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Hidden Secrets of the Alpha Course by John D. Christian in New Zealand


excerpt (from page 29):




British Control of Hollywood

At the same time, the American motion picture industry was rapidly emerging as the most powerful in the world as a result of the effects of the war on European film production. Having moved in large part from New York to Hollywood, it was only too happy to help the government through the War Co-operation Committee of the Motion Picture Industry. The committee’s chairman was D. W. Griffith, the renowned director of Birth of a Nation (1915), a propaganda film which symbolized the transformation of the cinema into a serious art form and an instrument of mass persuasion. Stars like Charlie Chaplin, Douglas Fairbanks, Mary Pickford, and William Hart appeared in such films as The Great Liberty Bond Holdup (1917), a short trailer which exploited the screen images of its stars for war bond (‘liberty bonds’) sales, and the feature The Little American (1917), directed by Cecil B. De Mille, about a young girl (Mary Pickford) who travels to France to visit her sick aunt. En route her ship is torpedoed (no prizes for guessing by whom). Arriving in France she witnesses German atrocities, supplies information to the French about German positions, is arrested by the Germans but is rescued just before she is due to be executed by firing squad. Propaganda films like these brought the German threat to American soil itself, while such films as The Hun Within (1918), The Kaiser, The Beast of Berlin (1918) and The Claws of the Hun (1918) maintained the overall climate of anti-German sentiment in the gullible American public.

British control of Hollywood, and the American motion picture industry can be traced back to the birth of the War Co-operation Committee of the Motion Picture Industry established during the First World War.

Hollywood’s funding has, right from the very beginning, been provided by New York City banks which are in turn owned and controlled by branches of the giant British banks domiciled in City of London Jewry.

After a slow start, the Committee on Public Information (CPI) Films Division itself produced over sixty official propaganda films, ranging from feature films like Pershing’s Crusaders to a weekly newsreel, The Official War Review. The US Army Signal Corps was designated as an official film unit in July 1917, and although it was perhaps to achieve greater fame in the Second World War, when top Hollywood professionals were recruited to serve in it, the initially inexperienced army cameramen of 1917-18 were able to produce some impressive combat footage that was included in many CPI compilation films such as America’s Answer (1918) and Our Colored Fighters (1918). The official films were less overtly propagandistic than the commercial industry’s publications. They were designed to serve military needs (recruitment and morale), to inform and educate, and to serve as historical ‘records.’

With an average weekly audience of 80 million, together with a growing appreciation of the role of the cinema’s power to persuade and inform, the CPI could ill afford to ignore the movies as a major instrument of propaganda. And just in case Hollywood products were not working properly, Four Minute Men would turn up to deliver their oration between reel changes in movie theatres throughout the United States.

By 1918, Britain’s Wellington House propaganda organization was at its most complex. Its task done, it soon went into decline, and was replaced by the new Ministry of Information under Lord Beaverbrook to deal with all propaganda in allied and neutral countries while the Department of Enemy Propaganda was formed at Crewe House under Lord Northcliffe. This was the work of Lloyd George, Prime Minister since 1916. Lloyd George wanted to see the target audience of Britain’s propaganda widened beyond opinion-making elites. For this, he wanted to recruit the services of Fleet Street (Northcliffe owned many newspapers, including The Times and the Daily Mail; Beaverbrook owned the Daily Express). Besides, by harnessing the energies of the newspaper barons into the service of government, it might also disincline them to criticize His Majesty’s Government.

Following the decision of the American Senate in late 1919 not to ratify the Versailles Treaty with Germany, a series of investigations was launched into reasons for America’s entry into the war. During the course of these inquiries, many of the details concerning the nature and scope of Britain’s propaganda campaign in America between 1914 and 1917 came to light. The conclusion was that the United States had indeed been duped into becoming involved on the Allied side, particularly by secret British propaganda emanating from Wellington House. A series of historical investigations by American learned scholars reinforced this view and their conclusions were seized upon by isolationist elements in American politics. As a result of their sensitivity to foreign propaganda, in 1938 the Foreign Agents Registration Act was passed by the US Senate requiring the registration with the US government of all foreign propagandists operating on American soil. The Act would soon prove to become a charade with the commencement of the Second World War. Under British secret control of all US intelligence with the birth of the Office of Coordinator of Information (COI), and later the Office of Strategic Services (OSS) and finally the Central Intelligence Agency (CIA), the Foreign Agents Registration Act was to become powerless.

