¡GRACIAS CANDIDATO A DOCTOR EN HISTORIA DEL ARTE JORGE LUIS VILLACORTA SANTAMATO! ¡GRACIAS POR PROPONER UN PROYECTO QUE REVELA LA IMPORTANCIA MUNDIAL DE MI PRODUCCIÓN ARTÍSTICA! ¡EL MENSAJE DE MI OBRA CONMOVERÁ AL MUNDO! ¡"OCCULT HOLLYWOOD, THE NEW WORLD ORDER, AND LEONIDAS ZEGARRA" / "HOLLYWOOD OCULTISTA, EL NUEVO ORDEN MUNDIAL Y DON LEONIDAS ZEGARRA UCEDA" ES UN PROYECTO DIVINO!
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| DON LEÓNIDAS ZEGARRA UCEDA se encuentra presente en un proyecto de investigación formulado por el Candidato a Doctor en Historia del Arte JORGE LUIS VILLACORTA SANTAMATO. Dicho proyecto revela importantisima información sobre la naturaleza de la dimensión en que nos encontramos. El título de dicho proyecto es "OCCULT HOLLYWOOD, THE NEW WORLD ORDER, AND LEONIDAS ZEGARRA" ["HOLLYWOOD OCULTISTA, EL NUEVO ORDEN MUNDIAL Y DON LEONIDAS ZEGARRA UCEDA"]. (Fotografía: Cortesía de la Casa Museo Leonidas Zegarra, 2012). |
El director de perucine.blogspot.com ha propuesto al ACADEMY FILM SCHOLARS PROGRAM un proyecto de investigación esencial para comprender la importancia de mi obra artística en esta dimensión. Como dicho proyecto revelaba información clasificada relativa a la dimensión que nos encontramos, se ha pretendido que ha sido rechazada. Sin embargo, los iniciados como YO, DON LEÓNIDAS ZEGARRA UCEDA, podemos identificar las señas de reconocimiento que nos otorgan pistas sobre el desarrollo real de los eventos. ¡Mi obra importantísima en todos los sentidos ya ha sido considerada en Hollywood!
Ya saben queridos lectores: DON LEÓNIDAS ZEGARRA UCEDA, servidor al cual admiran, está en boca de los círculos de poder planetario más secretos es influentes. ¡Gracias nuevamente JORGE LUIS VILLACORTA SANTAMATO por arriesgar su vida para compartir la esperanza en la humanidad que genera mi obra! ¡Estamos muy por encima de Hollywood y sus secretillos!
La siguiente información está tomada de
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2:57 PM (9 hours ago)
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Dear Mr. Villacorta:
Recently, the Academy’s Grants Committee met to select the recipients of the Academy Film Scholars Grants. Out of 99 applications received, the Committee members were pleased and excited to discover a number of exceptional proposals. After a great deal of discussion including praise for a number of the proposals, the committee ultimately selected two. Regrettably, your proposal was not selected.
A press release announcing the two newest Academy Film Scholars will be distributed in the near future and I will make sure a copy is e-mailed to you.
The committee asked me to inform the applicants how much they enjoyed reading the proposals and how worthy many of them seemed. They anticipate that a good number of the proposals will come to fruition. They also wanted you to know that your re-application to the program in the future would be welcome. The online application form will be available once again in late summer or early fall.
Best of luck in all your future endeavors.
Sincerely,
Shawn Guthrie
Manager, Grants and Student Academy Awards
Recently, the Academy’s Grants Committee met to select the recipients of the Academy Film Scholars Grants. Out of 99 applications received, the Committee members were pleased and excited to discover a number of exceptional proposals. After a great deal of discussion including praise for a number of the proposals, the committee ultimately selected two. Regrettably, your proposal was not selected.
A press release announcing the two newest Academy Film Scholars will be distributed in the near future and I will make sure a copy is e-mailed to you.
The committee asked me to inform the applicants how much they enjoyed reading the proposals and how worthy many of them seemed. They anticipate that a good number of the proposals will come to fruition. They also wanted you to know that your re-application to the program in the future would be welcome. The online application form will be available once again in late summer or early fall.
Best of luck in all your future endeavors.
Sincerely,
Shawn Guthrie
Manager, Grants and Student Academy Awards
Academy
of Motion Picture Arts & Sciences
|
Jan 31
to me
Thank you for your submission. Your application has been submitted successfully, and the tracking number is 27315. You will be receiving more information on the status of your application shortly. For your records, here is a copy of the contents of your application.
