This film is still fresh in my mind. I'm a big fan of mid-career Arnold Swarzenegger but I'm just now delving into its deeper ideology. This film warns of a class-divided capitalist state that has wiped out all libertarianism, right or left.
Quite obviously, Arnold represents the white male rightwing anarchist hero, a total Ayn Rand ubermensch created in a lab somewhere, but he finds great allies in his leftwing anarchist buddies. Ok, they are useless, ineffective minorities who get brutalized masochistically, but then Arnold delivers swift, violent and witty justice to these state puppet capitalists. Its meathead entertainment but true to American conservative democracy. It even questions notions like capital punishment, collateral damage and media propaganda.
Its not as leftist as I would make it, but its a firm bit of ideological fluff from a less enlightened time. It also foreshadows Arnold's becoming a fairly likable republican ally to moderate leftists. Shit, I'd say films like this are extremely helpful to the far left in keeping the rightwing away from Nazism and aware of un-Marxist Communism. While the audience is meathead, Arnold was definitely a thinking, passionate actor with integrity, morally and artistically. If only he valued peace over the freedom to make money.
Saturday, April 28, 2018
Rampage 2018
Every film casting Dwayne Johnson has been a fairly unoriginal conservative family-friendly popcorn piece to keep audiences dully entertained while corporations rob them. "Rampage" is no exception. This film casts The Rock as the BFF of a lightskin gorilla that grows too big for its britches til the government decides to kill it. There's an intentionally hokey ending where King Kong isn't killed but joyously accepted as a Nazi "comrade" but the film doesn't trick us. Its pro-Trump anarcho-capitalism that serves to only send America into amoral servitude to enterprising pro-state corporate masters in Hollywood. Fucking terrible film. And thankfully the internet shit on it. Probably because the hypnosis of loving Obama has worn off and the cynical truthism is reactionary at this point in our deep dark night within the confusingly deceptive implosion of Western world bipartisan monopoly.
The film has its mild Romantic moments and it criticizes the government and corporate abuses with baby taps. Its your expected pandering to Leftism from insincere capitalists. But in subverting the crassness you get in other rightwing media, its stupidity hits even harder as bland false advertisement. This is truly a post-Obama, post-Trump American work but for all the wrong reasons. An unintentional documentary of Late Capitalism slave work.
For the record, there are films starring The Rock that I have enjoyed but they were random flukes handled by reasonably responsible directors: the Donnie Darko companion piece "Southland Tales", "Pain & Gain" and, I dunno, maybe a few parts of "GI Joe 2". He seems like a well-meaning meathead jock with a minor artistic sensitivity simply from being an oppressed minority. He's thoroughly indoctrinated Deep South dixiecrat neoliberal who has good ideas but only seems to work in the most regressive circles of media. I guess he's a Libertarian who hasn't embraced socialism yet. Johnson might win a popular election with that status but he won't make a good leader because he seems insulated by manipulative and greedy sycophants... in his own family it seems.
If The Rock made films that were more open-minded, less child-proofed and a lot more subtle, he would have work that equals his immense popularity and natural charisma. He does seem to be getting better and this way more watchable than Hercules or The Tooth Fairy. But, I'm always left disappointed by his starring vehicles. Maybe he is best as a supporting actor, co-billed or even as an antagonist. Something without his too broad "working class" hero cliches. But he is popular among all demographics because there is a democratic way in which he lowers himself.
This film casts man and ape as close relatives. It turns queasy following the heroic quest of 3 ethnic characters VS greedy white people, drawing what kind of a parallel? The races as a hierarchy of apes instead of subspecies of human. Its very racist but in the most covert and smiling way. There's no chance the actors know they are doing it unless the pay was greater than their integrity. But you have to know your history of racism in film, media and recorded history. A film made by white people with a black man telling whites that an ape is his family more than other people is offensive. Ok, maybe I can half-buy it as a tale of African descents protecting the animal kingdom from the disastrous effects of white colonialism. But that insincere reading is so obscured in CGI, bad dialogue, clumsy & timid racial commentary and a lot of pointlessness.
If there's anything redeeming in this movie it was too subtle for me. I doubt that in a video game turned film called "Rampage" that is a combination of like 10 equally bad films.
The film has its mild Romantic moments and it criticizes the government and corporate abuses with baby taps. Its your expected pandering to Leftism from insincere capitalists. But in subverting the crassness you get in other rightwing media, its stupidity hits even harder as bland false advertisement. This is truly a post-Obama, post-Trump American work but for all the wrong reasons. An unintentional documentary of Late Capitalism slave work.
