, chỉ làrất khóđể chụp chúng vớimộtmáy ảnhnhờtính tự phátcủa họ. Photographers were rarely in a right time and in a right place. - Nhiếp ảnh giahiếm khiởmộtthời điểm vàmộtnơi thích hợp.It's
today when everyone has a cameraphone we can shoot everything we see. - Đâu như ngày nay mọi người đều cócameraphonechúng tacó thể chụptất cả mọi thứchúng ta thấy.
Photo manipulations as an instrument of
propaganda is claimed to be natural. - Hình ảnhđã được dùng như một công cụtuyên truyềnđược tuyên bố làtự nhiên. Below you will see some photos
taken during WWII that underwent montage for the purpose of propaganda. - Dưới đây bạnsẽ thấymột số hình ảnhtrong Thế chiến II đuợc dàn dựngchomục đích tuyên truyền.
Falsification and the original below. - Giả mạovà bản gốcbên dưới.
The soldier is shooting at the woman
with the child because women were often told to lap their babies before
the shooting so that only one shot would be necessary. - Línhđangbắn vàongười phụ nữ vớicon bởi vìngười phụ nữthườngnóivớiđứa controng lòng của họtrước khi chụpðể chỉ mộtcúlà cần thiết. However, the
photo is a fake. -Tuy nhiên, bức ảnh là giả mạo. Neither the soldier nor the woman throw shadows. - Cảngười línhlẫnngười phụ nữ không bóng đổ. The
rifle is directed to the right side, away from the woman's head. - Súng trườngđược hướngvề phía bên phải,ở xa đầucủa người phụ nữ.
Famous Fakes — 10 Celebrated Wartime Photos That Were Staged, Altered or Fabricated
They say that the first casualty of war is the truth.
A number of famous faked wartime photographs certainly support this old
adage. Case in point: Experts believe that the Civil War battlefield
photographer Alexander Gardner physically arranged the corpses in this
famous photo taken after the 1862 battle of Antietam. Below are some
other examples of similar trickery.
IN JANUARY, the Associated Press announced that it had cut ties with award-winning combat photographer Narciso Contreras
after the journalist used Photoshop to doctor an image he’d taken of
combat in Syria. The offending frame, which was snapped in September
2013, shows an anti-government insurgent armed with a Kalashnikov taking
cover behind a rock during fighting in Idlib province. A video camera
is clearly visible in the bottom left corner of the original photo — a
supposedly distracting element that the Mexican-based, Pulitzer Prize
winning correspondent edited out before filing. The U.S.-based wire
service blasted Contreras for what it deemed an unforgivable distortion.
Now
you see it, now you don’t. Note the video camera in the bottom corner
of the left picture. Notice how it’s gone in the right side image?
“AP’s reputation is paramount and we react decisively and vigorously
when it is tarnished by actions in violation of our ethics code,” said
the company in a statement. “Deliberately removing elements from our
photographs is completely unacceptable.”
The veteran combat journalist was quick to own up to the error.
“I took the wrong decision when I removed the camera,” he said “I feel ashamed about that.”
Interestingly enough, such photo flaps are hardly new. In fact, some of
history’s most iconic images of warfare were fabricated, staged or
manipulated. Here are some of the more famous examples:
Did
pioneer war photographer Roger Fenton actually place those cannon balls
on the road? One documentary film maker thinks he did.
Having a Lot of Balls One of the first battlefield photographs ever taken is now widely believed to be a sham. Crimean War correspondent Roger Fenton’s acclaimed shot entitled “The Valley of the Shadow of Death”
was snapped in 1855 after heavy fighting around Sevastopol. The image,
which depicts an unpaved road strewn with spent cannonballs, was
heralded at the time as testimony to the withering fire endured by
British troops. Yet in 2007, the American documentary filmmaker Errol Morris unearthed another Fenton picture taken on the very same spot in which the rounds appear only in the ditches — not on the road itself.
Morris asserts that the photographer scattered nearly two-dozen of the
projectiles into the roadway himself for dramatic effect.
Alexander
Gardner’s famous Gettysburg picture “A Sharpshooter’s Last Sleep”
features a corpse that looks a lot like the body in another photo taken
elsewhere on the battlefield. Did Gardner move the corpse?
