The Art Of War Sun Tsu

Courtesy Of: The History Channel

The Art of War is an ancient Chinese military treatise that is attributed to Sun Tzu (also referred to as "Sunzi" and "Sun Wu"), a high ranking military general and strategist during the late Spring and Autumn period (some scholars believe that the Art of War was not completed until the subsequent Warring States period. Composed of 13 chapters, each of which is devoted to one aspect of warfare, it is said to be the definitive work on military strategies and tactics of its time, and is still read for its military insights.

The Art of War is one of the oldest and most successful books on military strategy in the world. It has been the most famous and influential of China's Seven Military Classics: "for the last two thousand years it remained the most important military treatise in Asia, where even the common people knew it by name.It has had an influence on Eastern military thinking, business 
tactics, and beyond.

Sun Tzu emphasized the importance of positioning in military strategy, and that the decision to position an army must be based on both objective conditions in the physical environment and the subjective beliefs of other, 
competitive actors in that environment. He thought that strategy was not planning in the sense of working through an established list, but rather that it requires quick and appropriate responses to changing conditions. Planning works in a controlled environment, but in a changing environment, competing plans collide, creating unexpected situations.

source: http://en.wikipedia.org/wiki/The_Art_...

Islam - Empire Of Faith

Narrated by Ben Kingsley
Produced and directed by Robert Gardner 
PBS documentary: http://www.pbs.org/empires/islam

Episodes:

(1) Prophet Muhammad (sallallāhu 'alayhi wa sallam) and rise of Islam
(2) The Awakening
(3) The Ottomans

The production of Islam: Empire of Faith was a big challenge from the beginning, simply because it covered more than a thousand years of history and culture, and a very large part of the world.

But we really wanted to push beyond the conventional form of historical documentaries, which have depended on pans and tilts of still pictures, supplemented with landscapes and interviews. We wanted to find a way to use the visual techniques usually reserved for fiction motion pictures to tell a story of great scope that took place in pre-photographic history. This meant the project would require very large scale costumed re-enactments and equipment far beyond the ordinary documentary production package of camera, zoom lens, tripod and small light-kit.

We knew that we had to find a way to present images of cultural history — both re-enacted scenes and contemporary scenes of Islamic architecture and city life — in a way that would evoke the past, but maintain a sense of authenticity. The scenes would be dream-like and impressionistic but would still give viewers a sense that what they were seeing was accurate in historical terms.

We designed a production package that included a robotic crane with an 18-foot reach (Jimmi-jib), allowing us to fly the camera through architectural spaces, and a Steadicam that would allow for smooth camera moves through buildings at ground level — even mounting it on a truck to shoot running horses at full speed. We took a wide selection of lenses from extremely wide to telephoto and we also brought a high-speed camera for true slow-motion (500 frames per second) allowing us to slow an action down that actually took one second to fully twenty seconds on-screen. All of these taken together would provide an extraordinarily production palette. But it also meant that we had to travel with more than 40 cases of equipment — and do so in seven different countries. The logistics were severe.

The actual American camera crew was very small — Director of Photography Rege Becker (who also operated the Steadicam) and First Assistant Cameraman and Jib Operator Nick Gardner, who also shot second camera when required. The rest of the crew was hired and trained in each country — Syria, Egypt, Tunisia, Israel, Spain, Turkey and Iran.

It was in Iran that we used a motion picture company — with a crew of 50 — to produce the costumed re-enactments. Iran's foremost Art Director Majid Mirfakhraei, had to create locations, costumes and props for more than a thousand years of history — from the deserts 7th century Arabia, to the palaces of the Ottoman empire. The same team of stunt riders had to be made-up and redressed to play Arabian mounted soldiers, Crusader knights, Mongol raiders, Ghazi horsemen and Ottoman cavalry. A full sized, four-story replica of the holiest shrine in the Muslim world (the Kaaba in Saudi Arabia), had to be built in the deserts of Southern Iran and the vanished world of 8th century Baghdad had to be created in the ruins of a 19th century Persian palace. More than 300 costumes were required, as well as a dozen camels and riders, dozens of sheep and goats, an entire Bedouin encampment and the streets of Jerusalem in the 11th century — complete with market stalls and citizens.

This extraordinary production design, set in epic landscapes, gives the film a startling sense of scope and provides a remarkable window through which to examine the past. The film took 18 months to edit, and is supported by an original score by Leonard Lionnet.

The Cisco Kid

Artist: War

Checkpoint - Every Day Life in Palestine Documentary

A film showing the day to day reality of Palestinians subjected to demeaning humiliation at Israeli military checkpoints as they attempt to go about their daily lives in their own lands.

No political speeches. No opinions. Just an honest record of the drudgery and humiliation of dealing with checkpoints.


Filmed by an Israeli Jew.

المسلمون أمة واحدة

Below are some comments that were posted on YouTube:

استطيع ان اقولها بعض العرب اكثر حرصا على مصر من المصريين انفسهم

اللي يقولك مش بلدك

مايعرف من الإسلام شيء

المسلمون أمة واحدة لاتفرقهم حدود

كالجسد الواحد إذا اشتكى منه عضو تداعى له سائر الجسد بالسهر والحمى

مصــــــــــــــــــــــــــــ­ـــــــــــــــــــــــــــــر هي نبض الامة العربية الاسلامية كلها ولو اتوقف نبضها هتتوقف معاه حياتنا كلنا ومالناااااااااااااااش دعوة باي تعليقااااااااااااات حاقدة مصرية مش مصرية انا بحب مصر وبدعي ربنا يحميها من كل سوء

المصري إللي بيقول لأي عربي إش دخلك في مصر دي مش بلدك

أقول له: خسارة فيك الجنسية المصرية لأنك مش عارف قيمة مصر وروح عيش في زمبابوي احسن لك

ISRAHELL ON EARTH

This powerful documentary exposes the hell that the palestinians have been going through. The world has been hijacked by a cabal of zionists/occultists, and the support given to them by governments has alienated much of the world. IsraHell on Earth looks at the origins of the abomination that is IsraHell and exposes its apartheid crimes.

إزدواجيتكم أكدت طائفيتكم

Brother Louie

Artist: The Stories

The Death Of American Democracy

By Anthony Lawson

The collapses of the Twin Towers of the World Trade Centre, on September 11, 2001, were the most frightening images that I have ever seen, up until May 24th, 2011, when Binyamin Netanyahu addressed a joint session of the United States Congress and received 29 standing ovations, along with many other outbursts of sycophantic applause. 

It was the final nail in a coffin, the construction of which began long ago, and in it all remaining vestiges of democracy were joyfully laid to rest—by those sworn to protect it—as it became clear that the United States was now controlled by Enemies Inside its Gates.

The Assassination Bureau

Starring: Oliver Reed, Diana Rigg, Telly Savalas, Curt Jürgens

The Assassination Bureau has existed for decades (perhaps centuries) until Diana Rigg begins to investigate it. 

The high moral standing of the Bureau (only killing those who deserve it) is called into question by her. She puts out a contract for the Bureau to assassinate its leader on the eve of World War I.