Muslimerne propaganderer grusomheder

Propaganda

propaganda, (lat., af propagare ‘udbrede’), systematisk tilrettelagt envejskommunikation, der i frihed over for sagligheden med suggestive midler (ord, gerne billeder og musik) sigter mod at styre modtagernes holdning og adfærd. Hvor saglig argumentation med rod i samtale og debat vil vise, bevise og overbevise, vil propaganda ved demagogi overtale og forføre.

Med andre ord vil propagandisten tage sig lækker ud i forhold til sin målgruppes værdier, ønsker, drømme og frygt. Lige så meget som det er fortællingen om propagandistens selvbillede er dens succes fortællingen om målgruppens essens. Englænderne kunne f.eks motiveres til at bekrige kejserens Tyskland ved at appellere til retfærdighedssans og angst for det lurende barbari tilsat et strejf af lummerhed.

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The Guardians Steve Rose skriver

In 1941, Hollywood director Frank Capra was commissioned to make a series of propaganda films for the US war effort. He knew he had his work cut out: he had seen Leni Riefenstahl’s Triumph Of The Will – a staggering, state-of-the-art display of both film-making expertise and Nazi military might. “It scared the hell out of me,” Capra later said. “It fired no gun, dropped no bombs, but as a psychological weapon aimed at destroying the will to resist, it was just as lethal.” How could the Americans possibly compete? Capra’s solution was to turn the enemies’ weapons against them. His resulting seven-film documentary series, Why We Fight, repurposed footage from Triumph Of The Will and other propaganda films to show “our boys” what they were up against. He even copied Riefenstahl’s editing rhythms and rousing use of music. “Let their own films kill them,” Capra said. “Let the enemy prove to our soldiers the enormity of his cause – and the justness of ours.”

De totalitære styreformer appellerede til drømmen om fremskridt og sammenhold, der skulle forblive en illusion og en løgn.

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Eller til drømmen om lederens menneskelighed og kærlighed.

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Vestlige demokratier benytter vulgær propaganda som en force majeure og hvis man skal have almindelige vesterlændinge til at gribe til vold er en dehumanisring af fjenden nødvendig. Fra Tyskland, henover Rusland til Kina appellerer de totalitære og morderiske regimer til det almindelige menneskes håb og drømme om et bedre samfund, en bedre fremtid og den kære leder. Men, hvad kan vi lære af Kalifatets videoer? Kun om æstetik og teknibavl hos Times of Israel

Analysts say that a video released by the Islamic State group last month, showing the beheading of 22 Syrian soldiers, took between four and six hours to film, and cost an estimated $200,000.

The propaganda video, released on November 16 and called “Though the Unbelievers Despise It,” shows the simultaneous executions of the Syrian soldiers as well as the beheading of US aid worker and hostage Peter (Abdul Rahman) Kassig.

The US-based terrorism research organization TRAC (Terrorism Research & Analysis Consortium) and a UK-based counter-extremism think tank Quilliam analyzed the production techniques used to make the video in an effort to identify victims and their killers and to locate the exact location of the brutal killings.

Based on lighting and shadows, the analysts estimated that the video was shot in multiple takes over a four- to six-hour period.

They also noted several inconsistencies in the line-up order of hostages and killers. In certain frames the jihadists can be seen chatting among themselves, passing time between takes.

TRAC said that the professional-quality footage was filmed with multiple high-definition cameras and edited with state-of-the-art software.

Veryan Khan, a TRAC researcher, told TIME magazine that the video would have likely had a director, producer and editor, who may have used storyboards like traditional filmmakers.

Khan pointed out that not only did the executioners posses a certain physical aesthetic, they also represented varying ethnicities and nationalities, a way for the Islamic State to demonstrate the global reach of its self-proclaimed caliphate.

På Telegraph kan man læse at ISIS er for muslimer, hvad pop-idoler er for vesterlændinge

Isil jihadists are becoming like the Beatles and other pop idols with British boys wanting to be them and girls wanting to be with them, a senior prosecutor has warned.

Nazir Afzal said “jihadimania” is worse than previously thought and is luring youngsters conned by the image to Syria.

And those who do not managed to travel are a “ticking time bomb” for the security services and police here, he warned.

More than 600 Britons are feared to have travelled to Syria with many joining the terror group Isil.

They include young teenage boys and girls who have either gone to become soldiers or “jihadi brides”.

Isil’s alleged British executioner Mohammed Emwazi was already dubbed “Jihadi John” in reference to the “Beatles” nickname given to him and his fellow British captors by their hostages.

