For further Information, Perspectives and Questions visit the Desteni-Website or Desteni-Forum at http://www.desteni.co.za and http://www.desteni.co.za/forum

George Orwell's 1984 Movie Trailer, edited by me.

I was bored and was thinking, hmmmmmm 1984 would make a great metallica video... this is the result

Orwell Rolls in His Grave - The losing struggle against centralized media control in the US Congress. If 9/11 is such a big lie, why don't more newspapers and television stations 'break the story'? Well,   more...a few do, but not many. Why not? One reason - Despite heroic efforts by many Congressmen and Senators to stop it, it now only requires the decision of a few key people to block stories from 99% of US newspaper and television. Do you know that 6 companies now control virtually all of the media, and that they regularly self-censor political investigations by their own reporters? An eye-opening documentary.  less

Orwell Rolls in His Grave - The losing struggle against centralized media control in the US Congress. If 9/11 is such a big lie, why don't more newspapers and television stations 'break the story'? Well,   more...a few do, but not many. Why not? One reason - Despite heroic efforts by many Congressmen and Senators to stop it, it now only requires the decision of a few key people to block stories from 99% of US newspaper and television. Do you know that 6 companies now control virtually all of the media, and that they regularly self-censor political investigations by their own reporters? An eye-opening documentary.  less

Orwell Rolls in His Grave - The losing struggle against centralized media control in the US Congress. If 9/11 is such a big lie, why don't more newspapers and television stations 'break the story'? Well,   more...a few do, but not many. Why not? One reason - Despite heroic efforts by many Congressmen and Senators to stop it, it now only requires the decision of a few key people to block stories from 99% of US newspaper and television. Do you know that 6 companies now control virtually all of the media, and that they regularly self-censor political investigations by their own reporters? An eye-opening documentary.  less

A high tech surveillance camera mounted on a teathered ballon now parks its self 800ft in the air smack on the border with Canada, with the capability to see 9 miles in any direction. The theory is if   more...your not doing anything wrong why worry........this sure doesn't sound like freedom or privacy to me...There is a demonstration planned for Aug.15th to protest this....A Mass Mooning, by the Canadians.....just think 1500 bare white pimply Canadian ass's sending a clear signal to "HomeLand Security, about how we feel as a nation about this....please leave your comments and thoughts about this action...P.S....We could possibly set a world record with this....google it :-)  less

For further Information, Perspectives and Questions visit the Desteni-Website or Desteni-Forum at http://www.desteni.co.za and http://www.desteni.co.za/forum

Commentary then Winston getting tortured by O'Brian

Director Robert Kane Pappas’ Orwell Rolls In His Grave is the consummate critical examination of the Fourth Estate, once the bastion of American democracy. Asking whether America has entered an Orwellian   more...world of doublespeak where outright lies can pass for the truth, Pappas explores what the media doesn’t like to talk about: itself.

Meticulously tracing the process by which media has distorted and often dismissed actual news events, Pappas presents a riveting and eloquent mix of media professionals and leading intellectual voices on the media.

Among the cast of characters in Orwell Rolls In His Graveare Charles Lewis, director of the Center for Public Integrity, Vincent Bugliosi, former L.A. prosecutor and legal scholar, film director and author Michael Moore, Rep. Bernie Sanders, Danny Schecter, author and former producer for ABC and CNN, and Tony Benn, former member of the British Parliament.

Orwell Rolls In His Grave provides a vital forum for ideas that will never be heard in mainstream media. From Globalvision’s Danny Schecter: “We falsely think of our country as a democracy when it has evolved into a mediacracy – where a media that is supposed to check political abuse is part of the political abuse.” New York University media professor Mark Crispin Miller says, “These commercial entities now vie with the government for control over our lives. They are not a healthy counterweight to government. Goebbels said that what you want in a media system – he meant the Nazi media system - is to present the ostensible diversity that conceals an actual uniformity.”