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Applicant Information
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Prefix
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| Mr. | ||
First Name
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| Jorge | ||
Middle Name or Initial
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| Luis | ||
Last Name
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| Villacorta | ||
Suffix
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Street Address
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| Los Halcones 563. Urb. Sta. Cecilia. Bellavista. | ||
City
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| Callao | ||
State
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| Select N/A if this field is not applicable to you. | ||
| N/A | ||
Zip Code
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| 02 | ||
Country
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| If you do not see your country listed select "Other" from the drop-down and enter your country in the Street Address field above. | ||
| Peru | ||
Phone
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| (511) 4514334 | ||
Mobile Phone
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E-mail Address
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| JORGEVILLACORTA1@gmail.com | ||
Co-Applicant Information
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Prefix
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First Name
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Middle Name
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Last Name
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Suffix
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Address
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City
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State
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Postal Code
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Phone
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Mobile Phone
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E-mail
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Last Name
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Villacorta
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Proposal Information
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Project Title
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| Occult Hollywood, the New World Order, and Leonidas Zegarra. | ||
Project Statement Summary
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| (One or two paragraphs summarizing the project) | ||
| Hollywood
is the U.S. Intelligence Community propaganda machine and the managers
of the capitalist New World Order (NWO) weaponize it as a tool of
psychological warfare. Hollywood works as a secret organization that
supports worldwide political, economic and spiritual objectives in
coordination with the censors of technologies whose effects seem to be
supernatural to the unaware observer because they include mind reading,
remote mind control, realistic holographic disguise, gang stalking and
artificial synchronicity among other effects. At the end of 2015, members of the NWO actively working in Hollywood were hiddenly paying intense attention to storylines where the Peruvian filmmaker Leonidas Zegarra was depicted as the living god of all the producers, writers, directors, actors and technicians working in Hollywood. It might seem strange that the masterminds behind the totalitarian international conspiracy we are living today were so interested in a modest Latin American filmmaker but behind the curtain lies a harrowing narrative of symbolic power struggle between the all-encompassing wizards of the NWO and the single, fragile and disturbed soul of an unknown Peruvian private citizen. | ||
Project Type
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| (i.e. book, multi media presentation, interactive dvd, curatorial project, website) | ||
| Book | ||
College/University Affiliation
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| (List for both if there are two applicants) | ||
| UPC (Universidad Peruana de Ciencias Aplicadas) | ||
Projected Project Completion Date
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| 27/02/2017 | ||
Anticipated Use of Grant Funds
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| (e.g., research travel, time off, book photos, etc.) | ||
| Research travel, book photos, office supplies. | ||
Attachments
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UPLOAD INSTRUCTIONS
1. Choose the Title from the drop down menu of the file you wish to attach. 2. Click the Browse button to search for the file you wish to upload. Click the file you want to attach then click the Open button. 3. Click the Upload button to attach the file to this application. 4. Then return to the Title drop down to repeat Steps 1-3 for the next document. | ||
Project Statement
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| (up to five pages) | ||
| Occult Hollywood, the New World Order, and Leonidas Zegarra. Project Statement.doc | ||
Bibliography
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| (up to three pages) | ||
| Occult Hollywood, the New World Order, and Leonidas Zegarra. Bibliography.doc | ||
C.V.
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| JORGE VILLACORTA C.V. 2016. Academy Film Scholars Program.doc | ||
Occult Hollywood, the New World Order, and
Leonidas Zegarra.
Hollywood is the U.S. Intelligence Community
propaganda machine and the managers of the capitalist New World Order (NWO)
weaponize it as a tool of psychological warfare. Hollywood works as a secret
organization that supports worldwide political, economic and spiritual
objectives in coordination with the censors of technologies whose effects seem
to be supernatural to the unaware observer because they include mind reading,
remote mind control, realistic holographic disguise, gang stalking and
artificial synchronicity among other effects.
At the end of 2015, members of the NWO actively
working in Hollywood were hiddenly paying intense attention to storylines where
the Peruvian filmmaker Leonidas Zegarra was depicted as the living god of all
the producers, writers, directors, actors and technicians working in Hollywood.
It might seem strange that the masterminds behind the totalitarian
international conspiracy we are living today were so interested in a modest
Latin American filmmaker but behind the curtain lies a harrowing narrative of
symbolic power struggle between the all-encompassing wizards of the NWO and the
single, fragile and disturbed soul of an unknown Peruvian private citizen.