For the record, there are films starring The Rock that I have enjoyed but they were random flukes handled by reasonably responsible directors: the Donnie Darko companion piece "Southland Tales", "Pain & Gain" and, I dunno, maybe a few parts of "GI Joe 2". He seems like a well-meaning meathead jock with a minor artistic sensitivity simply from being an oppressed minority. He's thoroughly indoctrinated Deep South dixiecrat neoliberal who has good ideas but only seems to work in the most regressive circles of media. I guess he's a Libertarian who hasn't embraced socialism yet. Johnson might win a popular election with that status but he won't make a good leader because he seems insulated by manipulative and greedy sycophants... in his own family it seems.
If The Rock made films that were more open-minded, less child-proofed and a lot more subtle, he would have work that equals his immense popularity and natural charisma. He does seem to be getting better and this way more watchable than Hercules or The Tooth Fairy. But, I'm always left disappointed by his starring vehicles. Maybe he is best as a supporting actor, co-billed or even as an antagonist. Something without his too broad "working class" hero cliches. But he is popular among all demographics because there is a democratic way in which he lowers himself.
This film casts man and ape as close relatives. It turns queasy following the heroic quest of 3 ethnic characters VS greedy white people, drawing what kind of a parallel? The races as a hierarchy of apes instead of subspecies of human. Its very racist but in the most covert and smiling way. There's no chance the actors know they are doing it unless the pay was greater than their integrity. But you have to know your history of racism in film, media and recorded history. A film made by white people with a black man telling whites that an ape is his family more than other people is offensive. Ok, maybe I can half-buy it as a tale of African descents protecting the animal kingdom from the disastrous effects of white colonialism. But that insincere reading is so obscured in CGI, bad dialogue, clumsy & timid racial commentary and a lot of pointlessness.
If there's anything redeeming in this movie it was too subtle for me. I doubt that in a video game turned film called "Rampage" that is a combination of like 10 equally bad films.
Thursday, April 26, 2018
While "They Live" is a brilliant not-so-conservative rightwing call for anarchist revolution, John Carpenter's Escape from New York strikes me as pure idiotic ideology-driven "gun propaganda" drivel. Beware a black mayor of New York! Save British colonial idealism! It also promotes white male working class vigilantism and fear-based consumption to prevent urban decay. So nothing changes. It just keeps getting a new lacquered skin to sell the illusion of a democratic state working against classism and classicism.
But I believe Carpenter is a leftwing democrat. He's just being loyal to the pure roots of Western democracy, especially in America's not so young history. The rightwing has gone racist a lot in the last century. But only to match the violent racism that built the democratic parties in America, namely that of the British E.U..
So I'm not even picky for leftwing films or against rightwing films. But the left has always been too moderate and the right has always been too militant, clan-based, competitive, sexist & racist, dependent to capital and material possessions. Hollywood is steeped in a film language and cultural history that is so limited and censored in scope. Modernity and only the most compromised and consumerist (commercial) versions of postmodernist thought are allowed to be discussed socially by the design of a ruling class.
And there's no need to fear the competition of any corporation of private investors and legal or illegal funds to express monopoly on all industry. They may rule certain sectors at certain times, but unless they build their own private army or gain a permanent hold of government, these "deep state" conspirators can pull the wool over our eyes but can never out-gun the government or the people. Because SOME of the writers and signers of the Constitution were great and brilliant people. They devised parchment to prevent the destruction of the people, the state, their business and their privacy.
Now we're always under siege of a disastrous destruction of that safety, but that document provided enough laws to serve justice and protect peace. The world is facing an insurrection of powerful criminals who exist in shadows but they will always fall to America and the world because America puts God first, even if it was once based on a racist, sexist, mythological revisionist historian-perverted version of "God".
Should a small group of elitists run everything? Should democracy be kept a lie, a capitalist video game that only serves the leaders of state? Can they be trusted to be fair and right the wrongs of history's leaders? Who should run the next government? And how do we make sure they are not puppets of more powerful republicans who seek to destroy democracy?
But I believe Carpenter is a leftwing democrat. He's just being loyal to the pure roots of Western democracy, especially in America's not so young history. The rightwing has gone racist a lot in the last century. But only to match the violent racism that built the democratic parties in America, namely that of the British E.U..
So I'm not even picky for leftwing films or against rightwing films. But the left has always been too moderate and the right has always been too militant, clan-based, competitive, sexist & racist, dependent to capital and material possessions. Hollywood is steeped in a film language and cultural history that is so limited and censored in scope. Modernity and only the most compromised and consumerist (commercial) versions of postmodernist thought are allowed to be discussed socially by the design of a ruling class.