From the very size of the media monopolies and how they got that way to who decides what gets on the air and what doesn’t, Orwell Rolls In His Grave moves through a troubling list of questions and news stories that go unanswered and unreported in the mainstream media. Are Americans being given the information a democracy needs to survive or have they been electronically lobotomized? Has the frenzy for media consolidation led to a dangerous irony where in an era of more news sources the majority of the population has actually become less informed?

**This constitutes 'fair use' of copyrighted material as provided for in section 107 of the US Copyright Law. In accordance with Title 17 U.S.C. Section 107, the material is distributed without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes.**  less

Martial Law Alex Jones brings his bulldog style to the 911 issue in a big way. This video covers 911 issues with tons of references, as well as proof of the new police state that it has allowed to take   more...hold.  less

Martial Law Alex Jones brings his bulldog style to the 911 issue in a big way. This video covers 911 issues with tons of references, as well as proof of the new police state that it has allowed to take   more...hold.  less

Martial Law Alex Jones brings his bulldog style to the 911 issue in a big way. This video covers 911 issues with tons of references, as well as proof of the new police state that it has allowed to take   more...hold.  less

Since Tony Blair's New Labour government came to power in 1997, the UK civil liberties landscape has changed dramatically. ASBOs were introduced by Section 1 of the Crime and Disorder Act 1998 and first   more...used in 1999. The right to remain silent is no longer universal. Our right to privacy, free from interception of communications has been severely curtailed. The ability to travel without surveillance (or those details of our journeys being retained) has disappeared.

Indeed, as Henry Porter (the Observer journalist famous for his recent email clash with Tony Blair over the paring down of civil liberties) reveals in this unsettling film, our movements are being watched, and recorded, more than ever before.

There are already over four million CCTV cameras in Britain (the highest number in Europe) and they are becoming ever more sophisticated. It's explained that soon every journey in the UK could be monitored thanks to number plate recognition software.

Also, cameras will be able to identify "abnormal" behaviour. For instance, if someone is standing near a cash machine, but not using it, software can alert the CCTV operator. Which is fine until you stop to consider just what suspicious behaviour might entail.

"Perhaps," as Porter asks, "it's time for us to start practising our normal behaviour."

Meanwhile, the multi-billion pound introduction of national identity cards and biometric passports will make it ever harder for us to go anywhere, or buy anything, without leaving an electronic trail of information.

The argument in favour of all this increased surveillance and the reduction of our freedoms is that some sacrifices have to be made in order to protect our wider liberties. Tony Blair frequently states that the modern threats posed by terrorism require increasingly sophisticated techniques to catch those who would attack us.

Another argument, it is often pointed out, is if we aren't doing anything wrong, and we don't have anything to hide, we should have nothing to fear from all this legislation.

Porter demolishes this last argument by stating it's not a question of individuals doing "wrong", it's a question of how much we can trust future governments. There is immense potential for future authoritarian regimes to abuse anti-liberty legislation and the huge new supply of information it provides for them. What's more, as Porter shows, these abuses are already happening now.

The example he gives is in the USA where FBI 'no fly' lists, supposedly to stop terrorists getting in planes, were briefly (before the American Civil Liberties Union took the issue to court) extended to include those opposed to government policy. People stopped at airports because of this list included Senator Edward Kennedy, and the two ageing female editors of an anti-war magazine.

Porter also blasts the argument about terrorism. First, backed up by the former US Presidential candidate Al Gore, the film describes how counter-productive all this directionless information gathering can be. In making suspects of us all, our governments are actually making it harder for security forces to target the real trouble-makers.

"We're looking for needles in haystacks and the Bush Cheney administration keeps piling more hay on top of the stacks," explains Gore.

Secondly, in a triumphant piece of investigative reporting, Porter demonstrates that the new tools that are supposed to fight terrorism could actually make life easier for those that want to hide their true identity. He meets a security expert who demonstrates just how easy it is to crack into the signals given off from CCTV cameras and by downloading their footage could gain crucial security information from the people they follow (for instance the cameras can be used to work out security protocols inside buildings).