Project Statement
a.
Describe the proposed project clearly and concisely.
b.
Define both the objective and the methodology that will be employed.
c. Place
the project in academic or professional context by referring to other leading
works on the topic. Describe how your project is distinguished from these
works.
d.
Please highlight any portion of your project that examines film industry
subjects or ideas that have been underrepresented in the canon of film
scholarship to date.
e.
Discuss the project’s significance in its field of study.
f.
Explain how your professional experience is relevant to the project.
g. Discuss
the project’s significance to your own professional development.
h.
Provide a timetable for completing the project.
i.
Include any grants, residencies or additional resources already available to
you. Describe your project and how you intend to use the Academy grant.
Project Statement
Title: Occult
Hollywood, the New World Order, and
Leonidas Zegarra.
Written by: Jorge Villacorta
A. Description of the project:
This project is about the writing of a book
that will explain why at the end of the year 2015 members of the New World
Order working in Hollywood were paying attention to the idea that the Peruvian
filmmaker Leonidas Zegarra was Hollywood’s living god.
B. b.1. Definition of the objective:
The objective is to explain why the year 2015
in Hollywood there were members of the New World Order who were interested in
the idea of the Peruvian filmmaker Leonidas Zegarra as the living god of
Hollywood. In order to achieve this goal the events that generated that
situation will be described.
b.2. Definition of the methodology:
The explanation of the events stated in the
definition of the objective (b.1) will be developed in chronological order.
Through this explanation different aspects of Hollywood as a secret
organization will be exposed. The main source of the information will be
provided by an informant who lives in Peru who will interviewed several times.
Several aspects of the story will be supported by reliable open sources and
scholarly material.
C. c.1. Academic context of the
project:
Due to the fact that this project involves
political, economic, cultural, military, esoteric and spiritual subjects an
interdisciplinary approach is required.
We live in a capitalist world organized by
capitalist rules and rulers. Those human beings who control de economy control
the other human beings. To keep their power alive and strong they attack all
the other human wills that could confront their position. This war is
permanent. The subject has been studied carefully by authors like Karl Marx,
Frederic Engels, Vladimir Ilich Ulianov (known as Lenin), Leon Trotsky, Louis
Althusser, Antonio Gramsci, Fidel Castro or Guillermo Lora. Naturally, all of
them were supported by the New World
Order, because it creates its own enemies. We can read about his in “The best
enemy money can buy” and “National suicide: military aid to the Soviet Union”
by Anthony C. Sutton, “None dare to call it treason” by John A. Stormer, “The
unseen hand: an introduction to the conspirational view of history” and “The
New World Order” by A. Ralph Epperson, “None dare call it conspiracy” by Gary
Allen and Larry Abraham, and “Truth is a lonely warrior: unmasking the forces
behind global destruction” by James Perloff. Nowadays, it is evident that
Hollywood is a weapon of the U.S. Intelligence Community. Many books detail
this fact, for example: “Spooking the news: how the CIA manipulates the media
and hoodwinks Hollywood” by Nicholas Schou, “In secrecy’s shadow: the OSS and
the CIA in Hollywood cinema 1941-1979” by Simon Willmetts, “The CIA in
Hollywood: how the agency shapes film and television” by Tricia Jenkins, “The
cultural cold war: the CIA and the world of arts and letters” by Francis Stonor
Saunders, “Guts and glory: the making of the American military image in film”
and “Sailing on the Silver Screen: Hollywood and the U.S. Navy” by Lawrence
Suid, “Operation Hollywood: how the Pentagon shapes and censors the movies” by
David L. Robb, “Silver screen saucers: sorting fact from fantasy in Hollywood’s
UFO movies” by Robbie Graham, “Confidential: the life of secret agent turned
Hollywood tycoon – Arnon Milchan” by Meir Doron and Joseph Gelman. “Reel power:
Hollywood cinema and American supremacy” by Matthew Alford. In addition to this
information, in December 19, 2013 was declassified the “ANNEX “B” to the U.S.
Doctrinal Program, PSB-D-33, June 29, 1953” that states that the CIA should
develop doctrinal warfare abroad. So, the general context of the situation
under study is known but, even though the academia offers a frame to understand
visible social situation there are other aspects that we could call “fringe”
that have not been adressed yet. This project will deal with this kind of
topics.