But Mr Afzal said the pop music image is more widespread and risks luring and radicalising many more young Britons.

“The boys want to be like them and the girls want to be with them,” he said in an interview with The Guardian.

“That’s what they used to say about the Beatles and more recently One Direction and Justin Bieber. The propaganda the terrorists put out is akin to marketing, and too many of our teenagers are falling for the image.”

“The extremists treat them in a similar way to sexual groomers – they manipulate them, distance them from their friends and families, and then take them.”

Guardians Steve Rose mener at ISIS bl.a forsøger at trække Vesten ind i et morrads af krig og muslimer med sine halshugningsvideoer af vestlige jourlister som Steven Sotlof og James Foley (en advarsel, der deles af Magnus Ranstorp). Men så tilføjer han helt ureflekteret at vestlige lande “have seen their citizens departing to join Isis”. Men hvad drager dog “vestens borgere” som muslimer så eufemistisk kaldes, til at deltage i henrettelser af sagesløse mennesker? Rose svarer ikke, men synes overvældet af at ISIS synes at gøre Capra kunsten efter når det handler om at bruge fjendens æstetisk, fjernt fra Bin Ladens monotone hulemologer

The visual grammar of these films bears close examination. Cantlie first appears talking straight to the viewer, but the angle switches mid-speech, showing him in profile. It’s a technique common to modern documentary and TV interviews, requiring more than one camera or multiple takes. Cantlie’s broadcasts also end with a news-like sign-off: “Join me for the next programme”. In the beheading videos, “Jihadi John” and his masked kidnappers indicate their next victim at the end, as if enticing viewers to stay tuned, in the manner of a reality TV show. Why do this? Isis is trying to make its hostage videos look more professional, more entertaining, even.

The full extent of Isis’s media ambitions can be seen in the output of its “Al Hayat Media Center”. Not to be confused with the Arab newspaper Al-Hayat, Al Hayat Media is specifically aimed at non-Arabic speakers, particularly younger viewers, and its output is closer to mainstream broadcast standards than anything else Islamic extremism has yet produced. Like a conventional broadcaster, it has its own glossy ident, not dissimilar to that of Al-Jazeera: a teardrop-shaped logo of Arabic script materialising from a digital cascade of water. Its broadcasts invariably feature this logo or a fluttering black-and-white Isis flag in the top corner of the screen. It makes programmes in several languages – primarily German, English and French – and multiple formats, from minute-long, Twitter-friendly “Mujatweets” to an hour-long “documentary” entitled The Flames Of War, which was heralded by its own Hollywood-style trailer. It also publishes audio content and an English-language PDF magazine, called Dabiq. Issue two likened the Caliphate to an “ark” in an apocalyptic “flood”. It illustrated the analogy with images from the recent Hollywood epic Noah.

(…)

The more violent images from The Flames Of War have also been edited into a rapid-fire, steroidal action montage accompanied by a recruitment nashid, or hymn. Again, the implication is that warfare is a real-life Grand Theft Auto. The song lyrics sweep across the screen, karaoke-style in latin-script Arabic and English: “Brothers rise up! Claim your victory! Let’s go! Let’s go for jihad!” It takes a while to register that the song itself is in German.

Information har en rasende spændende fortælling om “en fransk journalist går undercover på de sociale medier for at komme i kontakt med Islamisk Stat”. Hun bliver forlovet med “en af Al-Baghdadis mest betroede mænd” og er på vej til Kalifatet og afsløring da handes ‘gom’ bliver dræbt af vestlige styrker, angiveligt fordi sikkerhedstjenester har overvåget “forholdet”. Journalistens erfaringer kommer som bog og er “en skræmmende beretning om, hvor langt ind i teenageværelserne, Islamisk Stats propagandamaskine når” Til TV2 siger Loretta Napoleoni, ekspert i international terrorisme at ”Islamisk Stat (IS) har et besnærende positivt budskab til verdens unge muslimer”.

- Den besked, som Al Qaeda sendte ud, var: ”Kom til Irak og spræng dig selv i luften. Og så får du bagefter et vidunderligt liv med 72 jomfruer”. IS siger: ”Kom og vær en del af dette fantastiske eventyr, bring din familie hertil, lev livet nu”. Det er derfor, de besnærende, siger Loretta Napoleoni i et interview med TV 2.