Meanwhile, the chips that will go into ID cards and into our passports contain information that can easily be obtained, and potentially duplicated, by  less

Time to wake up!!!

This film is about Room 101 - the room itself, Orwell's influences in creating it (his school days, his time at the BBC, Soviet Russia and communism), the psychology of fear used in Room 101, and its   more...impact on popular culture since its creation.

Orwell based Room 101 in part on his experiences of the BBC and the political vetting that used to go on in its conference room on the first floor. There is also a theory that the headmaster's study, in his old school St Cyprians, was a model for Room 101.

Artist Rachel Whiteread is filmed making a plastercast of the original Room 101, based in Broadcasting House. The room is facing demolition as part of building development.

Contributors to the film include Rachel Whiteread, film director Michael Radford (who directed the 1984 film version of the book), Terry Waite (discussing the power of the interrogation used in Room 101), John Hurt (who starred as Winston in Radford's film), David Taylor (author of an exciting new biography of Orwell), Tony Benn and Margaret Atwood.  less

Fan video originally posted by socratesone

From the CD "Werewolves and Lollipops"

This film is about Room 101 - the room itself, Orwell's influences in creating it (his school days, his time at the BBC, Soviet Russia and communism), the psychology of fear used in Room 101, and its   more...impact on popular culture since its creation.

Orwell based Room 101 in part on his experiences of the BBC and the political vetting that used to go on in its conference room on the first floor. There is also a theory that the headmaster's study, in his old school St Cyprians, was a model for Room 101.

Artist Rachel Whiteread is filmed making a plastercast of the original Room 101, based in Broadcasting House. The room is facing demolition as part of building development.

Contributors to the film include Rachel Whiteread, film director Michael Radford (who directed the 1984 film version of the book), Terry Waite (discussing the power of the interrogation used in Room 101), John Hurt (who starred as Winston in Radford's film), David Taylor (author of an exciting new biography of Orwell), Tony Benn and Margaret Atwood.  less

This film is about Room 101 - the room itself, Orwell's influences in creating it (his school days, his time at the BBC, Soviet Russia and communism), the psychology of fear used in Room 101, and its   more...impact on popular culture since its creation.

Orwell based Room 101 in part on his experiences of the BBC and the political vetting that used to go on in its conference room on the first floor. There is also a theory that the headmaster's study, in his old school St Cyprians, was a model for Room 101.

Artist Rachel Whiteread is filmed making a plastercast of the original Room 101, based in Broadcasting House. The room is facing demolition as part of building development.

Contributors to the film include Rachel Whiteread, film director Michael Radford (who directed the 1984 film version of the book), Terry Waite (discussing the power of the interrogation used in Room 101), John Hurt (who starred as Winston in Radford's film), David Taylor (author of an exciting new biography of Orwell), Tony Benn and Margaret Atwood.

  less

Adapted by Nigel Kneale, produced by Rudolph Cartier
Characters:
Winston Smith: Peter Cushing
O'Brien: Andre Morrell
Julia: Yvonne Mitchell
Syme: Donald Pleasance
Emmanuel Goldstein: Arnold Diamond
Parsons:   more...Campbell Gray
Mrs Parsons: Pamela Grant
Old Man: Thin Prisoner Wilfrid Brambell
Mr Charrington: Leonard Sachs
Big Brother: Roy Oxley
Narrator: Richard Williams

Nineteen Eighty-Four was a British television adaptation of the novel of the same name by George Orwell, originally broadcast on BBC Television in the winter of 1954. The production proved to be hugely controversial, with questions asked in Parliament and many viewer complaints over its supposed subversive nature and horrific content. In a 2000 poll of industry experts conducted by the British Film Institute to determine the 100 Greatest British Television Programmes of the 20th century, Nineteen Eighty-Four was ranked in seventy-third position.
The play provoked something of an upset. There were complaints both about the "horrific" content (particularly the infamous Room 101 scene where Smith is threatened with torture by rats) and the "subversive" nature of the play. Most were worried by the depiction of a totalitarian governmental regime controlling the population's freedom of thought, and four Members of Parliament from the governing Conservative Party tabled motions in the House of Commons for the scheduled Thursday second performance to be cancelled. There was also a report in the Daily Express newspaper of 42-year-old Beryl Merfin of Herne Bay collapsing and dying as she watched the production, under the headline "Wife dies as she watches", allegedly from the shock of what she had seen.

