November 30, 2016
By Brandon Turbeville
While the alternative media has done yeoman’s service in exposing the White Helmets as being nothing more than a terrorist support group (with special honors going to Vanessa Beeley), the White Helmets have done a good job of ruining their own falsely earned reputation as of late.
In October, for instance, protests initiated by White Helmets supporters took place all over the United States and Europe that saw protesters decking themselves out in costumes to look as if they were victims in war-torn Syria, complete with stage props, fake blood, and flour to make the presentation appear as if it were an actual scene from Syria. The goal was “to bring the war to the people of the west.”
The presentation was very well done. Too well done, in fact. Because, after viewing the demonstrators in the streets, it was clear that all one needed to make a White Helmets-style propaganda film is some basic material, a few actors, and the extra added benefit of being surrounded by damaged buildings for effect.
As Tony Cartalucci wrote in his article, “’White Helmet’ ‘Save Aleppo’ Protest Proves How Easy It Is To Dress Up Actors As ‘War Victims,’” written for Land Destroyer Report,
Even after the display by the protesters, however, it appears the White Helmets could not help but come back to ensure that anyone claiming that their “rescue” videos were fake had ample evidence to back up their assertions. This evidence was provided by a video shared around social media by Mimi al-Laham which shows a White Helmets video that was shot in the “mannequin style,” a type of film technique where actors remain completely still as the camera pans around them. In the video, one can easily see the White Helmets and the victim they are attempting to “save” holding as still as mannequins until finally breaking their freeze, “rescuing” the man under the rubble who, all of a sudden, breaks out into screams of pain.The recent coordinated “save Aleppo” protests held across Europe and North America, perhaps revealed just how transparently fabricated and fictional the “White Helmet’s” work really is. During one protest, photos retweeted by the official “White Helmet’s” Twitter account showed actors dressed up as “war victims,” covered in fake dust and blood, appearing almost indistinguishable from the alleged “victims” the “White Helmets” regularly “save” in Syria.
The protest, staged in European streets far from the Syrian conflict, even included children – likewise covered in fake dust and blood – cradled in the arms of adults, posing with despondent looks upon their faces. Also part of the staged scene were actors dressed like the “White Helmets” themselves.
While the acting troupe that organized this protest may have thought they were cleverly “bringing the conflict to the streets of Europe” to invoke global sympathy for their cause, what they really proved was just how easy it really is for the “White Helmets” to create “war victims” anytime, anywhere.
In Syria, where years of US-backed violence has left many parts of the country devastated, such staged scenes playing out with the devastation of war as a backdrop become all the much more convincing. With “White Helmet” videos heavily edited before reaching the public, they are able to create tragic scenes of war, anytime, anywhere – even in the streets of Europe thousands of miles away from where Syrian and Russian warplanes are operating.
Again, as Tony Cartalucci writes,
White Helmets should be considered nothing more than a terrorist rescue operation and propaganda wing for al-Nusra Front. This organization is wholly funded, directed, and promoted by Western governments, intelligence agencies and foundations for the purposes of assisting Western-backed terrorists in destroying secular Syria and replacing it with a collection of impotent religious/ethnicity-based petty squabbling microstates and mini-states.It begins with three men attempting to remain still as a camera moves around them. The men are posing in the rubble of a collapsed building. Two men are dressed as “White Helmet” volunteers, and the third man is laying down with his legs partially buried beneath rubble. An audible sound effect is added to the soundtrack – similar to that heard in a war movie when a character is dazed and his ears are ringing – before suddenly the characters begin moving and shouting – the volunteers begin “unburying” the trapped man who feigns screams of pain.
Aside from the “mannequin challenge” stylization, the video is utterly indistinguishable from the full summation of the “White Helmets'” previous “filmography.” Like all of the “victims” the “White Helmets” have “saved,” the man in this video is clearly not physically injured and is simply covered in dust just as protesters in Europe were, and just as all of the alleged “victims” the “White Helmets” have claimed to save in Syria have been in the wake of alleged airstrikes.
In this video, the three men are undoubtedly actors. The “victim” was undoubtedly, intentionally buried in preexisting rubble, not trapped in it from an airstrike. The fact that two of the actors are fully dressed in “White Helmet” uniforms acquired through the tens of millions of dollars provided to the organization by Western governments, reveals a potentially serious breach in ethical behavior – similar to ethical violations committed by legitimate medical and rescue workers who use their resources and protected status for political or military purposes, rather than missions of mercy.
The organization serves as a clever and opportunistic tool to be used by Western media for the purposes of sourcing false claims from “impartial” “activist” groups on the ground in Syria and giving the claims the source and credibility of a “human rights” organization. Clearly, whatever claims are made by the White Helmets should be immediately dismissed as yet another false statement in a long string of lies easily traced directly back to the United States and the UK. It’s time to finally put the White Helmets to rest.
 Brzezinski, Zbigniew. The Grand Chessboard: American Primacy And Its Geostrategic Imperatives. Basic Books, 1st Edition. 1998.
Brandon Turbeville – article archive here – is the author of seven books, Codex Alimentarius — The End of Health Freedom, 7 Real Conspiracies, Five Sense Solutions and Dispatches From a Dissident, volume 1 and volume 2, The Road to Damascus: The Anglo-American Assault on Syria, and The Difference it Makes: 36 Reasons Why Hillary Clinton Should Never Be President. Turbeville has published over 850 articles on a wide variety of subjects including health, economics, government corruption, and civil liberties. Brandon Turbeville’s radio show Truth on The Tracks can be found every Monday night 9 pm EST at UCYTV. His website is BrandonTurbeville.com He is available for radio and TV interviews. Please contact activistpost (at) gmail.com.
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