(…)

- Det er skabelsen af en stat, som er virkeliggørelsen af det muslimske, politiske Utopia. At gå tilbage til Kalifatet er noget, der er blevet debatteret blandt lærde i måske seks århundreder: ”Vi må tilbage til kalifatets strålende civilisation”. De har ikke andre positive, politiske eksempler. Så det, de gør, er at vise folk – i særlig grad de unge muslimer verden over – at de er i gang med at føre denne utopiske drøm ud i livet. Og de ønsker, at de skal deltage.

- Dette er en stat, der vil give dem alle sammen frigørelse. Århundreder af ydmygelse og kolonisering vil al sammen være glemt, for denne stat vil beskytte dem. Det er det positive budskab.

Napoleoni advarer mod at bruge militær magt, der kun vil gøre dem “endnu stærkere end i dag”. I stedet skal vi “bringe denne stat ind i det internationale samfund”. Det lyder ganske tilforladeligt, især når The New Yorker analyserer poetikken. Så overraskede og imponerede eksperterne er over Kalifatets lækre propaganda, så lidt beskæftiger de sig med indholdet og det muslimske sind. Propaganda er at fortælle om sagens fremragende kvaliteter eller om fjendens grusomheder. Kalifatets kvalitet er grusomhed mod islams knækkede fjender og dette gør Kalifatets propaganda enestående. De viser grusomheder begået mod en værgeløs knækket fjende. Kalifatet caster gladeligt sig selv i rollen som “the mad brute” og vinder muslimers hjerter.

Men eksperterne er blinde for den vinkel og medierne og politikerne bange. National Post havde spurgt Joanna Cook, der skrev afhandling om “jihad-brude” unge piger der drager til Kalifatet for at gifte sig med krigerne. Bortset fra almindelige sammenligninger med kvinder der bistod Klu Klux Klan som generisk ekstremisme får man intet at vide om det specifikke fænomen, altså en gang akademisk tomgang, På spørgsmålet om, hvor disse brude kommer fra svarer hun selvfølgeligt “Belgium, Germany, Malaysia, France, Austria, Australia and even the U.S…”. Men de kommer ikke allehånde steder fra. De kommer fra muslimske familier!

Forklaringen skal man søge hos folk som Nikolaj Sennels

Brainwashing people into believing or doing things against their own human nature — such as hating or even killing innocents they do not even know — is traditionally done by combining two things: pain and repetition. The conscious infliction of psychological and physical suffering breaks down the person’s resistance to the constantly repeated message.

Totalitarian regimes use this method to reform political dissidents. Armies in less civilized countries use it to create ruthless soldiers, and religious sects all over the world use it to fanaticize their followers.

During numerous sessions with more than a hundred Muslim clients, I found that violence and repetition of religious messages are prevalent in Muslim families.

Muslim culture simply does not have the same degree of understanding of human development as in civilized societies, and physical pain and threats are therefore often the preferred tool to raise children. This is why so many Muslim girls grow up to accept violence in their marriage, and why Muslim boys grow up to learn that violence is acceptable. And it is the main reason why nine out of ten children removed from their parents by authorities in Copenhagen are from immigrant families. The Muslim tradition of using pain and intimidation as part of disciplining children are also widely used in Muslim schools — also in the West.

Combined with countless repetitions of Quranic verses in Islamic schools and families, all this makes it very difficult for children to defend themselves against being indoctrinated to follow the Quran, even if it is against secular laws, logic, and the most basic understanding of compassion.

And as we know from so many psychological studies, whatever a child is strongly influenced by at that age takes an enormous personal effort to change later in life. It is no wonder that Muslims in general, in spite of Islam’s inhumane nature and obvious inability to equip its followers with humor, compassion and other attractive qualities, are stronger in their faith than any other religious group.

Ingen tvivl om at Kalifatet lægger i kakkelovnenRousseau mente at civilisationen ødelagde mennesket, at mennesket i sin urform var ædlere. At dømme efter muslimernes hang til grusomheder, så er der forskel på civilisationer. Eller også er muslimerne forfaldet til Hobbes‘ krigeriske naturtilstand og deres og deres omgivelsers liv ondt, brutalt og kort. Og her er der kun et at gøre: Destroy this mad brute!

1 Kommentar »

  1. [...] monologer i en hule i Bore Bora eller fra hans sidste bosted med den store pornosamling. Men, som jeg har skrevet før, så undgår eksperterne altid videoernes smertelige indhold, måske fordi konklusionen ikke er til [...]

    Pingback by Monokultur » Mentalitet — December 29, 2016 @ 12:34 pm

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