Turning light into moving images is quite an obvious, natural
discovery and Man has always had it at the tip of his fingers.
Every civilisation made movies.
The Chinese, the Mayas, the Ancient Romans, they all by different means came centuries or millennia before the Lumiere Brothers to the invention which allows to capture life as it flows on: a ritual once exclusive property of the Gods.
Even the Library of Alexandria sported a huge store for film rolls coming from the Ancient Eras and featured screening rooms and a cinematographe.
Cinema is indeed as old as the wheel, but all traces of this invention, judged too dangerous for the righteous development of mankind, have been erased by the Powers That Be in every society, so painstakingly that we can safely assume there exists a trans-national secret organisation.
A Secret Society whose aim is the evolutionary control of mankind, several names have been whispered: the Secret Six Wise Ones, The Universal Masks, our sources call them simply The Enemies of Cinema. Mankind has been deprived of a staggering filmic legacy;
we never saw the crucial moments of one’s history filmed by talented Babylonyan or Etruscan directors.
Only the occult persecutors have enjoyed this knowledge, a handful of evil initiates can still watch and drool in the secrecy of their sancta sanctorum. They could not destroy everything, though…
The tiniest visual fragment, the most microscopic spare part of seemingly impossible machineries has been enough for us to recreate technologie and cinematographies of eras and civilisations we thought blind to the wonders of cinema.
If we are to start this journey, we have to strip ourselves of all conditioning, free our mind and welcome the Incredible.
Reality and true knowledge are grounded in planes we barely grazed, the notion of progress is but an obscure superstition which makes us blind to the unquestionable proofs which have always surrounded us.
CHRONOS, LOST CINEMA is the secret history of cinema.
shed light on mankind’s greatest secret ,
retrace the movies shot by the most different Peoples;
reveal the dazzling technics and intuitions who brought life to immortal masterpieces
THE LIGHT OF THE GREEN DRAGON
Is pornography really a product of modern neurosis?
Or is it rather a whim following mankind since the dawn of time?
It all apparently started from the sexual excesses of an old, corrupt governor in the yunnan province.
Refusing to let old age hinder his juvenile sexual acrobatics,
he had his concubines lie with young, dapple boys that he later executed.
He could then watch endlessly the pornographic rolls, drooling after the beams projected by this bizarre magic lantern.
To achieve this, crowds of wizards lost their head; finally a way was found, by synthetising the breath of a benevolent, politically conservative dragon honored by the higher echelons of the T’ang dynasty ...
Huge canvasses were soaked in secret chemicals which gave off shadows and shapes.
The most bizarre amorous stampedes were then staged in forbidden palaces while perpetual flames sensitized the scenes on a canvas rolled by slaves .
The canvas was rolled on spinning pillars, close to the light of braziers. It all looked like a gigantic moviola.
The enormous rolls were kept in a vaccum untile show time.
Brimstone fires created light effects not unlike a modern-day disco, slaves rolled and unrolled frantically the scrolls, and the prjected beam was captured by misty phosphorous vapors the governor
There lived the erotic exploits of legions of concubines.
On his death, the old sleazeball demanded that scrolls, braziers, and the heads of wizard engineers were buried with him.
The mere memory of this experience, travelling from village to village by word of mouth spawned the famous device called chinese shadows, by far more sober and restrained than the wild pornographic mystique, secret entertainment of an obscure aristocratic inner circle of the t’ang dynasty.
THE SINGING SHIELDS
in Ancient Gallia the chief was carried on a shield after a triumphant victory. With good reason, one might say… The shield, especially the rounded one, has always been a crucial item in the primitive art of war.
Why? Why would a might leader surrounded by rows of chosen guards need a shield?
Why would Hannibal for instance?
Carthagenian wizards and priests have been known to use systems of electromagnetic reflection.
Apparently, they could bridle and direct visual waves on shield-like disks…
Bizarre machines were brought alongside the Cartagenian army during battles as reported by the chronicles of Castro Livides( whose only copy in Ancient Armenian can be examined in the University library of Erevan), a minor historician employed by Scipio.
Some lines quote obscurely a lightning-bending machinery, apparently of no use in battle but held in great respect by the Cartagenian generals.
The copper shields of the cartagenian army were exposed by electomagnetic waves that could translate images just like the modern dvd disks.
The end-result was deployed in parades and celebrations.
Every high ranking warrior placed himself under the lightning-bending-machine.
By amplifying the light of the victorious pyres, projected his side of the battle, the chief commander worked as some kind of director, editing and giving personal touches to the original material.
The disks were then placed in salons by the hidden harbour of Carthago and then used again for collective ceremonies and popular festivities.