And there's no need to fear the competition of any corporation of private investors and legal or illegal funds to express monopoly on all industry. They may rule certain sectors at certain times, but unless they build their own private army or gain a permanent hold of government, these "deep state" conspirators can pull the wool over our eyes but can never out-gun the government or the people. Because SOME of the writers and signers of the Constitution were great and brilliant people. They devised parchment to prevent the destruction of the people, the state, their business and their privacy.
Now we're always under siege of a disastrous destruction of that safety, but that document provided enough laws to serve justice and protect peace. The world is facing an insurrection of powerful criminals who exist in shadows but they will always fall to America and the world because America puts God first, even if it was once based on a racist, sexist, mythological revisionist historian-perverted version of "God".
Should a small group of elitists run everything? Should democracy be kept a lie, a capitalist video game that only serves the leaders of state? Can they be trusted to be fair and right the wrongs of history's leaders? Who should run the next government? And how do we make sure they are not puppets of more powerful republicans who seek to destroy democracy?
Wednesday, April 25, 2018
WHAT ARE YOU CONSUMING?
I haven't watched much cinema lately. I'm tuned out of reviewing 2018 releases after the stream of trash in 2017 and I've burnt out on watching older films. I'm not even entertained by revisiting films, although I had a great time watching Batman, The Running Man, Commando and a few others.
I'm a bit jaded with film period after delving pretty deep into the cult of Jess Franco films. My opinion of him is more confusing than ever. Clearly, many of his films are glorified and over-analyzed. Many have little merit after a one or two time watch. But they all serve the impact of his great works, which are some of the most powerful films to come out of their genre, era or budget range.
Venus in Furs is a near masterpiece its so ahead of its time. A Virgin Among The Living Dead is better than 9/10 films you'll ever see. But many films (especially after the death of Soledad Miranda and the death of XXX theaters) are simply entertaining and well-crafted schlock and some are just tedious. No doubt they are smarter and more beautiful than other exploitation films and have more art than "serious" films, but there's an intense sadness in the fact that he made so many films but so few great ones. But again few directors make great films and this guy made a lot of good ones out of nada. Its almost its own genre of pure cinema. I understand his mournful disposition later in life and his own ambivalence to his own career, but I still cherish and honor his actual talent and resilience standing up to the degradation of auteurist filmmaking.
I'm at a weird crossroads where many films I once loved don't work for me now. Mainly because most films are either beholden to bland commercial or critic-serving scriptwriting or indulgent, distracting and stooge-fooling visual spectacle. They have no singular voices and certainly won't challenge the viewers out of fear of not reimbursing investors.
The Millennial reboot of Blade Runner is not a favorite film of 2017 for me but it unsurprisingly has a diehard cult of defenders who are calling it superior to the original and attributing meanings and accolades that aren't there. I'm not even too bothered because the cult is made up of 20 year old's who haven't seen anything outside of modern Western film or anime. I haven't seen any serious lovers or critics of film buying BR2.
We're in an era of Gen X filmmakers and Gen Y audiences who have inherited so much powerful technology, secondhand knowledge and inflated sense of Self, that EVERYTHING is deemed "art" so long as its of the moment and rejects the past and offers a predictably dark but hopeful view of the future. Its so... phony. This is a perfect reflection of the post-Obama, post-Trump mindset. "The majority is evil but WE select few will save the world by destroying it and remaking it in our image". This Us Vs Them shit. Everyone is so distracted, distrusting and maddened by the 1% that they don't see THAT is the game. Media wants us all to hate each other and pay to see simulated violence against each other and hand over control to politicians and corporations and keep being zombified consumers. Oh, technology will save us!
Its time for a real radical voice of social revolution and individual responsibility. Films for the people and by the people. A return of INDEPENDENCE! They've taken every platform we have for getting the message out: the press, TV, film, internet. Whats left? The real fucking world. Let them have Virtual Reality. We live in the here and now of physical space where they can never rule. Ok, they can monitor us, brainwash us, embarrass us, harass us and leave us disenfranchised. But there's still more of us than them. We can't all sell out.
BTW, John Carpenter's "They Live" is one of the real classics of the 1980s and should be a manual going forward not only for independent filmmakers and artists but all of humanity. We are waking up and our enemies are scared.