So keen were the British authorities at the start of the war on censoring virtually all news of interest, film cameramen were not allowed to accompany the British Expeditionary Force to France. On top of this Fleet Street newspaper offices were occupied by Scotland Yard. This initial system served merely to antagonize the media to a great degree. A new system was needed, and by the middle of 1940, the crude censorship problems initially experienced had largely all been resolved. The new system of censorship and propaganda in the future was to be much more subtle and cunning.

The essential principle of the new system was that all quick (or ‘hot’) news was censored at source. The British news media – the press, BBC, newsreels – relied upon the news agencies for most of their information. Before the First World War, the Post Office had re-routed Britain’s world-wide cable network so that all commercial cables came together at a single point. The London headquarters of the Press Association (which supplied the domestic press) was also in the same building as Reuters (which supplied the overseas press). It was here that the censors controlled the bulk of all news passing to the media BEFORE it actually reached them. It was, in other words, pre-censorship (newsreels were also subject to post-censorship). Once the censored news left the Ministry of Information (MOI), editors and journalists were allowed to do with it what they liked in accordance with their own house style. Their OPINIONS were not censored, which gave the impression that little censorship was being imposed. It also gave the impression of a voluntary system, and this provided an effective disguise for official propaganda and a clearer conscience for the liberal democracy at war. Slow (or ‘cold’) news, such as that found in books, magazines and the mail, could be dealt with at a more leisurely pace. This devious system operated so effectively on a day to day basis that many observers were unaware that a compulsory pre-censorship system was in fact operating and it helps to explain why Britain’s wartime propaganda gained its high reputation for telling the truth when, in reality, the truth was rarely being told. Indeed, if the real truth be told, British lies about the war were far worse than those being told by the German Propaganda Minister Goebbels.

Today, Reuters is still the prime psychological propaganda warfare news censorship agency of the British Monarchy. As at March 2001, the company had its world headquarters at 85 Fleet Street, London, and was worth 19 billion pounds. It employed more than 18,000 staff worldwide, and indirectly censored and controlled the entire global news network of virtually every major newspaper, television and radio station in the world. It controls the majority of the international news reports of the BBC, CNN, ABC, NBC and a host of other giant international media organizations – who, incidentally, have been responsible for co-coordinating all the propaganda news reports about the 9/11 World Trade Center atrocity, the hunt for Osama bin Laden, Saddam Hussein, and the US Presidential puppet’s orchestrated “war against terror.

By 1940 the Ministry of Information (MOI) had drawn up a program for film propaganda and it had taken over the old GPO Film Unit, renaming it the Crown Film Unit, to produce its own official films. During the war, the Unit made nearly 2000 ‘official’ short propaganda films, while the MOI itself was responsible for approving (or otherwise) over 3000 newsreel issues and nearly 400 British-made feature propaganda films. In a sense, all films shown in Britain were ‘official’ in that none could appear on the screen without MOI approval or a BBFC certificate. The government gave priority to five leading newsreel companies (Pathe, Universal, Gaumont-British, British Movietone and Paramount) who were in the frontline of the British film propaganda war.
The effective founder of the British documentary film movement, John Greirson, had already defined documentary as ‘the creative treatment of actuality.’ Like newsreels, official documentaries were used to present not reality, but an illusion. More often than not, actors rather than ‘real people’ were used in the production of them.

