Manchurian candidate pdf


This book has grown out of the 16, pages of documents that the CIA released to me under the Freedom of Information Act. Without these documents, the best. The Search For The Manchurian Candidate – Cia And Mind Control. Pages· · KB· Downloads. Alexander, Walter Langer, John Stockwell. Obama: The Postmodern Coup - Making of a Manchurian Candidate The Search for the "Manchurian Candidate": The CIA and Mind Control: The Secret.

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Manchurian Candidate Pdf

Get this from a library! The Manchurian candidate. [Richard Condon]. (file size: MB, MIME type: CIA Search for the Manchurian The Manchurian candidate by Richard Condon; 26 editions; First published in ; Subjects: Fiction, Mothers and sons, Assassins, Cold War.

Without these documents, the best investigative reporting in the world could not have produced a book, and the secrets of CIA mind-control work would have remained buried forever, as the men who knew them had always intended. From the documentary base, I was able to expand my knowledge through interviews and readings in the behavioral sciences. Nevertheless, the final result is not the whole story of the CIA's attack on the mind. Only a few insiders could have written that, and they choose to remain silent. I have done the best I can to make the book as accurate as possible, but I have been hampered by the refusal of most of the principal characters to be interviewed and by the CIA's destruction in of many of the key documents. I want to extend special thanks to the congressional sponsors of the Freedom of Information Act. I would like to think that they had my kind of research in mind when they passed into law the idea that information about the government belongs to the people, not to the bureaucrats. I am also grateful to the CIA officials who made what must have been a rather unpleasant decision to release the documents and to those in the Agency who worked on the actual mechanics of release. From my point of view, the system has worked extremely well. I must acknowledge that the system worked almost not at all during the first six months of my three-year Freedom of Information Struggle. Then in late , Joseph Petrillo and Timothy Sullivan , two skilled and energetic lawyers with the firm of Fried, Frank, Shriver, Harris and Kampelman, entered the case. I had the distinct impression that the government attorneys took me much more seriously when my requests for documents started arriving on stationery with all those prominent partners at the top. An author should not need lawyers to write a book, but I would have had great difficulty without mine. I greatly appreciate their assistance.

Then in late , Joseph Petrillo and Timothy Sullivan , two skilled and energetic lawyers with the firm of Fried, Frank, Shriver, Harris and Kampelman, entered the case. I had the distinct impression that the government attorneys took me much more seriously when my requests for documents started arriving on stationery with all those prominent partners at the top. An author should not need lawyers to write a book, but I would have had great difficulty without mine. I greatly appreciate their assistance.

What an author does need is editors, a publisher, researchers, consultants, and friends, and I have been particularly blessed with good ones. My very dear friend Taylor Branch edited the book, and I continue to be impressed with his great skill in making my ideas and language coherent. Taylor has also served as my agent, and in this capacity, too, he has done me great service.

I had a wonderful research team, without which I never could have sifted through the masses of material and run down leads in so many places. I thank them all, and I want to ac- knowledge their contributions. Diane St. Clair was the main- stay of the group. She put together a system for filing and cross- indexing that worked beyond all expectations.

Special thanks to Newsday's Bob Greene , whose suggestions for organizing a large investigation came to us through the auspices of Investigative Reporters and Editors, Inc. Not until a week before the book was finally finished did I fail to find a document which I needed; naturally, it was something I had misfiled myself. Surrender leaflets. This, gentlemen, is the new duress. No attempt was made to eradicate the on longer after you heard about Pete? Did mind.

But every device was used to make it you ever really break? With Capt. Hall, we have a strong man Hall condemns himself, by his own words, as whose combat record shows that he was a hapless traitor rather than a pitiable victim. Yet the same argument: This Americans who refused to collaborate guilty of program worked in stages.

First you create an stupidity. Then is found guilty of all charges, except that of you take away the leaders. Tear down health striking a sick enlisted man. Infiltrate the ranks with Such politico-ideological informers. Turn important public messaging function in those soldiers into small boys who depend on you early Cold War years.

This is The Plot Thickens the first thread of a heavily embroidered ruse. The earliest phase involved war hero son as a shill in the re-election of her experiments in hypnosis, electroshock, and husband, whose character is modeled on hallucinogenic drugs including LSD.

Their anti- program evolved into experiments in Communist bona fides are portrayed in psychological torture that adapted elements of comically cynical style. Communist models. An captors. Rather, they were transferred to Analysis of the Methods Used by Communist Manchuria and brainwashed in the most State Police in the Arrest, Interrogation, and literal sense: The signature set-up unfolds CIA report focuses on the Soviet KGB and through the early part of the film as a East European satellites, and the second half protracted scene, which is interspersed with on Communist China.