Amidst objections the BBC went ahead with the performance, although the decision went to the heights of the Board of Governors, which narrowly voted in favour of the second performance. This was even introduced live on camera by Head of Drama Michael Barry himself, who had already appeared on the Monday's edition of the topical news programme Panorama to defend the production. The seven million viewers who did tune in for the Thursday performance constituted the largest television audience in the UK since the Coronation the previous year, and even the Queen and Prince Philip made it known publicly that they had watched and enjoyed the play.

When it had become clear what an important production Nineteen Eighty-Four was, it was arranged for the second performance to be telerecorded onto 35mm film the first performance having simply disappeared off into the ether, as it was shown live, seen only by those who were watching on the Sunday evening. At this stage, Videotape recording was still at the development stage and television images could only be preserved on film by using a special recording apparatus (known as "telerecording" in the UK and "kinescoping" in the USA), but was only used sparingly, then in Britain for historic preservation reasons and not for pre-recording. It is thus the second performance that survives in the archives, one of the earliest surviving British television dramas.  less

Adapted by Nigel Kneale, produced by Rudolph Cartier
Characters:
Winston Smith: Peter Cushing
O'Brien: Andre Morrell
Julia: Yvonne Mitchell
Syme: Donald Pleasance
Emmanuel Goldstein: Arnold Diamond
Parsons:   more...Campbell Gray
Mrs Parsons: Pamela Grant
Old Man: Thin Prisoner Wilfrid Brambell
Mr Charrington: Leonard Sachs
Big Brother: Roy Oxley
Narrator: Richard Williams

Nineteen Eighty-Four was a British television adaptation of the novel of the same name by George Orwell, originally broadcast on BBC Television in the winter of 1954. The production proved to be hugely controversial, with questions asked in Parliament and many viewer complaints over its supposed subversive nature and horrific content. In a 2000 poll of industry experts conducted by the British Film Institute to determine the 100 Greatest British Television Programmes of the 20th century, Nineteen Eighty-Four was ranked in seventy-third position.
The play provoked something of an upset. There were complaints both about the "horrific" content (particularly the infamous Room 101 scene where Smith is threatened with torture by rats) and the "subversive" nature of the play. Most were worried by the depiction of a totalitarian governmental regime controlling the population's freedom of thought, and four Members of Parliament from the governing Conservative Party tabled motions in the House of Commons for the scheduled Thursday second performance to be cancelled. There was also a report in the Daily Express newspaper of 42-year-old Beryl Merfin of Herne Bay collapsing and dying as she watched the production, under the headline "Wife dies as she watches", allegedly from the shock of what she had seen.

Amidst objections the BBC went ahead with the performance, although the decision went to the heights of the Board of Governors, which narrowly voted in favour of the second performance. This was even introduced live on camera by Head of Drama Michael Barry himself, who had already appeared on the Monday's edition of the topical news programme Panorama to defend the production. The seven million viewers who did tune in for the Thursday performance constituted the largest television audience in the UK since the Coronation the previous year, and even the Queen and Prince Philip made it known publicly that they had watched and enjoyed the play.