From the very beginning, the MOI recognized that ‘for the film to be good propaganda, it must also be good entertainment.’ Romantic melodramas and films such as The Wicked Lady (1945), starring James Mason and Margaret Lockwood, were what the public wanted to see and studios such as Gainsborough duly obliged.
No discussion of Britain’s war propaganda between 1939 and 1945 can fail to mention several examples of classic film propaganda. The films of Powell and Pressburger Contraband (1940), 49th Parallel (1941), One of Our Aircraft is Missing (1942), The Life and Death of Colonel Blimp (1943), A Canterbury Tale (1944), and A Matter of Life and Death (1946) made a notable contribution, as did those of Carol Reed [The Young Mr Pitt (1942), The Way Ahead (1944), and The True Glory (1945)], Charles Fend [The Big Blockade (1942), The Foreman went to France (1942), and San Demetrio, London (1943)], and Anthony Asquith [Freedom Radio (1940), We Dive At Dawn (1943), and The Demi-Paradise (1943)]. The propaganda content of such films is not always immediately obvious but most dealt with themes that were the object of strict MOI attention. Even today, the public is still almost totally ignorant such measures were taken.

There are basically two principal forms of propaganda. The first, ‘white’ propaganda is propaganda which emanates from a clearly identifiable source. The second, ‘black’ propaganda describes material emanating from an undisclosed source, so that the receiver either has no idea where it is coming from or incorrectly identifies the source. Black propaganda is psychological warfare at its most sophisticated.

During the Second World War, in September 1941, the British government established the Political Warfare Executive (PWE) to take charge of propaganda directed at the enemy. The PWE evolved from the early wartime enemy propaganda department known as Department EH, which was absorbed into the Special Operations Executive (SOE) in the summer of 1940. SOE’s task was, in Churchill’s famous phrase, “to set Europe ablaze” and was divided into two sections: SOI, which handled propaganda, and SO2, which handled sabotage and subversion. PWE’s ‘white’ propaganda was delivered through the BBC, which by 1942 was broadcasting in 23 languages. PWE’s ‘black’ propaganda was delivered through special radio stations known as Research Units (RUs), the most notorious being Gustav Siegfried Eins, known as GSI. Delicate, incriminating information was broadcast by the RUs to discredit German personnel of influence or distinction. So powerful were some of these broadcasts, suicides were known to have resulted. PWE officials used to say: “The fighting services attack the body, we attack the mind.”

With the entry of the Americans into the war, the British concentrated on expanding their propaganda warfare through US government departments which they controlled. For this purpose, they set up two separate organizations, ‘black’ material being dealt with by the Office of Strategic Services (OSS) and ‘white’ by the Office of War Information (OWI). The Americans also set aside a special squadron of Flying Fortresses whose sole task was to carry out leaflet raids, and by the end of the war the Americans were dropping over seven million leaflets a week over occupied Europe.

The role that British films played in attempting to overcome American isolationism, 1939-41, was nothing compared to Britain’s control of “pro-allied” films created by Hollywood. The best known example is Confessions of a Nazi Spy (1939) about a German spy ring operating in America and starring Edward G. Robinson. The film was made by Warner Brothers, whose track record in dealing with British foreign policy themes was second to none, demonstrated by its extraordinary love affair with the British Empire as reflected in a series of surreptitious films: Captain Blood (1935), The Charge of the Light Brigade (1936), The Adventures of Robin Hood (1938), Elizabeth and Essex (1939), and The Sea Hawk (1940).

So explicitly propagandist were some Hollywood products at a time when the United States was, theoretically at least, supposed to be neutral that they were banned by some American movie houses, particularly in towns and cities where German-American populations were resident. Two isolationist senators, Nye and Clark, on August 1, 1941, called for “a thorough and complete investigation of any propaganda disseminated by motion pictures and radio and any other activity of the motion-picture industry to influence public sentiment in the direction of participation by the United States in the present European war.” This Senate Resolution 152 was not just an attempt to break the British-controlled monopoly in movie making by the eight major studios (Paramount, MGM, RKO, Warner Brothers, 20th Century Fox, Columbia, Universal, and United Artists) that were felt by Nye to be riddled with pro-Allied propagandists. It also reflected the sensitivity of many Americans to the type of propaganda campaign that was felt to have duped America into war in 1917.