The overarching goal other scenes. The figure of the woman lecturing change in his attitudes and his overt behavior, the garden club about hydrangeas is replaced which will be sustained after his release, so by a Chinese scientist who says to his that he will not again constitute a danger to audience: American visitors.

The movie begins when the Shaw is the central figure in this grand central character, Sergeant Raymond Shaw, experiment. Only later, the men start experimenting with interrogation methods recalling this episode in their nightmares. The warmest, most wonderful man—are laboratories included interrogation centers in irreconcilable and so each wonders if he is various hot wars where the US intervened going insane.

Starting in the early s, triggers his programmed suggestibility. His brain has not only been network of interrogational torture sites across washed, as they say It has been dry cleaned. Those executions. The manual explains none other than his McCarthyite mother, the that combining tactics of sensory deprivation, political message is revealed: Rather, the farce might suggest. As is generally the case in US. The Phoenix program model was asymmetric wars, interrogation is one of the incorporated into the curriculum of the primary strategies to acquire information School of the Americas.

Both manuals became for interrogation. On March 28, , the i. The intelligence. President George W. A facilitator who had been responsible for memorandum of understanding signed by moving people in and out of various training Bush on September 17 gave the CIA authority camps in Afghanistan. The Council of secret interrogation program. Europe conducted an investigation and in By mid-summer , some CIA reported that a hundred people had agents were growing anxious about their been kidnapped on the continent.

The vulnerability to future prosecution under European Parliament's investigative report, federal anti-torture laws.

In Hamdan v.

At a press conference in September, Between and , Bush derided the decision while approximately people were captured by acknowledging the existence of the super- the CIA.

The movie extracting information about someone in what then shifts from a black screen to a black site. A prisoner coated in his give you a blanket. I will give you a blanket own filth is suspended by his arms from ropes. You belong to me. Look at me. If Communist captors offered in exchange for you don't look at me when I talk to you, I his cooperation. If you step off this mat, I hurt you.

Now, followed by a graphic scene of waterboarding. Outside being questioned about. But the threat is omnipresent. Iselin knows what false patriotism is lurking under the parade. The famous brainwashing scenes are some of the highlights of the film. As Yen Lo demonstrates his power over the group to an assembly of Communist agents, the soldiers believe they are at a meeting of a ladies' gardening club in New Jersey.

The psychological conditioning is so complete that Shaw and the platoon later have no conscious memory of any of it. At a suggestion by Lo and a Russian comrade, Shaw kills two of the soldiers, but the other soldiers behave as if nothing has happened.

It is a brilliant piece of filmmaking. What gives this scene even more power is the music Amram sets to it, The Queen of Diamonds. At over four minutes long, The Queen of Diamonds is a longer cue, but is never heard in its totality in the film.

Strings cushion the phrase, which is turned over first to the oboe and then to the clarinet. It is subtle, but adds so much to the Major's restlessness as he sleeps. Instead of using a full orchestra to emphasize the tension of the brainwashing, Amram uses a small ensemble of harpsichord, three piccolos, and dissonant high strings. It demonstrates the utter insanity of the scene, even though everyone involved is acting calmly.

In most film music up to , the harpsichord was used in period pieces to signify an earlier era. Most uses of the harpsichord in film music up to that point were in period pieces. A harpsichord sounds most natural to the average listener in a Baroque setting, and was used in 's Wuthering Heights to help portray the early 19th century.

The atonality of the harpsichord separates it from its usual setting as a classical music instrument and into a sphere that personifies mental decay in sound. As the Major slowly slips into his dream, the music turns from a comfortable chamber orchestra to a mildly sinister atonality. The strings represent the cushion of Marco's pillow and the comfort of one's own bed.

The Manchurian Candidate

All the brass and woodwinds are the various thoughts and people running through his head. As he descends into re-living the madness of the brainwashing, the comfortable sounds fade away and the harsh and dissonant ones appear. Amram uses this transition skillfully and subliminally, so that the music is suggesting insanity rather than browbeating the viewer with it. A darker or more bombastic cue would have lessened the impact of the scene or made it grotesque.

This creepy music adds to the overall confusion of the scene. The soldiers witness one set of events, but they think they experience something completely different. This implies that although the soldiers are brainwashed signified by Amram's dissonant harpsichord , they still have a sense of their individual identities.