“The Home of a Rebel Sharpshooter” was taken a few paces away from the other photograph.
Gardner’s Gettysburg Gaffe U.S. Civil War photographers like Matthew Brady
famously snapped hundreds of haunting images of the aftermath of the
conflict’s many battles. Yet in a number of cases, such scenes were
manipulated, with cameramen often physically arranging objects, debris
and even dead bodies within the frame to add to the scenes of
devastation. Such is believed to be the case with Alexander Gardner’s post-Gettysburg image: “A Sharpshooter’s Last Sleep”. The famous shot features a corpse strangely similar to one that appears in another image taken on the same day entitled: “Home of a Rebel Sharpshooter”.
Experts maintain that Gardner used the same fallen soldier for both
pictures, reportedly dragging the body more than 40 yards between the
two locations.[1]
That’s Somme fake! These British infantrymen are nowhere near No Man’s Land in this iconic First World War “combat shot”.
Over the Top? One of the most stirring images of British soldiers in action
during the First World War wasn’t captured in No Man’s Land at all, but
far behind the lines where it was safe. The legendary still, which
depicts Tommies advancing through a field of barbed wire into the smoke
of battle, was clipped from newsreel footage shot for the 1916 British
documentary The Battle of the Somme (you can watch the full sequence here). While much of what appears in rest of the 77-minute film
was indeed recorded at the front, the segment in question, which shows a
number of the soldiers being mowed down as their comrades press the
attack, was actually staged 65 km from the action two weeks after the
battle was already underway.
Don’t worry, folks. It’s only a model.
Death in the Air It took more than 50 years before a series of spectacular
pictures of First World War dogfights were revealed to be make-believe.
Gladys Cockburn-Lange, the supposed widow of a deceased British
photographer and flier, made the eye-popping images of the air war public in 1933.
In one of the shots supposedly taken over the Western Front, a German
plane can be seen breaking apart in mid-air, while another photo shows
an enemy pilot leaping to certain death from his flaming fighter. It
wasn’t until the 1980s that an investigator with the Smithsonian
Institute concluded that the pictures were faked using models, likely
manufactured and photographed by early Hollywood special effects artist
Wesley David Archer. [2]
Was this tragic photo a phoney? Probably, say experts.
Was “Falling Soldier” Really Just a Soldier Falling? On Sept. 6, 1936, the Hungarian photojournalist Robert Capa snapped one of the most moving images of the 20th Century. It shows the exact moment life ended for a 24-year-old Spanish Republican soldier named Federico Borrell García. The powerful scene was believed to have been captured at Cerro Muriano during the Spanish Civil War.
Yet years after the conflict, historians discovered a series of
problems with the famous picture known as “Falling Soldier”. First of
all, Borrell García’s own comrades reported that he was killed while
hiding behind a tree, not out in the open as the photo depicts. Also,
the ill-fated rifleman supposedly looked much different than the man in
the frame. Some have also since have questioned if the image was even
taken at Cerro Muriano. Locals say it looks more like the fields outside
a town called Espejo, nearly 60 km away.
And since that particular region of Spain was relatively quiet in the
late summer of ‘36, some have concluded that the entire incident was
probably staged. As recently as 2013, Japanese documentary filmmakers
asserted that Capa might not have even take the photograph at all.
Instead, it may have been the handiwork of female war correspondent Gerda Taro. The investigators also speculate that the soldier may have just slipped the moment the shutter opened. [2] Capa’s most famous photos would come eight years later as he captured the action at Normandy during the D-Day landings.
Does
the fact that the event portrayed here was a recreation of a flag
raising that took place hours earlier diminish the impact of this famous
photo?
Here’s
a photo of the original Suribachi flag raising. Certainly less
exciting. Yet moments after this shot was taken, Japanese troops emerged
from hiding and opened fire on these Marines.