An unmatched example of ancient cinema as mass-control, Carthagenian cinema was destroyed by the blind violence of the Romans who melted the disks, judging the obscure images deserters’lies…
Still rumors of these projections seem to have inspired the celebratory pillars of Traianus and Costantinus, genuine filmic depictions of campaigns of war.
Hence the questionable choice of places and dates of some crucial battles: the main factor was light availability and the scenic vistas.
Why didn’t Hannibal attack Rome when we was only 50 miles from its walls? Maybe it was all due to bad lighting…
However we still possess some unedited images of the battle of Cannes and the crossing of Alps.
What burnt in Alexandria is only a papery duplicate of existing knowledge also kept on helicoidal disks.
Demetrius builds the library after completing a book on a lighbeam in the sky, it is quite likely the first work on cinema.
The library featured some secret screening rooms, plus collection of printed books and magnetic copper disks.
Among the destroyed gems, the collected works of Berosus, Babylonian priest who fled to Greece.
These tomes report his meeting with the extraterrestrial race of the Akpallus, armoured fishlike beings who allegedly gamle mankind the first scientific tips. Some details are crucial to understand that making images out of running light is fantastically obvious even without modern devices.
Think of the natural phenomenon aptly called Morgana which causes the infamous desert mirages….
Heat causes eerie reflections on different layers of atmosphere charged with varying degrees of humidity. Mastering the Morgana effect could hardly cause a problem for whoever built pyramids using intergalactic charts, it is probably true that desert mirages are just old projectors left behind by superstitious plunderers.
When papyrus or animal hides were common writing systems, it must have been a lot handier coming up with an invention which could have preserved knowledge forever… The papyrus replicates of Imperial archives were stored in Alexandria, a mere simplistic facsimile aimed at the lower classes and foreigners.
High priests inserted atmospheric codes into sun-disks, recretating the event in special weather-sensitive rooms where images and sound could be produced only for the eyes of the Pharaoh .
During Akhenaton’s rule, one of the first monotheistic revolutions, the new priests destroyed nearly all the helicoidal disks of knowledge, slaughtering all the High Projectioners for good measure.
When the former priests restored the Ancient Gods and the Ancen Ways almost everything was lost, only a few fragments of damaged disks could be saved and kept in the library of Alesandria, slowly the gulf of time submerged every memory.
The great disks of the sun, sort of proto-cd roms containing the knowledge of All Worlds could be consulted via their papery replicas.
There was still time for a final jest:
the surviving fragments were brought to the new world by egyptian priests, well aware of the dark times looming on their empire.
They could transmit the laws of filmic reproduction to branches of precolombian civilisation, but the new golden disks were molten into golden ingots by the spanish conquistadores obliterating forever the secret knowledge of Yore.
Wedge-like ideograms are a binary system which allows to memorize myrions and myrions of information.
This particular writing has always been a bone breaking enigma for official decipherers who seem to forget every spare inch of the city walls literally crawled with ideograms.
Firepowder was discovered by chance, likewise, this monk learnt some metals are natural conductors of the same compound we create magnetic tape from today.
Some minerals can record and store the electromagnetic waves under the influence of certain planetary alignments. .
A copper plate was rubbed over the stone in order to photosensitize the electromagnetic content.
The stone emitted a beam of blurry images which could be seen on fumes and crystal quartz vapours.
These vapours held corpuscles not unlike contemporary pixels.
Groups of mirrors were then spun around the magnetic stones projecting images not unlike a modern movie on cascades and rainbows
By altering the analogic heads we can use a simple vhs player as a tridimensional player: analyzing the stones we get a weak tv signal.
Every stone comes from a different epoch.
The monk realizes the implications of the discovery 15 years after firepowder, and decides to keep it secret.
He then studies astral geometry in depth and goes out on a feverish search for the stones which might have been exposed all over the world.
A curious troop of friars first and soldiers later is seen scouting vales and mountains holding magic charts and picking stones…
The military elite of the Germanic Empire intercepts a stone-traffic and extorts the dread secret. Such is the wonder and disbelief that the information lies confined among special autonomous squadrons often at odds with the central power. The high secrecy is confirmed by the vastness of mineral findings stored by the religious and military class alike.
Huge pavillions chock full of seemingly useless rocks none dares to dump anyway because of mysterious orders issued from far above.. Secret agents disguised as beggars flooded with stones the enemy territory during full moon nights and spring equinox.
Later, they would pick them up effortlessly, for mad collectors os stones often go unquestioned past blockades and checkpoints…
Maybe we are studied and examined by apparently harmless beggars as we speak…
The monk’s magnetic stones become a strategic tool.
We possess rare shootings of Rome’ Plunder and the battle of Pavia…