I'm a bit jaded with film period after delving pretty deep into the cult of Jess Franco films. My opinion of him is more confusing than ever. Clearly, many of his films are glorified and over-analyzed. Many have little merit after a one or two time watch. But they all serve the impact of his great works, which are some of the most powerful films to come out of their genre, era or budget range.
Venus in Furs is a near masterpiece its so ahead of its time. A Virgin Among The Living Dead is better than 9/10 films you'll ever see. But many films (especially after the death of Soledad Miranda and the death of XXX theaters) are simply entertaining and well-crafted schlock and some are just tedious. No doubt they are smarter and more beautiful than other exploitation films and have more art than "serious" films, but there's an intense sadness in the fact that he made so many films but so few great ones. But again few directors make great films and this guy made a lot of good ones out of nada. Its almost its own genre of pure cinema. I understand his mournful disposition later in life and his own ambivalence to his own career, but I still cherish and honor his actual talent and resilience standing up to the degradation of auteurist filmmaking.
I'm at a weird crossroads where many films I once loved don't work for me now. Mainly because most films are either beholden to bland commercial or critic-serving scriptwriting or indulgent, distracting and stooge-fooling visual spectacle. They have no singular voices and certainly won't challenge the viewers out of fear of not reimbursing investors.
The Millennial reboot of Blade Runner is not a favorite film of 2017 for me but it unsurprisingly has a diehard cult of defenders who are calling it superior to the original and attributing meanings and accolades that aren't there. I'm not even too bothered because the cult is made up of 20 year old's who haven't seen anything outside of modern Western film or anime. I haven't seen any serious lovers or critics of film buying BR2.
We're in an era of Gen X filmmakers and Gen Y audiences who have inherited so much powerful technology, secondhand knowledge and inflated sense of Self, that EVERYTHING is deemed "art" so long as its of the moment and rejects the past and offers a predictably dark but hopeful view of the future. Its so... phony. This is a perfect reflection of the post-Obama, post-Trump mindset. "The majority is evil but WE select few will save the world by destroying it and remaking it in our image". This Us Vs Them shit. Everyone is so distracted, distrusting and maddened by the 1% that they don't see THAT is the game. Media wants us all to hate each other and pay to see simulated violence against each other and hand over control to politicians and corporations and keep being zombified consumers. Oh, technology will save us!
Its time for a real radical voice of social revolution and individual responsibility. Films for the people and by the people. A return of INDEPENDENCE! They've taken every platform we have for getting the message out: the press, TV, film, internet. Whats left? The real fucking world. Let them have Virtual Reality. We live in the here and now of physical space where they can never rule. Ok, they can monitor us, brainwash us, embarrass us, harass us and leave us disenfranchised. But there's still more of us than them. We can't all sell out.
BTW, John Carpenter's "They Live" is one of the real classics of the 1980s and should be a manual going forward not only for independent filmmakers and artists but all of humanity. We are waking up and our enemies are scared.
Saw a review calling the new Avengers film a "virtuoso" film because it brings together a couple "hit franchises". Ok. If it actually tied together a couple pre-existing independent and iconic franchises (ex. Freddy vs Jason), I would be impressed. But these franchises were created solely to be merged. Shit, half of them didn't even exist until recently (Black Panther, Dr Strange, Guardians). And I have to ask, what adult can care about this shit with the shape the Western world is in and the insidious role corporate media plays in it, Disney being one of the worst.
Friday, March 16, 2018
Francophilia: An Ode to Cult Directing
I've tried to see how deep the rabbit hole goes in cinema, as well as political and sociological history. Cinema is actually a great textbook on many fields of psychology, philosophy, epistemology, metaphysics, poetics, dramaturgy, satire and sexuality. It all boils down to narrative style. Tone, inflection, grammar. These are tools maybe best expressed in jazz.
Jess Franco - the director I've covered this past year - is maybe the most clear translator of his own demons and angels through an intelligent aesthetic of communist dualism and Buddhist transcendentalism. The guy so valued his freedom from censorship and commercialism and any cap on his spiritual, moral and intellectual growth that he made films "among the sinners" and castoffs that made up the Wild West that was European schlock cinema. I've used his ideology as a lens for the current climate. Did this man contribute or damage the craft of cinema?
Its hard to detect when he is simply exploiting or deconstructing a salacious subject or is fetishizing or morally engaging it. His films feature sadism, incest, hypnosis, slavery, torture and so many things that The Catholic Church branded him a Satanic figure, basically excommunicating the youngest star director from ever reaching Hollywood. So he made Z-grade films that mirrored the injustice, abuse and exploitation he suffered. He drew pictures of the dragons who slew his dream to be a knight. He sacrificed his Messianic image to battle the image of fascism that would someday enrapture world cinema's mainstream. Why? Because he was attuned, almost mystically, to the complexion of the human spirit. He had a sensitivity, a blues in him that brought together other ailing geniuses. In his collaborators and his deep cult fandom.
