I have been researching the so-called 'moon landings' in great detail for almost a decade, and have arrived at the conclusion that NASA indeed faked all footage purporting to show astronauts walking about on the moon's surface.
There are many anomalies in photographs supposedly taken by astronauts whilst on the moon, but one which stands out as a major flaw is that which this documentary addresses in convincing detail. In every single photo without fail supposedly taken by astronauts on the moon's surface, a definite 'line' is visible separating the foreground from the lunar mountains in the distance. This is unnatural, and should not occur. Instead, the lunar foreground should blend in seamlessly with the mountainous background. The film explains why this curious 'line' is evident. Persons who are not familiar with, or who have not investigated the contention that NASA faked the Apollo moon landings, may find the film's allegations perplexing, even confusing.
When one couples other anomalies in video footage of the moon landings such as curious flashes and bright glints appearing in the lunar background) with the contention of Kubrick's use of a Scotchlite rear-projection screen,(the forerunner of today's 'green-screen') it becomes obvious that this was indeed the manner in which NASA created the mountainous backgrounds in photos of the moon's surface. The separating 'line' prevalent in each and every photo is a give-away that Kubrick's Scotchlite screen was most certainly used to create these images.
The films second half deals with Kubrick's subtle (and sometimes not very subtle) insertion of clues in his film 'The Shining' - as to his involvement in the filming and faking of Apollo footage. Examination of the film for these clues is very astutely undertaken, and there are many astounding revelations and scenes in 'The Shining' which go entirely unnoticed upon initial viewing of the film - if one is not familiar with allegations that the moon landings were faked.
There are just too many obvious references to Apollo and Kubrick's involvement therein, for it to be coincidence. The evidence put forth in 'Kubrick and Apollo', that he was complicit in faking Apollo footage is so compelling that it is difficult to understand how anyone could not be utterly convinced thereof.
Kubrick specifically stated that his last feature film, 'Eyes Wide Shut', was to be released on the precise anniversary date upon which Apollo 11 was launched, viz: 16 July. Apparently the above-stated film contained further clues pertaining to Kubrick's involvement in Apollo forgery, but after his death, (and before the film's release) these were excised by the film's production Studio. Notwithstanding whether this was actually the case, clues from 'The Shining', and Kubrick's mastery in 1968's '2001 - A space Odyssey' with it's rear-projection manufactured background scenery, and very similar to Apollo outer-space vistas, make 'Kubrick and Apollo' the final nail in the coffin of the Apollo programme - a deserved place for this great hoax perpetuated upon mankind.
There are many anomalies in photographs supposedly taken by astronauts whilst on the moon, but one which stands out as a major flaw is that which this documentary addresses in convincing detail. In every single photo without fail supposedly taken by astronauts on the moon's surface, a definite 'line' is visible separating the foreground from the lunar mountains in the distance. This is unnatural, and should not occur. Instead, the lunar foreground should blend in seamlessly with the mountainous background. The film explains why this curious 'line' is evident. Persons who are not familiar with, or who have not investigated the contention that NASA faked the Apollo moon landings, may find the film's allegations perplexing, even confusing.
When one couples other anomalies in video footage of the moon landings such as curious flashes and bright glints appearing in the lunar background) with the contention of Kubrick's use of a Scotchlite rear-projection screen,(the forerunner of today's 'green-screen') it becomes obvious that this was indeed the manner in which NASA created the mountainous backgrounds in photos of the moon's surface. The separating 'line' prevalent in each and every photo is a give-away that Kubrick's Scotchlite screen was most certainly used to create these images.
The films second half deals with Kubrick's subtle (and sometimes not very subtle) insertion of clues in his film 'The Shining' - as to his involvement in the filming and faking of Apollo footage. Examination of the film for these clues is very astutely undertaken, and there are many astounding revelations and scenes in 'The Shining' which go entirely unnoticed upon initial viewing of the film - if one is not familiar with allegations that the moon landings were faked.
There are just too many obvious references to Apollo and Kubrick's involvement therein, for it to be coincidence. The evidence put forth in 'Kubrick and Apollo', that he was complicit in faking Apollo footage is so compelling that it is difficult to understand how anyone could not be utterly convinced thereof.
Kubrick specifically stated that his last feature film, 'Eyes Wide Shut', was to be released on the precise anniversary date upon which Apollo 11 was launched, viz: 16 July. Apparently the above-stated film contained further clues pertaining to Kubrick's involvement in Apollo forgery, but after his death, (and before the film's release) these were excised by the film's production Studio. Notwithstanding whether this was actually the case, clues from 'The Shining', and Kubrick's mastery in 1968's '2001 - A space Odyssey' with it's rear-projection manufactured background scenery, and very similar to Apollo outer-space vistas, make 'Kubrick and Apollo' the final nail in the coffin of the Apollo programme - a deserved place for this great hoax perpetuated upon mankind.
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