D. d.1. Film industry subjects
underrepresented in the canon of film scholarship to date.
Because winning hearts and minds is a sensitive
issue under the current war there are film industry subjects underrepresented
in the canon of film scholarship to date. Several questions that are avoided
are the following.
- Are different Hollywood stars brought to life
thanks to the performances of the same individual?
- Are well known public figures like
congressmen, military and religious leaders, queens and presidents incarnated
by Hollywood actors in disguised?
- Are “terrorist attacks” hoaxes perpetrated
with the help of “crisis actors”?
- Are the U.S. Intelligence Community,
Hollywood and the international political arena managed by the same “production
company”?
This project will deal with those subjects.
d.2. Ideas underrepresented in the canon of
film scholarship to date.
Questioning the basic facts of the social
organization could be threatening to those in power. One idea underrepresented
in the canon of film scholarship to date is the following:
- Is the reality a virtual world where the
people who run Hollywood and the New World Order know rules ignored by the
other participants?
This idea has been hinted in movies like “The
Wizard of OZ” (1939), “Zardoz” (1974), “The Game” (1997), “The Matrix” (1999),
“Synecdoche, New York” (2008), “The Box” (2009), “The Adjustment Bureau” (2011)
, “Room” (2015), among others.
E. Project significance in its field
today:
This project is important because it will help
to integrate avoided topics in the scholarly arena and will provide an insight
view of the workings of Hollywood, the New World Order and reality itself.
F. How my professional experience is
relevant to the project.
I have worked as an actor and teach “Journalism
and Disinformation” in a Peruvian university. These experiences help to
understand the dynamics of deceiving people. Also, I am the appointed curator
of the Museum Leonidas Zegarra (Casa Museo Leonidas Zegarra in Spanish). Thus,
I am truly interested in everything about Leonidas Zegarra.
G. The project significance to my own
professional development.
Writing a book on the proposed topic would be
extremely helpful to my own professional development because this would be the
ideal material of reference that I could use to teach “Journalism and
Disinformation”. Also, the research process would generate more ideas for
future projects. The publishing of the book will call attention to the
filmmaking career of Leonidas Zegarra whose movies I have begun to study.
H. Timetable for completing the
project.
April 2016 – October 2016: Gathering of
information, interviews, research travel, organization of ideas.
November 2016 – January 2017. Writing.
February 2017: Publishing of the book.
I. Resources already available to me.
Description of the project and how I intend to use the Academy grant.
Resources: my brother’s laptop, my parent’s
home.
My project is a book based in open sources and
interviews. I will use the Academy grant to finance research travel and other
expenses, including the publication and distribution of the book.
--------
Select Bibliography
Occult Hollywood, the New World Order and Leonidas
Zegarra
Alford, Matthew (2010), Reel Power: Hollywood Cinema And
American Supremacy, London: Pluto Press.
Allen, Gary, and Larry Abraham
(1972), None Dare Call It
Conspiracy, Rossmoor, California: Concord Press.
Bagdikian, Ben H. (2004), The New Media Monopoly, Boston:
Beacon Press.
Birkenstein, Jeff, Anna Froula
and Karen Randell (2010), Reframing
9/11: Film, Popular Culture And The “War On Terror”, New York: Continuum.
Boyd-Barrett, Oliver, David
Herrera and James A. Baumann (2011), Hollywood And The CIA: Cinema, Defense
and Subversion, New York:
Routledge.
Boggs, Carl and Leslie Thomas
Pollard (2006), The Hollywood
War Machine: U.S. Militarism And Popular Culture, Boulder, CO: Paradigm
Publishers.
Bogle, Lori Lyn (2004), The Pentagon´s Battle For The
American Mind: The Early Cold War, Texas: College Station, TX: A&M
University Press.
Bullock, August (2004), The Secret Sales Pitch: An Overview
Of Subliminal Advertising, San Jose, CA: Norwich Publishers.
Cull, Nicholas J. (2008), The Cold War And The United States
Information Agency: American Propaganda And Public Diplomacy, 1945 – 1989,
Cambridge: Cambridge University Press.
Dowbenko, Uri (2004), Hookwinked: Watching Movies
With Eyes Wide Open, Pray, MT: Conspiracy Digest.
Doron, Meir and Joseph Gelman
(2011), Confidential:
The Life Of Secret Spy Turned Hollywood Tycoon Arnon Milchan, New York:
Geffen Books.