When it had become clear what an important production Nineteen Eighty-Four was, it was arranged for the second performance to be telerecorded onto 35mm film the first performance having simply disappeared off into the ether, as it was shown live, seen only by those who were watching on the Sunday evening. At this stage, Videotape recording was still at the development stage and television images could only be preserved on film by using a special recording apparatus (known as "telerecording" in the UK and "kinescoping" in the USA), but was only used sparingly, then in Britain for historic preservation reasons and not for pre-recording. It is thus the second performance that survives in the archives, one of the earliest surviving British television dramas.  less

Adapted by Nigel Kneale, produced by Rudolph Cartier
Characters:
Winston Smith: Peter Cushing
O'Brien: Andre Morrell
Julia: Yvonne Mitchell
Syme: Donald Pleasance
Emmanuel Goldstein: Arnold Diamond
Parsons:   more...Campbell Gray
Mrs Parsons: Pamela Grant
Old Man: Thin Prisoner Wilfrid Brambell
Mr Charrington: Leonard Sachs
Big Brother: Roy Oxley
Narrator: Richard Williams

Nineteen Eighty-Four was a British television adaptation of the novel of the same name by George Orwell, originally broadcast on BBC Television in the winter of 1954. The production proved to be hugely controversial, with questions asked in Parliament and many viewer complaints over its supposed subversive nature and horrific content. In a 2000 poll of industry experts conducted by the British Film Institute to determine the 100 Greatest British Television Programmes of the 20th century, Nineteen Eighty-Four was ranked in seventy-third position.
The play provoked something of an upset. There were complaints both about the "horrific" content (particularly the infamous Room 101 scene where Smith is threatened with torture by rats) and the "subversive" nature of the play. Most were worried by the depiction of a totalitarian governmental regime controlling the population's freedom of thought, and four Members of Parliament from the governing Conservative Party tabled motions in the House of Commons for the scheduled Thursday second performance to be cancelled. There was also a report in the Daily Express newspaper of 42-year-old Beryl Merfin of Herne Bay collapsing and dying as she watched the production, under the headline "Wife dies as she watches", allegedly from the shock of what she had seen.

Amidst objections the BBC went ahead with the performance, although the decision went to the heights of the Board of Governors, which narrowly voted in favour of the second performance. This was even introduced live on camera by Head of Drama Michael Barry himself, who had already appeared on the Monday's edition of the topical news programme Panorama to defend the production. The seven million viewers who did tune in for the Thursday performance constituted the largest television audience in the UK since the Coronation the previous year, and even the Queen and Prince Philip made it known publicly that they had watched and enjoyed the play.

When it had become clear what an important production Nineteen Eighty-Four was, it was arranged for the second performance to be telerecorded onto 35mm film the first performance having simply disappeared off into the ether, as it was shown live, seen only by those who were watching on the Sunday evening. At this stage, Videotape recording was still at the development stage and television images could only be preserved on film by using a special recording apparatus (known as "telerecording" in the UK and "kinescoping" in the USA), but was only used sparingly, then in Britain for historic preservation reasons and not for pre-recording. It is thus the second performance that survives in the archives, one of the earliest surviving British television dramas.  less

Adapted by Nigel Kneale, produced by Rudolph Cartier
Characters:
Winston Smith: Peter Cushing
O'Brien: Andre Morrell
Julia: Yvonne Mitchell
Syme: Donald Pleasance
Emmanuel Goldstein: Arnold Diamond
Parsons:   more...Campbell Gray
Mrs Parsons: Pamela Grant
Old Man: Thin Prisoner Wilfrid Brambell
Mr Charrington: Leonard Sachs
Big Brother: Roy Oxley
Narrator: Richard Williams

Nineteen Eighty-Four was a British television adaptation of the novel of the same name by George Orwell, originally broadcast on BBC Television in the winter of 1954. The production proved to be hugely controversial, with questions asked in Parliament and many viewer complaints over its supposed subversive nature and horrific content. In a 2000 poll of industry experts conducted by the British Film Institute to determine the 100 Greatest British Television Programmes of the 20th century, Nineteen Eighty-Four was ranked in seventy-third position.
The play provoked something of an upset. There were complaints both about the "horrific" content (particularly the infamous Room 101 scene where Smith is threatened with torture by rats) and the "subversive" nature of the play. Most were worried by the depiction of a totalitarian governmental regime controlling the population's freedom of thought, and four Members of Parliament from the governing Conservative Party tabled motions in the House of Commons for the scheduled Thursday second performance to be cancelled. There was also a report in the Daily Express newspaper of 42-year-old Beryl Merfin of Herne Bay collapsing and dying as she watched the production, under the headline "Wife dies as she watches", allegedly from the shock of what she had seen.