Through British control of Hollywood, characters such as Tarzan [Tarzan Triumphs (1943) and Tarzan’s Desert Mystery (1943)], Sherlock Holmes [Sherlock Holmes and the Voice of Terror (1942)], and cartoon characters such as Batman, the Masked Marvel, and Secret Agent X-9, were recruited into the service of the propaganda war to fight German Nazi agents around the world. The Germans were portrayed as gangsters and thugs, abusers of women and the innocent [Hitler’s Children (1943), Women in Bondage (1943), and Enemy of Women (1944)]. The Germans were the enemies of civilization and democracy was the subliminal message behind this subtle new form of atrocity propaganda. Freemason, Charlie Chaplin was brought into the fight in The Great Dictator and even Bugs Bunny and Donald Duck were called up to fight Hitler. Once the Office of War Information had been set up in June 1942, the US government issued a manual to Hollywood listing the kinds of themes that would serve the national effort. Five themes were identified as needing priority: (1) to explain why the Americans were fighting; (2) to portray the United Nations and their peoples; (3) to encourage work and production; (4) to boost morale on the home front; (5) to depict the heroics of the armed forces.

The American film industry obliged. Films about ‘the people’s war,’ such as Mrs Miniver (1942) and Joan of Paris (1942) and Edge of Darkness (1943) about heroic resistance in such countries as Norway and France followed. Other themes included the heroism and suffering of America’s allies, including the Soviet Union, Song of Russia (1943), North Star (1943), Mission to Moscow (1943), and Days of Glory (1944) and China, China (1943) and China Sky (1945). The ‘people’s war’ theme also required that difficult subjects, such as the role of blacks and anti-Semitism, should also be dealt with, which they duly were in The Negro Soldier (1944) and Mr Skeffington (1943).

Many of Hollywood’s most creative members were willing to prostitute themselves with this unconscionable government policy including: John Ford [December 7th (1943) and The Battle of Midway (1942)], John Huston [Report from the Aleutians (1943) and The Battle of San Pietro (1945)], William Wyler [The Memphis Belle (1944) and Thunderbolt (1945)], and, most famous of all, Frank Capra.
These men all made films for the US Armed Forces, which had their own film units for training and indoctrination purposes. The OWI at first concentrated on the civilian front, but although its Motion Picture Bureau (the equivalent of the British MOI’s Films Division) did make short informational films for domestic purposes (for instance meat rationing), it was closely watched by Congress.

There was an important need to manipulate Americans to join the armed forces in support of Britain. Frank Capra, winner of Academy Awards pre-war for such feature films as It Happened One Night (1934), Mr Deeds Goes To Town (1936), and Mr Smith Goes to Washington (1939), became Major Frank Capra and was charged personally by Army Chief of Staff George C. Marshall to make the famous Why We Fight series. The seven films [Prelude To War, The Nazis Strike, Divide and Conquer, The Battle of Britain, The Battle of Russia, The Battle of China and War Comes to America] were masterpieces of film propaganda. So pleased was the War Department with the series that it became compulsory viewing for all recruits. So pleased were Roosevelt and the British with these seductive films, Churchill filmed a special introduction for their British release and Stalin allowed The Battle of Russia to be shown in some parts of the Soviet Union.

These insidious films were so deceptive and powerful, that by 1943 the naïve American public was so mesmerized and brain-washed, any previous form of US “isolationism” from loyalty to Britain had almost totally been eliminated. In the autumn of 1942, General Eisenhower formed a Psychological Warfare Branch in his North African invasion force to deal with leaflets and other forms of propaganda. This largely American-dominated unit was upgraded for the invasion of France into the Psychological Warfare Division of Supreme Headquarters Allied Expeditionary Force (PWD,SHAEF), which had a much greater British involvement, and a special OWI-PWE committee was established in London to ensure that what the military were saying coincided with civilian propaganda.

In the present day, it is these same old devious war-time propaganda agencies, some now under different names, still directed by the British and the City of London that are now controlling the entire global propaganda network through the printed media, films and television.
The aim of the British elite who fund and control Hollywood, world television, news networks, the printed media etc. is paradoxically not primarily entertainment. It is propaganda. Propaganda on a massive scale designed by a small group of elite Luciferian individuals in the City of London who hope to bring in a New World Order, United Nations Fascist world government to control everyone on earth.


