White Helmets: Channel 4, BBC, The Guardian – Architects of ‘Humanitarian’ War

Vanessa Beeley
21st Century Wire

“As Fewer Companies Control Our Media, Why Documentaries Matter More Than Ever”. This was the title of a Huffington Post article, written in 2014, by Morgan Spurlock, documentary filmaker, producer and screenwriter. Spurlock informs us, “Films are incredible things. Magical things. Windows into worlds that we may never get to see and connecting with us on such deep emotional levels that we are forever affected by them and their messages. Films cannot only entertain but can shift public perception in ways we never thought possible.”

As if on cue, a vast number of documentaries have flooded the media market. The huge majority have conveyed a very one-sided perspective of the conflict in Syria and have, almost invariably, supported the US Coalition regime change narrative, which has prolonged the destabilization project in the region for the last seven years. Are these documentaries any more accurate than the corporate media they might replace?

For example, on April 5, 2017, National Geographic released a preview of its film, Hell on Earth: The Fall Of Syria And The Rise of ISIS, by filmmaker Sebastian Junger and producing partner Nick Quested. This film was prematurely released to coincide with the alleged and controversial Khan Sheikhoun chemical weapon attacks in Syria, on April 4th. However, as Paul Larudee revealed, the film preview was a fraudulent misrepresentation of the war in Syria:

“The [opening] scene shows a missile destroying a residential building with a thunderous explosion.  Imposed over the footage are the words, ALEPPO, SYRIA…[…] The original source footage comes from 2014, and is from the Israeli operation that took more than 2,200 Palestinian lives that summer”

“Shifting public perception” is, indeed, one of the roles of modern documentary makers, who, in many instances, take their funding from the same Time Warner, AOL and Walt Disney  media investment pools in order to produce heart-stopping, emotion-wringing perception-changers for a western public whose opinions on state foreign policy is undoubtedly, hugely influenced by these ostensibly ‘factual’ documentaries.

Publicity still from Last Men in Aleppo.

During the 7 year-long US Coalition-engineered, financed and armed Syria project, very few organisations have been so feted in political, media and Hollywood circles, as the NATO member-state-financed White Helmets.

Last year’s Oscar award for the Netflix documentary on the White Helmets is followed by the 2018 nomination for Last Men in Aleppo, the latest glossy, emotionally-charged promotional movie, featuring members of the alleged “first response” group doing what they do best – clambering over rubble, terrorist cheerleading and gazing skywards at imaginary helicopters.

The function of these movies – is to ensure that the Al Qaeda affiliated White Helmets come up smelling of roses from the rubble of areas of Syria occupied by terrorist and extremist groups lorded over by Nusra Front (Al Qaeda in Syria).

Taken from the Syria Campaign website, just one of their “achievements” in their long-running campaign to “change the story on Syria” 

Syria Campaign is effectively the White Helmet PR agency, seed-funded by UK resident and Syrian oil magnate, Ayman Asfari, who, incidentally, has also financed Theresa May’s Conservative government and is under investigation by the Serious Fraud Office in the UK, having been already sanctioned in Italy for insider trading. He can, most certainly, be described as an interested party in the outcome of the Syrian conflict with openly declared political ambitions once the UK FCO-endorsed “regime change” is secured – plans that have been thwarted by a secular Syrian resistance with the support of their regional and geopolitical allies.

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