What we hear is a distorted truth; a falsehood. The two soldiers hear the same kind of sound because it has been programmed into them. The camera pans over a set of books and framed photographs before focusing on Melvin and his wife asleep in bed. Melvin twitches as he relives the dream. It begins with a lilting alto saxophone line over strings that leads into French horns in harmony.

The horns sound slightly militaristic, but some passing chords are a shade bluesy and non-diatonic. This tells the viewer that while Corporal Melvin is a military man, he is also different by being the lone African-American in his platoon.

If Amram had used the same music for each cue, the difference between Melvin and the white soldiers would be lost.

The Manchurian Candidate (disambiguation) - Wikipedia

While Melvin is very proud of his military service, what he believes to have happened is far from the truth. New York: The MacMillan 10 horns throughout the score, mostly under scenes involving male characters.

The horn has long been associated with nobility and men, so the scenes with male actors feature more horns and brass in general. The strings begin to creep up into the high register, which demonstrates the anxiety of the dream scene.

As Melvin thrashes about in tortured slumber, xylophones peck away in rapid flurries, suggesting the tattered mental impulses that have been altered by Yen Lo.

After waking from the nightmare, Melvin decides to write Shaw a letter detailing the horror of his dream. Here the camera dissolves from the restless Melvin into the brainwashing dream. The soldiers sit side by side on a stage. At a suggestion by Dr. Lo, Shaw strangles Corporal Malvole.

It is a gripping scene, made more hallucinatory by rippling piano chords and muted brass swells. But the music in both brainwashing dreams is texturally the same. Amram's score reinforces the juxtaposition of Asian and Western settings. In all the Korean brainwashing and war scenes, the music is harsh and prickly, underlying the unease and lack of sanity. The music alone tells the viewer that this is not a nice room in America. In contrast, the music in the American scenes not counting the nightmares is occasionally bi-tonal but fairly consonant.

Amram's scoring in these American scenes eschews the orchestration of the war and nightmare cues, preferring the more intimate sound of a chamber orchestra. It is bi-tonal at times without sounding atonal, a distinctive sound of Copland-esque Americana. Here the theme reinforces itself as the musical symbol of Shaw and his dualities.

manchurian candidate

A lone trumpet sounds the melody over a string section in three-part counterpoint. The strings take over the melody for the middle section before the main theme returns with a clarinet. Piccolos enter to expand on the theme, faintly echoing the sounds of the brainwashing scene. Shaw enters his building in a normal state of mind, but the sharpness of the piccolos represent the altered synapses in his brain. The whole scene is without dialogue, so the actions on the screen and accompanying music are the only elements on-screen.

We hear Melvin read his letter in a voiceover as Shaw reads it in his apartment. The music continues, but at a lower volume.

If the music had stopped here, the transition to voiceover would have sounded more forced. The underscore shows that Shaw considers the letter and its subject matter to be beneath him. The melodic focus shifts to the strings and then portamento timpani, which were both present in the opening war scene. Shaw pulls out a deck of cards as the music gets stranger, signifying the unknowing lock the Communists have on his brain.

Fragments of the theme eerily emerge from the orchestra. When the queen of diamonds appears in the deck, the piccolos return and the harpsichord reprises its sinister role from the brainwashing scene. This shows that Shaw is now completely at the mercy of his psychological captors. The phone rings again, and it is the same voice asking him if he sees the queen of diamonds. Shaw replies that he does, and the piccolos return faintly with the harpsichord in a cobweb of soft discordant voices, growing until the operator tells Shaw to put the cards away.

This is the sound of mind control. In order to prove that Shaw is thoroughly conditioned, Yen Lo commands him to kill Mr. Shaw seems normal to Gaines at first, but the conversation becomes cryptic as Shaw slowly reveals that he is there to kill his boss.

Film History as Prologue

An even more violent or absurd sound would have added too much melodrama into the scene. In the next scene, Marco is on a train to New York to meet Raymond. He is visibly traumatized by the constant barrage of the brainwashing nightmare replaying in his brain.

A stately variation on the theme plays as Marco fumbles with his cigarette and his drink. It is similar to the opening theme, but uses wind instruments exclusively. The music builds as he runs out of the train car. This crescendo adds timpani and cymbal rolls, and ends on a chord that almost sounds cadential.

It is not a full resolution, because Marco has only escaped the train car, and not his bad dreams. But he has also found his love interest in Rosie. Their strange conversation continues with no music underneath.

If Amram had added a love theme here, the film would have risked becoming saccharine.

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In a movie where reality and fantasy are 13 difficult to discern from each other, a melodramatic string section would have made the scenes with Sinatra and Leigh seem too ordinary and out of place.

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