Take Two. Action! Whether the celebrated Jo Rosenthal photograph showing the raising of the U.S. flag on Mount Suribachi
during the 1945 fight for Iwo Jima was “staged” is a question of
semantics. But it’s a matter of historical record that the immortalized
hoisting of the Stars and Stripes was preceded by a similar incident earlier in the day. A Marine named Louis Lowery
snapped the lesser-known photo hours before Rosenthal had even reached
the summit. But it was the second (and more dramatic) image that
featured prominently in a successful $26 Billion war bond drive in 1945.
The shot also appeared on stamps, magazine covers, recruiting posters
and was the basis of the U.S. Marine memorial in Washington D.C.
Parts of this picture were added later by Soviet propagandists.
War Fiction A similar photograph of a Red Army soldier waving the Soviet banner from atop the bombed out ruins of Berlin’s Reichstag was indeed staged. Military photographer Yevgeny Khaldei
wanted to engineer a historic moment reminiscent of the American Iwo
Jima picture, which was taken only weeks earlier. The 28-year-old
correspondent hastily stitched together an ad hoc Hammer and Sickle
using an old tablecloth and scaled the top of the Nazi legislature with
some volunteers to set up the shot. Within two weeks, his image was the
toast of Russia, but not before being retouched on the orders of the
Kremlin. Moscow demanded the flag be enhanced in the darkroom to make it
appear a little less improvised. More smoke was added to the horizon of
the shot too. Finally, a second wristwatch on the soldier’s forearm
(presumably looted) was rubbed off the negative, lest it sully the
purity of the scene. [3] More Recent Controversies Such fakery didn’t end with World War Two. Consider these examples from our own era (click each photo to enlarge it):
Many of the soldiers in this photo were added digitally.
• While campaigning as a “wartime president” in 2004, George W. Bush
appeared in a photo surrounded by legions of U.S. troops. Days after the
image was made public, bloggers noted that some of the faces of the
soldiers behind the Commander-in-Chief appeared to have been duplicated
using a copy and paste Photoshop tool known as “clone stamp”. The White House yanked the image and apologized.
Tampering doesn’t get much more obvious than this.
• Freelance Lebanese photographer Adnan Hajj used the same software feature to enhance images of Israeli air strikes on Beirut
in 2006. The Reuters stringer blatantly darkened and duplicated plumes
of smoke on the city skyline in a ham-fisted attempt to make the image
appear more exciting. It was just one of many examples of photo tampering to come out of the brief but intense war. The incident became known as “Reutersgate”.
North Korean officials inserted many of the landing craft pictured here electronically.
• MilitaryHistorynow.com reported this case
of a photo showing a North Korean military exercise in 2013 that was
enhanced by Pyongyang propagandists. According to the MHN story, the
image features a fleet of landing craft disembarking troops onto a
beachhead. After being published worldwide, experts noted that several
of the vessels appeared to be reflecting light identically, suggesting
that there were simply copied and pasted into the frame. Also, the wakes
being thrown up by the hovercraft also looked to have been enhanced
digitally. The international media promptly pulled the photo from
circulation.
11 Old War Photographs You Won't Believe Aren't Photoshopped
War is hell, but as we've demonstrated previously (twice,
even), it's also often bizarre to look at. When you start sifting
through rare photos of secret projects and behind-the-scenes shenanigans
that didn't make into the history books, you get lots of pictures that
just look downright fake. Like ...
Before the invention of radar, naval battles were like a hardcore
version of Marco Polo: Each side blindly lobbed shots at the other in
hopes of connecting with something (yes, the board game Battleship was
actually a fairly realistic representation). So ships of the early 20th
century tried to make it even harder for their opponents by blending
into the water with light-colored paint schemes. That is, until the
British decided to try something a little ... different.
Wiki "Now you too can experience the joys of sea sickness without having to set foot on a boat!"
Called "dazzle" camouflage,
the idea was to cover the ships in psychedelic designs that made it
damn nigh impossible for an enemy spotter to determine speed, distance,
and type of craft when spying the ships from afar. Try to stare hard at
one of these -- your brain will start to hurt:
The camouflage saw widespread use during World War I and (to a lesser
degree) World War II, but it ultimately died out when the introduction
of LSD allowed enemy spotters to operate on the same plane of
consciousness as those creating the designs.
This is not a still from some old "What if the Nazis win the war?"
propaganda film. That is a real, undoctored photo of an American
classroom.