We ask was Jess Franco a free mason? His films make perfection depiction of not only Masonic themes, rites, symbols and stories like "generation", craftsmanship, surveillance, atonement and ascendancy, but also the feared Illuminati doppelganger image that is cultivated by their enigmatic reputation. Hypnosis, rape, sodomy, incest, pedophilia, libertine sadism, prostitution, murder, Satanism and a thousand other Illuminist references are made film to film by Franco. Was Jesus Franco a Luciferian? I've heard him say there is no singular God creator, but I never heard him disavow Man as God. I think Franco was cinema's most powerful and open occultist and warlock (or "wizard" if the term is too dark for you). Franco even claimed he was the inspiration for Yoda. Its a claim you want to believe isn't a lie. But what is the truth? Clearly he knew these groups secrets even if he never joined them.
Aesthetically his films are flawless for my enjoyment as a film-lover. But are his films moral? Certainly they are too scary, complex, offensive and demoralized for some. But does that make them less true? Does it make them "evil"? Art is probably evil in the eyes of Christians. But its not evil in the eyes of Christ. This was Jesus' point all along.
Franco depicts himself as a boogeyman to scare the ignorant and intrigue those who are teachable. And he makes no special boasts or pursuit of fame. The man practice the same humble social servitude promoted in Rudyard Kipling's poem If, the Masonic writer's ode to Freemason code.
It seems the aim of anti-Christian directors and artists (Masonic or anti-Masonic) is neither to create or be The AntiChrist but to eliminate need for Anti or Christ. To honor an open dialectic with truth and discovery not fixed in the static disintegration of dogma. Of course they are called Devils, so they must exist as private citizens. And if one falls and commits crime or dishonorable acts, they must face the same penalties as all men and women. Period. In a way, all directors are like a watchful society of enlightened artistic heroes and potential villains.
I'm not saying Jess Franco is a bad guy or a good guy. He's certainly a good artist. To my knowledge, he never did anything as wretched as Polanski or Woody Allen. After selling out his craft like a Jodorowsky, Lynch, Wells or Kubrick, he refused to stay down and became MORE prolific. He never lost sight of a positive moral message of secrecy while admitting its dangers, demons and disasters. He brought a message of magical thinking that shouldn't be bound by any one God. This is radical and blasphemous to most. But one must ask was he right or wrong? This is another Christian parallel Franco sets up in his career's narrative. It is his meta-trope.
He studied and challenged every ideology he could simply to raise questions about the human condition and any metaphysical realm of judgement beyond it. Like Lynch, he is obsessed with balancing the warring opinions on the very substance and texture of shared realism. He knows he can only express his worldview in a projection of theatrical dreams. His canvas is illuminated thought in the dark. How many learned spiritualism in film from Franco. Of course Franco followed many others with bigger names, but Jess was a gateway inside cheap populist mass media in a young technological age of movie-searching. It's such a Romantic notion of posthumous fame for a cinemist. He became the idealism of purity to the purely idealistic film fan. It's an important distinction from the other classes of notable filmmakers.
I find more and more to analyze in the deep texts of his small, quiet examples of film poetry. This is my favorite director, love him or hate me. He is simply the most advanced thinker for any class of directors. But now he is gone. And someone must try to fill his shadow.
Jess Franco - the director I've covered this past year - is maybe the most clear translator of his own demons and angels through an intelligent aesthetic of communist dualism and Buddhist transcendentalism. The guy so valued his freedom from censorship and commercialism and any cap on his spiritual, moral and intellectual growth that he made films "among the sinners" and castoffs that made up the Wild West that was European schlock cinema. I've used his ideology as a lens for the current climate. Did this man contribute or damage the craft of cinema?
Its hard to detect when he is simply exploiting or deconstructing a salacious subject or is fetishizing or morally engaging it. His films feature sadism, incest, hypnosis, slavery, torture and so many things that The Catholic Church branded him a Satanic figure, basically excommunicating the youngest star director from ever reaching Hollywood. So he made Z-grade films that mirrored the injustice, abuse and exploitation he suffered. He drew pictures of the dragons who slew his dream to be a knight. He sacrificed his Messianic image to battle the image of fascism that would someday enrapture world cinema's mainstream. Why? Because he was attuned, almost mystically, to the complexion of the human spirit. He had a sensitivity, a blues in him that brought together other ailing geniuses. In his collaborators and his deep cult fandom.
