911: in Plane Site - Criticism

Criticism

  • Despite the film's assertions that "a jetliner is too large to fit into the hole made in The Pentagon," others have refuted this claim by showing that a hole of over 90 feet (27 m) in width was made on the first floor. Films such as In Plane Site and Loose Change only refer to the smaller hole on the second floor. The website questionsquestions.net states -
"Both In Plane Site and the Pentagon Strike web movie disingenuously use selective photos in which the 90-foot (27 m) ground level hole is hidden behind smoke & water being sprayed by a firetruck, and it isn't even mentioned. But note that not all Pentagon no-757 advocates hide the real proportions of the hole in this way, which makes this misprepresentation even more egregious."
  • One theory the film suggests, that at least one of the planes that crashed into the World Trade Center towers was a twin engine U.S. military plane, not a commercial airliner (swapped plane theory), has been refuted by a number of researchers, however the supporters of this evidence have published articles criticizing such articles.
  • The film also suggested that "pods" were attached to the undersides of the planes which hit the World Trade Center towers and fired missiles into the buildings. So many in the 9/11 Truth Movement have rejected this claim as false that the second edition of the film had to remove this claim. Oilempire.us states:
"The "pod" is the primary thesis of the fake film "In Plane Site" - which uses a photo of a normal Boeing 757 on the front cover that disproves the "pod" nonsense (a bad joke "hidden in plain sight")."

Some who research the events of 9/11 assert that such mixing of clear hoax claims—i.e., the involvement of pods, missiles, "flashes", and tanker planes—with valid questions about the attack, is a means to discredit what they see as valid questions by association.

Read more about this topic:  911: In Plane Site

Famous quotes containing the word criticism:

    The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.
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