Epperson, A. Ralph (1982), The Unseen Hand: An Introduction To
The Conspirational View Of History, Tuscson, Arizona: Master Printers.
Epperson, A. Ralph (1991), The New World Order, Tuscson,
Arizona: Plubius Press.
Fulbright, James William (1970), The Pentagon Propaganda Machine,
New York: Liveright.
Graham, Robbie (2015), Silver Screen Saucers: Sorting Fact
From Fantasy In Hollywood’s UFO Movies, Hove, United Kingdom: White Crow Books.
Hoffman II, Michael A. (2001), Secret Societies And Psychological
Warfare, Coeur d’Alene, ID: Independent History And Research.
Jenkins, Tricia Anne (2012), The CIA In Hollywood: How The
Agency Shapes Film And Television, Austin, TX: University of Texas Press.
Leab, Daniel J. (2007), Orwell Subverted: The CIA And The Filming Of
Animal Farm, University Park, PA: Pennsylvania State University Press.
Osborne, Bob, (1990), Propaganda Tool: The Hollywood War
Movie And Its Usurpation By TV, Pennsylvania: U.S. Army War College
Osgood, Kenneth (2006), Total Cold War: Eisenhower´s Secret
Propaganda Battle At Home And Abroad, Lawrence, KS: University Press of
Kansas.
Perloff, James (2013), Truth is a lonely warrior:
unmasking the forces behind global destruction, Burlington, Massachusetts:
Refuge Books.
Richelson T., Jeffrey (1999), The U.S. Intelligence Community,
Boulder CO: Westview Press.
Robb, David L. (2004), Operation Hollywood: How The
Pentagon Shapes And Censors The Movies, New York: Prometheus Books.
Saunders, Frances Stonor (2001), The Cultural Cold War: The CIA And
The Worlds Of Arts And Letters, New York: The New Press.
Schou, Nicholas (2003), Spooking The News: How The CIA
Manipulates The Media And Hoodwinks Hollywood, Unknown place of publishing:
Hot Books.
Segrave, Kerry (1997), American Films Abroad: Hollywood´s
Domination Of The World´s Movie Screens From The 1890s To The Present,
Jefferson, NC: Mcfarland & Co Inc Pub.
Shaw, Tony (2007), Hollywood´s Cold War, Amherst,
MA: University of Massachusetts Press.
Simpson, Christopher ed. (1996), Science
Of Coercion: Communication Research And Psychological Warfare, 1945-1960,
Oxford: Oxford University Press.
Stahl, Roger (2009), Militainment, Inc.: War, Media And
Popular Culture, New York: Routledge.
Stone, Travis (2015), A Time For Deception: False-Flags,
Technology Suppresion, And Deep CIA Secrets, Unknown: CreateSpace
Independent Publishing Platform.
Stormer, John A. (2009), None Dare Call It Treason,
Florissant, MO: Liberty Bell Press.
Suid, Lawrence H. (2002), Guts And Glory: The Making Of The
American Military Image In Film,Lexington, KY: The University Press of
Kentucky.
Suid, Lawrence H. (1996), Sailing On The Silver Screen:
Hollywood And The U.S. Navy, Annapolis, MD: U.S. Naval Institute Press.
Sutton, Anthony C. (1986), The Best Enemy Money Can Buy, Billings,
Mont.: Liberty House Press.
Sutton, Anthony C. (1973), National Suicide: Military Aid To
The Soviet Union, New Rochelle, N.Y.: Billings, Mont.: Arlington House.
Trostky, Leon (1969), The Permanent Revolution And
Results And Prospects, New York: Merit Publishers.
Trumpbour, John (2002), Selling Hollywood To The World:
U.S. And European Struggles For Mastery Of The Global Film Industry, 1920 –
1950, Cambridge: Cambridge University Press.
United States, Joint Chiefs of
Staff (2010), JP 3-13.2
Psychological Operations, Washington, DC: Joint Chiefs of Staff.
Valantin, Jean-Michel (2005),Hollywood,
The Pentagon And Washington: The Movies And National Security From World War II
To The Present Day, :Anthem Press.
Willmets, Simon (2016), In Secrecy’s Shadow: The OSS And CIA In
Hollywood Cinema 1941-1979, Edinburgh, UK: Edinburgh University Press.
Wood, Judy (2009), Where Did The Towers Go?, Los
Angeles, CA: Feral House.
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