Hitler’s Roman Catholic Fascist dictatorship was by no means unique. The British Fascist aristocracy hiding under cover of “Protestant Christianity” in the Church of England has been working on plans for world domination for hundreds of years! The propaganda films produced during the First and Second World Wars were simply “appetizers” compared to the present deluge of film masterpieces being produced now. Jewish Knight of the Realm and British vassal, Sir Stephen Spielberg’s war propaganda films such as Lion King, Saving Private Ryan, Schindler’s List and Pearl Harbor are all blatant propaganda movies designed to create a hate of war, anti-Semitism and a love for a Fascist New World Order and World Savior. British movie director, Ridley Scott’s Gladiator and Blackhawk Down are two other similar excellent examples of glaring war film propaganda.

All of these seductive films, like many others as well, are carefully crafted to gradually destroy each nation’s faith in their ‘constitution’ and governmental administration in preparation to worship, after a frightening period of war and terror, a “humble” hero and world savior. Not outwardly arrogant and pompous like Hitler, but this time a much more “pleasant fellow,” a “conservative” man – a “man’s man” – a world “philosopher king” and ‘world savior’ like the prince dreamed about by Plato. Like Spider-Man in Spider-Man, Maximus in Gladiator, Simba in Lion King, Shrek in Shrek, or Harry Potter in Harry Potter. Spider-Man, Maximus, Simba, Shrek and Harry Potter are all subliminal characterizations of a very special individual – HRH Prince of Wales. This is no better illustrated than in the blatant mind-control movie, Shrek 2.
In the major animated propaganda movie, Shrek 2, directed by New Zealander Andrew Adamson, ugly Princess Fiona (representing Lady Camilla) looks into a mirror to see her Prince Charming and World Savior, Shrek, but who does she see? – the literal picture of Prince Charles! This level of witchcraft and psychological mind-control of the masses has never ever before been presented with such sophistication – such subtlety – not even by Hitler.

The advertising slogan for the propaganda movie King Arthur, “A Man who would unite a Nation,” of course, is carefully chosen. In the movie, King Arthur portrays the role of HRH Prince of Wales, and Guinevere, the Warrior Princess, his consort, portrays the role of Lady Camilla.


Luciferian author, J R R Tolkien, in his Lord of the Rings epic trilogy translated into film by the New Zealand movie director, Peter Jackson, perhaps provides one of the best and most recent examples of war propaganda in a movie designed to prepare the world to worship an Antichrist figure. Jackson’s three movies are not just big fairytales as one might imagine. They are major propaganda monster war movies set in “Middle-Earth” (i.e. the Middle East) replete with a propaganda hero albeit so subtle.

Jackson has openly said that he watched movies like Saving Private Ryan to inspire his imagination while filming Lord of the Rings. The first two movies, like the books, The Fellowship of the Ring and The Two Towers are simply “introductions” to the grand climax, the third, The Return of the King.

At the conclusion of The Return of the King, following the return of the king and “crowning” of Aragorn, the rightful heir to the throne of Gondor, the “modest” savior of “Middle-Earth,” Frodo, humbly says; “I only wanted to save the shire.” (i.e. the world). Frodo is a type of Antichrist “philosopher king.” Tolkien’s books and Jackson’s movies are very subtle. Very clever.

Gollum in Lord of the Rings is a representation of the powerful demon-deity of Freemasonry and Judaism called ‘Yoda,’ who just happens to be another demonic masquerade of Satan. In The Return of the King, Gollum is Frodo and Sam’s unlikely “guide” into Mordor. He plays a similar role to Dobby the house-elf in Harry Potter and the Chamber of Secrets, or the alien ET in Sir Steven Spielberg’s The Extra Terrestrial (1982).

In Spielberg’s The Extra Terrestrial the alien ET becomes stranded on Earth three million light years from home. During his sojourn on Earth, ET forms a special bond with a boy named Elliot (an allusion to Elijah in Malachi 4:5). The ‘spirit’ of the alien enters the little boy before ET dies, then ET miraculously comes alive and returns home. The whole story is a satanic counterfeit of the prophesied second coming of Jesus Christ. ET represents the Devil and Elliot, Antichrist. And yes, Talmudic Jew and British vassal Sir Steven Spielberg does know what he’s doing.