You see, Hitler ruined several perfectly good things forever -- tiny
mustaches, the swastika as a good luck charm, and all hand signals that
look anything like the "Heil Hitler" salute. But Hitler didn't invent
any of them.
For instance, in 1892, Francis Bellamy decided that your average
American just wasn't pissing quite enough red, white, and blue. To
counter this, he came up with the Pledge of Allegiance, along with a nifty little hand gesture to do while taking the pledge.
Wiki ... one nation, indivisible, with liberty and justice for all."
That's right: For decades, children across America happily heiled the
Stars 'n' Stripes in what was then known as the Bellamy salute. Then
along came this big, bald bag of dicks:
Wiki His beret is actually covering up foreskin and giant pee hole.
That's Italian Fascist leader Benito Mussolini. When he came to power, he resurrected the so-called Roman salute,
and Hitler thought that shit looked so badass that he later adopted it
as his own Nazi salute. This caused an obvious conflict when America
entered World War II -- we couldn't very well have born-and-bred
American kids doing the same salute as the Hitler Youth, and Nazis were
notoriously ignorant of the concept of dibs. So during the war,
Roosevelt signed off on a new salute proposed by Congress, and placing
the right hand over the heart narrowly beat out flying the double bird
in Germany's general direction.
#9. They Stayed in Formation, Right Until They Crashed
As much as that looks like the aftermath of the most cartoonish
disaster in military history, it is actually just the product of
space-saving efficiency and horrific waste.
Back in the days when countries would actually disarm once the war
was over, fighter planes (which were basically useless in peacetime and
couldn't be resold for civilian purposes) would just be scrapped. So these Curtiss P-40 Warhawks
($44,892 each to build in 1944 -- that's $590,000 in today's dollars)
were scrapped and melted down. To save space as they awaited their fate,
the planes were arranged like they'd taken a mass nosedive in perfect
formation and somehow stuck neatly in the mud instead of exploding.
This is just a single site: Walnut Ridge airfield in Arkansas.
All over the world, there were thousands of planes lined up like this,
just begging for some smartass to happen by and play him some warplane
dominoes.
HBO's Boardwalk Empire features a character named Richard
Harrow, a former World War I sniper whose face was horribly disfigured
when he got face-sniped by an enemy marksman. In what seems like a
purely Hollywood touch to make him look more terrifying, Harrow covers
his brutalized face with a lifelike mask that attaches to his head via
eyeglasses:
"Things I dislike: The Kaiser, feds, soup ..."
But it turns out that Harrow's plight is based on similarly wounded
vets of the early 20th century. Decades before things like facial
surgery and skin grafts were commonplace, disfigured vets covered their
horrible wounds with facial plates just like the one featured on the
show. There are more examples out there, but we wouldn't recommend looking at them if you happen to be reading this article while eating or before bed.
And don't worry, it wasn't just faces that got state-of-the-art
protection from concerned scientists of the day. Wartime inventiveness
also gave us ...
When the men moved to the front during World War II, the women
entered a new environment as well: the factory floor. As the Rosie
Riveters and Wendy Welders were performing jobs they had never done
before, men became very concerned about their safety. Well, the safety
of particular parts of them, at least. So Acme developed the industrial
plastic boulder holder that this young gal is so kindly demonstrating.
After all, if we endanger the boobies, what do our boys overseas have left to come home to?
Even after World War I was over, the American government decided that
it needed one more bond drive to raise enough cash to tie up any loose
ends. Dubbed the Victory Liberty Loan parade, the party visited New York City in May of 1919 and set up a huge display of American guns and various pillars and pyramids smack in the middle of Madison Avenue. Pyramids made of the helmets of (presumably dead) German soldiers.
Yes, harking back to the days of the victory pyramids that the
Mongols decorated Asia with, America decided that we needed some victory
pyramids of our very own. In case you're not familiar with the pyramids
we're referring to, we mean those constructed of skulls that the men of the horde lovingly cleaned and polished
after having severed them from their previous owners. That's right:
Someone had the bright idea that reminding American citizens that each
and every one of those helmets represented a dead or captured German
soldier would inspire them to donate to the post-war drive.