We ask was Jess Franco a free mason? His films make perfection depiction of not only Masonic themes, rites, symbols and stories like "generation", craftsmanship, surveillance, atonement and ascendancy, but also the feared Illuminati doppelganger image that is cultivated by their enigmatic reputation. Hypnosis, rape, sodomy, incest, pedophilia, libertine sadism, prostitution, murder, Satanism and a thousand other Illuminist references are made film to film by Franco. Was Jesus Franco a Luciferian? I've heard him say there is no singular God creator, but I never heard him disavow Man as God. I think Franco was cinema's most powerful and open occultist and warlock (or "wizard" if the term is too dark for you). Franco even claimed he was the inspiration for Yoda. Its a claim you want to believe isn't a lie. But what is the truth? Clearly he knew these groups secrets even if he never joined them.
Aesthetically his films are flawless for my enjoyment as a film-lover. But are his films moral? Certainly they are too scary, complex, offensive and demoralized for some. But does that make them less true? Does it make them "evil"? Art is probably evil in the eyes of Christians. But its not evil in the eyes of Christ. This was Jesus' point all along.
Franco depicts himself as a boogeyman to scare the ignorant and intrigue those who are teachable. And he makes no special boasts or pursuit of fame. The man practice the same humble social servitude promoted in Rudyard Kipling's poem If, the Masonic writer's ode to Freemason code.
It seems the aim of anti-Christian directors and artists (Masonic or anti-Masonic) is neither to create or be The AntiChrist but to eliminate need for Anti or Christ. To honor an open dialectic with truth and discovery not fixed in the static disintegration of dogma. Of course they are called Devils, so they must exist as private citizens. And if one falls and commits crime or dishonorable acts, they must face the same penalties as all men and women. Period. In a way, all directors are like a watchful society of enlightened artistic heroes and potential villains.
I'm not saying Jess Franco is a bad guy or a good guy. He's certainly a good artist. To my knowledge, he never did anything as wretched as Polanski or Woody Allen. After selling out his craft like a Jodorowsky, Lynch, Wells or Kubrick, he refused to stay down and became MORE prolific. He never lost sight of a positive moral message of secrecy while admitting its dangers, demons and disasters. He brought a message of magical thinking that shouldn't be bound by any one God. This is radical and blasphemous to most. But one must ask was he right or wrong? This is another Christian parallel Franco sets up in his career's narrative. It is his meta-trope.
He studied and challenged every ideology he could simply to raise questions about the human condition and any metaphysical realm of judgement beyond it. Like Lynch, he is obsessed with balancing the warring opinions on the very substance and texture of shared realism. He knows he can only express his worldview in a projection of theatrical dreams. His canvas is illuminated thought in the dark. How many learned spiritualism in film from Franco. Of course Franco followed many others with bigger names, but Jess was a gateway inside cheap populist mass media in a young technological age of movie-searching. It's such a Romantic notion of posthumous fame for a cinemist. He became the idealism of purity to the purely idealistic film fan. It's an important distinction from the other classes of notable filmmakers.
I find more and more to analyze in the deep texts of his small, quiet examples of film poetry. This is my favorite director, love him or hate me. He is simply the most advanced thinker for any class of directors. But now he is gone. And someone must try to fill his shadow.
We live in a world of conspiracies and conspiracy theories; a "post truth" world full of illusions. Our mass media entertainment has become what Baudrillard called simulacra: copies of copies of copies which have lost resemblance to their origin. The Real is now so divorced from truth and swamped in daily rumors and corporatized presentations of reality that we've collectively (and conveniently) forgotten the most prevalent, scary and corroborated theories of conspiracy to Man.
We are distracted by trivial political affiliations as to forget the real villains. Liberals blame greedy republican business men. Conservatives blame Satanic government monopolists. Neither come together to face either of these theoretical menaces or try to piece together a coherent shared idea of the mutual enemy. So before constructing a meta-narrative, lets look at the damning evidence. Films can be the most obvious mirror to our demons.
Before there was "populist paranoia" about secret society agendas, there were historical documents in cinema of our nightmare horrors.