Amidst objections the BBC went ahead with the performance, although the decision went to the heights of the Board of Governors, which narrowly voted in favour of the second performance. This was even introduced live on camera by Head of Drama Michael Barry himself, who had already appeared on the Monday's edition of the topical news programme Panorama to defend the production. The seven million viewers who did tune in for the Thursday performance constituted the largest television audience in the UK since the Coronation the previous year, and even the Queen and Prince Philip made it known publicly that they had watched and enjoyed the play.

When it had become clear what an important production Nineteen Eighty-Four was, it was arranged for the second performance to be telerecorded onto 35mm film the first performance having simply disappeared off into the ether, as it was shown live, seen only by those who were watching on the Sunday evening. At this stage, Videotape recording was still at the development stage and television images could only be preserved on film by using a special recording apparatus (known as "telerecording" in the UK and "kinescoping" in the USA), but was only used sparingly, then in Britain for historic preservation reasons and not for pre-recording. It is thus the second performance that survives in the archives, one of the earliest surviving British television dramas.  less

Adapted by Nigel Kneale, produced by Rudolph Cartier
Characters:
Winston Smith: Peter Cushing
O'Brien: Andre Morrell
Julia: Yvonne Mitchell
Syme: Donald Pleasance
Emmanuel Goldstein: Arnold Diamond
Parsons:   more...Campbell Gray
Mrs Parsons: Pamela Grant
Old Man: Thin Prisoner Wilfrid Brambell
Mr Charrington: Leonard Sachs
Big Brother: Roy Oxley
Narrator: Richard Williams

Nineteen Eighty-Four was a British television adaptation of the novel of the same name by George Orwell, originally broadcast on BBC Television in the winter of 1954. The production proved to be hugely controversial, with questions asked in Parliament and many viewer complaints over its supposed subversive nature and horrific content. In a 2000 poll of industry experts conducted by the British Film Institute to determine the 100 Greatest British Television Programmes of the 20th century, Nineteen Eighty-Four was ranked in seventy-third position.
The play provoked something of an upset. There were complaints both about the "horrific" content (particularly the infamous Room 101 scene where Smith is threatened with torture by rats) and the "subversive" nature of the play. Most were worried by the depiction of a totalitarian governmental regime controlling the population's freedom of thought, and four Members of Parliament from the governing Conservative Party tabled motions in the House of Commons for the scheduled Thursday second performance to be cancelled. There was also a report in the Daily Express newspaper of 42-year-old Beryl Merfin of Herne Bay collapsing and dying as she watched the production, under the headline "Wife dies as she watches", allegedly from the shock of what she had seen.

Amidst objections the BBC went ahead with the performance, although the decision went to the heights of the Board of Governors, which narrowly voted in favour of the second performance. This was even introduced live on camera by Head of Drama Michael Barry himself, who had already appeared on the Monday's edition of the topical news programme Panorama to defend the production. The seven million viewers who did tune in for the Thursday performance constituted the largest television audience in the UK since the Coronation the previous year, and even the Queen and Prince Philip made it known publicly that they had watched and enjoyed the play.

When it had become clear what an important production Nineteen Eighty-Four was, it was arranged for the second performance to be telerecorded onto 35mm film the first performance having simply disappeared off into the ether, as it was shown live, seen only by those who were watching on the Sunday evening. At this stage, Videotape recording was still at the development stage and television images could only be preserved on film by using a special recording apparatus (known as "telerecording" in the UK and "kinescoping" in the USA), but was only used sparingly, then in Britain for historic preservation reasons and not for pre-recording. It is thus the second performance that survives in the archives, one of the earliest surviving British television dramas.  less