In the movie, Lord of the Rings – The Return of the King, the high-walled city of Gondor, Minas Tirith, resembles the Dutch artist Pieter Brueghel’s famous 16th century painting, ‘The Tower of Babel,’ which was used as the model and inspiration for building the new European Parliament Building in Strasbourg.

In the bottom left of Pieter Brueghel’s famous painting of ‘The Tower of Babel,’ Nimrod is shown defiantly standing before it with his men. Interestingly, Nimrod was the founder and first king of Babylon (Genesis 10:1-10). He was the original prophet of idolatry, the real ‘ring-leader’ behind the building of the great city and tower of Babel that God destroyed in Genesis chapter 11. This is what the Lord of the Rings trilogy is really all about.

Was Professor John Ronald Reuel Tolkien a Satanist? Did Roman Catholic Tolkien know exactly what he was doing when he was writing his witchcraft books? Are his followers also occultists? Tolkien was born in Bloemfontein, South Africa, on January 3, 1892. The final movie of the trilogy Lord of the Rings was carefully planned in advance to be released at precisely the end of 2003 for a very special reason.

In Babylon, the heathen priests placed very special occult significance on all these numbers 1-36, which, when added together made up the full sum of their pagan astrological Zodiac – 666. (i.e. 1+2+3+4 adds up to 666). By dividing the Zodiac of 36 decans up into six more separate occult periods of 111 throughout the Zodiacal year, (6 x 111 = 666), the number 111 (3x37) thus became a prime number in the 666 pagan sun-worship witchcraft system, as it still does today in the Roman Catholic Church, Church of England and British Freemasonry. To celebrate the special significance of this occult number 111, precisely on the 111th anniversary of Tolkien’s birth, the final Lord of the Rings – Return of the King movie was deliberately released at the end of 2003.

Tolkien Society New Zealand president Natalie Sisson actually spoke in detail about the special significance of the number 111 during the celebrations when Lord of the Rings fans around the world toasted Tolkien’s honor on January 3, 2003.
In the Bible, ancient kings like Nebuchadnezzar king of Babylon, or Pharaoh king of Egypt, wore gold rings to symbolize not only their reigning power, but the fact that they were believed to be the literal incarnation of their Sun-god, Marduk, Osiris, Horus or Lucifer. (The modern gold wedding ring originates from ancient Rome where it was used to consecrate the marriage to the heathen Sun-god). So when an occult writer refers to the “Lord” of the “Rings,” as does Tolkien, inevitably the “Lord” he is alluding to is Nimrod or Lucifer. In the Lord of the Rings –Return of the King movie, ‘Sauron,’ appears as a great fiery lidless eye, wreathed in flame, ringed in darkness and filled with hate. Sauron represents the “eye” of Horus or Lucifer. (The ‘Eye of Lucifer’ proudly has replaced the capstone of the pyramid on the Seal of the Illuminati on the back of the American one dollar bill). The movie company, New Line, that produced the Lord of the Rings, is also the very same company that were the producers of the overtly propagandist movie, Wag the Dog, released in 1997. This amazing film, directed by Barry Levinson, starring Dustin Hoffman and Robert De Niro, features a devious media spin doctor and a celebrated Hollywood producer who join forces to fabricate a “war against Albanian terrorists” to cover up for the US president. The movie is unique, because it accurately foreshadows the media hype surrounding President George W. Bush Junior’s fabricated “war against terror” in Afghanistan that commenced in September 2001.
Through subtle innuendo, Wag the Dog portrays the US president as the “local village idiot” – a derisory role (similar to ‘Commodus’ in Gladiator) in which he is used to prepare the world viewing audience for a later, much more popular and respected “philosopher” and world savior – like “Frodo,” in Return of the King!
The very same individuals behind the production of New Line’s Wag the Dog and the Tolkien movies are the very same individuals responsible for the US president’s fabricated “war against terror” focused on “Middle-Earth” in the Middle East.

Literally hundreds of carefully scripted Anglo/American propaganda films are now hitting the screens in movie theatres and on television across the globe, and hardly a single member of the world public has even a hint of what’s really happening. Rightly did Jesus warn his disciples, “…Take heed that no man deceive you.” (Matthew 24:4).
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