Study the work of Orson Welles, Jess Franco, Stanley Kubrick, D.W. Griffith, David Lynch, Zack Snyder, Roman Polanski, Woody Allen and many more to find these portrayals of Masonic and Anti-Masonic propagandas. And how many of our narratives are true and how many are false? Is it a perfect balance or a terrible imbalance or an inspiring and beautiful surplus of justice and global victory? The last millennium and centuries were a long-fought battle against fascism, slavery, abuse, pedophilia, rape, evil, crime and moral savagery. Its defined us to this point and created mental illness and spiritual starvation.
ARTISTS ARE OUR WITCHDOCTORS
Freemasons, Illuminists, Satanists, Deists, Romans, Christians, Buddhists, Atheists and a billion other ideologists have expounded their views to create a diverse and chaotic disorder that must find its new order not in forced mastery but a natural discovery of its evolution. What is our future? We all choose. No group of "elite" should decide for us. Democratic socialism with no national, ethnic, social or even political biases should silence the individual voice.
What we see happening in this so-called postmodern "New World Order" so far is a corporatist dogfight for media control and social engineering. We are brainwashed, not talked to. There is no discourse when our banks run our lives. They make money on our money and even more on our poverty. There's too much money for any of it to have value anymore. And its tainted with the sins of so many capitalist exploitations of business. There is no free market because free markets don't work in systems with geographic inequality. This creates the problem of colonial attempts of "Enlightenment". We end up with Manifest Destiny religious communes run by warlords who rape the planet and its people. This is McDemocracy.
Now we need a world that actually works; Not as Disneyland but as a secure and honest voice of objective reason for subjective voices. We can't silence naysayers and dreamers for pushing the status quo. Nor can we war with suppressed and oppressed voices. We need structure for a post-Structuralist world that is wounded but unable to spiritually lick its social wounds. But we must protect the socially weak from spiritual predators. The world is full of metaphysical vampires who don't need physical strength. They feast on the fear and insecurity of the strong. The illuminated thinkers serve independently as superheroes who don't need a thanks but should receive deserved and earned penance in some way. Not money or extra freedoms. The will should not be allowed to rule in anarchy. We need laws, check and balances.
This should be the mission of all men, women and children without any sanction or guidance from any "ascended" order but by mandatory membership in a society. Society comes before class, race, government system, economics or what have you. And no mind lays claim over it for any reason. Not IQ, social status, bloodline, privilege or secret weapon. The rich are not allowed to have more value than the poor. The state is not allowed to have more power than the world government. The psychopaths and actors can't get away with fooling and victimizing the innocent and meek. Justice must be served. And Karma does not decide who wins and loses. It takes the shared wisdom, the altar of knowledge to find any semblance of what is true. And that starts with having every voice be heard and every case be measured fairly. The court of morality exists outside of Masonic parliament and Builderberg meetings or choreographed press.
What is the aim of filmmaking? What is its philosophical tenants? What function does it serve beyond crass enjoyment of spiritualist materialism? Filmmaking tells us who we are at any given moment. Cinema is a pinpoint of nature's physics and stitch in the time stream. We've soared high and fallen low before, all of us. Now to fly again.
The true artists are the independent artists. The best directors are the ones who don't slave or master their craft. They simply coexist peacefully. How? By dramatizing conflict as The Big Other. This can become real world mass hystics and delusional matrixes if we don't ground it in fiction. Small opinions based in big facts, (rather than huge opinions over mass-produced facsimiles called "facts"). Knowledge must be reevaluated like the sciences, laws and metrics within it. As our minds grow, so will our shared perception. For all and not just for some. Everyone is an equal participant and producer of positive abundance. There will always be negativity created by man and by nature and by the cosmos itself, but thats not a deterrent against life. Its what composes the passionate defense of living. This is man's eternal destiny. And whether we come from a God, communicate with a God, dream a God or convene as a God (or many Gods), we are all still free to live so long as we protect the lives of everyone else by not impinging or impending on rights. We all have basic human rights that can't be removed. This is the way not of one nation but of the galactic whole.
We must celebrate our universe by exploring, understanding and respecting it by not filling it with too much trash. What do I mean? The surplus of carbon emissions from industry, toxic pollution, farming deregulations and anything making our ozone hard to breathe. How to fight it? Producing good vibrations. Its as simple as that. Be loved. Be honest. Be inspiring. Be real. Be in the know. Be in the Now. Be You. Be a work of Art.
We are distracted by trivial political affiliations as to forget the real villains. Liberals blame greedy republican business men. Conservatives blame Satanic government monopolists. Neither come together to face either of these theoretical menaces or try to piece together a coherent shared idea of the mutual enemy. So before constructing a meta-narrative, lets look at the damning evidence. Films can be the most obvious mirror to our demons.