Oh, and it totally worked. U-S-A! U-S-A!
OK, now that's just ridiculous. Look at them! Carrying cameras around like little feathered tourists.
But those are in fact military surveillance pigeons, and yes, they
really existed. It was kind of a good idea, if you think about it --
aerial photos of enemy trench lines were highly sought after, but
newfangled surveillance planes were just starting to be introduced
(prior to World War I, if you wanted aerial surveillance, you did it
using vulnerable hot air balloons and kites). Then along came Dr. Julius Neubronner with his patented miniature pigeon camera.
Neubronner's specially trained pigeons could be carried into battle
in a customized mobile dovecote and then strapped into camera vests like
the one seen above. When released, they were able to take a series of
highly detailed photographs of the layout of enemy lines before
returning to their roost and dropping off their film to be developed for
HQ.
Wiki "Sir, is there a reason half our missions are near that all-girls college?"
"Never question my orders."
These avian reconnoiterers saw some decent action alongside German
forces during the war, judging by all the cartoonishly exploded pigeons found behind Allied lines.
Sadly, though, when he inquired about further developing the technology
after the war, the War Ministry told Neubronner to "fuck off with that
pigeon bullshit" (loosely translated from the original German).
And just as depressing as that sentence ...
#4. Doggy Gas Masks
Keystone/Getty
Throughout the history of warfare, opposing forces have sprayed some particularly nasty shit
all over each other. So gas masks have long been a universal piece of
equipment for our human soldiers, but what about their best friends?
Don't worry, Fido, because we thought of you, too! Pre-Geneva Protocol
pooches had nothing to fear once their human companions forced them to
strap one of these babies onto their little doggie craniums. Except for,
you know, all the bullets and explosions and stuff.
Ha! Look at that guy riding his tiny little clown bike back there! How could you even bring yourself to shoot that guy?
During World War II, the British Special Operations Executive was
always looking for ways to pull a James Bond on their SS rivals. One
thing that added difficulty to their espionaging was providing their
soldiers with mobility once they dropped them behind enemy lines to get
their spy on -- the logistics of dropping everything out of airplanes
meant that there were severe size and weight restraints. So engineers
worked hand-in-hand with Barnum & Bailey to develop these adorable
wittle motorcycles.
The Welbike
featured a single-cylinder engine and a collapsible design that allowed
it to be packed into an airdrop container and chucked out over enemy
territory for retrieval by special forces operatives, with just enough space left over to cram the size 28 shoes and giant red Afro wig in there.
Note the tiny little engineers at the bottom. That's not a model airplane up there.
Before computers, the only way to make sure that a new fighter plane
didn't fall apart right as you were dogfighting over a cactus patch was
to hang it up and expose it to the wind. Sure, you could build a model
and put it in a tiny wind tunnel, but damn it, nothing beats going full
scale.
That's a German facility above, but the Americans were also in the big wind game with this facility at Langley Field near Hampton, Virginia, that tested everything from World War II fighters to space capsules:
wired.com Are you picturing them reversing the fan and sucking that guy into it?
The Nazis made for such perfect villains that we tend to forget that
their military was largely made up of kids who were conscripted to serve
their country, just like the armies that were fighting them. And like
all soldiers, they liked to occasionally take time out and make a big
sign with their butts.
Unfortunately, the context of many of the photos we're about to show
you has been lost to time, but if a picture is worth a thousand words,
then these photos are a veritable word goldmine. Because they paint a
picture of Nazi soldiers as a bunch of tiny horse ridin' ...
It seems that, no matter the surrounding circumstances, when you stir
together a group of fraternity-age males, stick them in a confined
space, and let them simmer for a while, you've just concocted the recipe
for an instant kegger. Maybe you'll end up with a fake-mustache party
...
... but you'll always end up with a party. Seeing these photos
almost makes us think that Nazi military life was equal parts fun,
beer, and homoeroticism -- but then again, if you look just a little closer, this party bus does a power slide onto Disturbing Avenue:
Yeah, OK, never mind. Turns out that, even at a drunken Nazi frat
party, Evil's still right there, lurking in the background and hogging
up all the good booze.