Before there was "populist paranoia" about secret society agendas, there were historical documents in cinema of our nightmare horrors.
Study the work of Orson Welles, Jess Franco, Stanley Kubrick, D.W. Griffith, David Lynch, Zack Snyder, Roman Polanski, Woody Allen and many more to find these portrayals of Masonic and Anti-Masonic propagandas. And how many of our narratives are true and how many are false? Is it a perfect balance or a terrible imbalance or an inspiring and beautiful surplus of justice and global victory? The last millennium and centuries were a long-fought battle against fascism, slavery, abuse, pedophilia, rape, evil, crime and moral savagery. Its defined us to this point and created mental illness and spiritual starvation.
ARTISTS ARE OUR WITCHDOCTORS
Freemasons, Illuminists, Satanists, Deists, Romans, Christians, Buddhists, Atheists and a billion other ideologists have expounded their views to create a diverse and chaotic disorder that must find its new order not in forced mastery but a natural discovery of its evolution. What is our future? We all choose. No group of "elite" should decide for us. Democratic socialism with no national, ethnic, social or even political biases should silence the individual voice.
What we see happening in this so-called postmodern "New World Order" so far is a corporatist dogfight for media control and social engineering. We are brainwashed, not talked to. There is no discourse when our banks run our lives. They make money on our money and even more on our poverty. There's too much money for any of it to have value anymore. And its tainted with the sins of so many capitalist exploitations of business. There is no free market because free markets don't work in systems with geographic inequality. This creates the problem of colonial attempts of "Enlightenment". We end up with Manifest Destiny religious communes run by warlords who rape the planet and its people. This is McDemocracy.
Now we need a world that actually works; Not as Disneyland but as a secure and honest voice of objective reason for subjective voices. We can't silence naysayers and dreamers for pushing the status quo. Nor can we war with suppressed and oppressed voices. We need structure for a post-Structuralist world that is wounded but unable to spiritually lick its social wounds. But we must protect the socially weak from spiritual predators. The world is full of metaphysical vampires who don't need physical strength. They feast on the fear and insecurity of the strong. The illuminated thinkers serve independently as superheroes who don't need a thanks but should receive deserved and earned penance in some way. Not money or extra freedoms. The will should not be allowed to rule in anarchy. We need laws, check and balances.
This should be the mission of all men, women and children without any sanction or guidance from any "ascended" order but by mandatory membership in a society. Society comes before class, race, government system, economics or what have you. And no mind lays claim over it for any reason. Not IQ, social status, bloodline, privilege or secret weapon. The rich are not allowed to have more value than the poor. The state is not allowed to have more power than the world government. The psychopaths and actors can't get away with fooling and victimizing the innocent and meek. Justice must be served. And Karma does not decide who wins and loses. It takes the shared wisdom, the altar of knowledge to find any semblance of what is true. And that starts with having every voice be heard and every case be measured fairly. The court of morality exists outside of Masonic parliament and Builderberg meetings or choreographed press.
What is the aim of filmmaking? What is its philosophical tenants? What function does it serve beyond crass enjoyment of spiritualist materialism? Filmmaking tells us who we are at any given moment. Cinema is a pinpoint of nature's physics and stitch in the time stream. We've soared high and fallen low before, all of us. Now to fly again.
The true artists are the independent artists. The best directors are the ones who don't slave or master their craft. They simply coexist peacefully. How? By dramatizing conflict as The Big Other. This can become real world mass hystics and delusional matrixes if we don't ground it in fiction. Small opinions based in big facts, (rather than huge opinions over mass-produced facsimiles called "facts"). Knowledge must be reevaluated like the sciences, laws and metrics within it. As our minds grow, so will our shared perception. For all and not just for some. Everyone is an equal participant and producer of positive abundance. There will always be negativity created by man and by nature and by the cosmos itself, but thats not a deterrent against life. Its what composes the passionate defense of living. This is man's eternal destiny. And whether we come from a God, communicate with a God, dream a God or convene as a God (or many Gods), we are all still free to live so long as we protect the lives of everyone else by not impinging or impending on rights. We all have basic human rights that can't be removed. This is the way not of one nation but of the galactic whole.
We must celebrate our universe by exploring, understanding and respecting it by not filling it with too much trash. What do I mean? The surplus of carbon emissions from industry, toxic pollution, farming deregulations and anything making our ozone hard to breathe. How to fight it? Producing good vibrations. Its as simple as that. Be loved. Be honest. Be inspiring. Be real. Be in the know. Be in the Now. Be You. Be a work of Art.
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