Thursday, 31 July 2014

American Splendor

Also Known As:
Unknown
Year:
2003
Country:
United States…
Predominant Genre:
Comedy
Directors:
Shari Springer Berman
Robert Pulcini
Best Performance:
Paul GIAMATTI
Premiss:
A mix of fiction and reality illuminates the life of comic-book everyman Harvey Pekar.
Themes:
Self-expression
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
DVD

This drama-documentary captures the essence of its comic book inspiration without revealing how silly comics become when adapted. The characters are exaggerated to humorous effect and the visual style successfully mimics the comic’s graphic style.

This one is about depressed people, but is neither boring nor depressing itself. The anomie depicted is contradicted by the depiction: Creation – itself - being a positive, not a negative.

Endearing, engaging and strangely heart-warming, despite the lugubrious Mr Grumpy, Harvey PEKAR can be funny because he’s not trying to force it down your throat; fully accepting his depression without rancour.

Paul GIAMATTI has a fine face for comedy in this story of ultimate self-acceptance. He makes a curmudgeon subtly hilarious: Proof that misery does love company. Like he says: Ordinary life is pretty complex stuff!


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Wednesday, 30 July 2014

Essential Javascript for Web Developers
(2012)


RATING:100%
FORMAT:Book

(Prentice Hall) Essential Javascript for Web Developers, (O' Reilly)

Very good primer for beginners to this programming language that has found its home mostly on Internet Web pages.

The content is basic and the style repetitive as it goes through many iterations of a task to ensure it is made clear for the user. The scripts actually work here unlike some programming books where the lack of good proof-reading often lets us down.

All this helps overcome as much as possible the fact that programming books – no matter how well written – still require a great deal of abstract ability to fully benefit from them.


Tuesday, 29 July 2014

Walking Dead

Also Known As:
Unknown
Year:
2010 -
Country:
United States…
Predominant Genre:
Horror
Director:
Frank Darabont…
Best Performances:
None
Premiss:
Police officer leads a group of survivors in a world overrun by zombies.
Themes:
Personal change
Self-expression
Political Correctness
White supremacy
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
DVD

Plus ça change...

George Romero and Michael Crichton now have a lot to answer for in this rather predictable retread of their work which does nothing to advance the horror or science-fiction forms.

The usual White anxieties about a culture in decline are evident here. The failure of their economic system to produce benefits for Whites; widespread pollution; political decline; alcoholism; drug addiction; suicide; and, generally-mindless behavior. Typically for such a self-destructive culture, the destruction here is causeless rather than self-induced: A social dishonesty that infuses this weak drama preventing it from being the social commentary science-fiction usually is; leaving it with nothing else to be.

Rather than talk about the world that is, Whites typically talk about what the world should be; ie, Political Correctness - leaving this drama to engage in sterile debates about whether people should be killed before they become zombies, rather than later. Rather than being a disquisition on the incompatibility of Ethics and Politics, this accepts the inability of the characters to do this very thing - equal to the dramatists inability to do the same and avoid the usual Hollywood-style survivalist clichés about Whites trying to continue doing what they did before the world changed, despite the profound changes wrought. A good reading of any John Wyndham novel would suggest many fruitful dramaturgical alleyways that this could have gone down, along with the many aspects of human nature that could have been explored, rather better than is apparent in this morbid soap opera.

By its focus on Caucasian actors, this series implies Whites would always try to re-assert their dominance over any world that remained after the collapse, not of the whole world - as stated here - about which Whites care little), but of the Western world - the only world shown. The drama follows this political worldview; making it hard to see the humanity of lonely Whites obsessing about how depressed they are as a result of a disease that has dehumanized most of the US population. Non-Whites’ thoughts and feelings are rarely explored despite the centrality of the issue of Common Humanity to any end-of-the-world drama. This is dishonest drama that is as anti-human as the zombies depicted in not attempt to show the new global situation nor the acceptance, or otherwise, of it.

Ultimately, this series claims Whites will renounce their self-destructive ways in favor of working together to defeat the common enemy (zombies) - when Whites have never done this before in all of human history. The opportunity to show the reality of White culture is, therefore, soundly missed in favor of wishful-thinking. As always with White drama (as with their culture) the Personal is Political, without a smidgen of dramatic analysis of the violence this produces: Political relations diminished by rage; personal relations dehumanized by politics.

The characters are largely-undifferentiated, despite the many ethnicities among the actors: They are little better than zombies they regularly tangle with. This is exacerbated by the CGI-plotting favoring the special effects; leaving us with little more than a long-drawn-out sequence of mayhem with increasingly-numbing effect. Along with the contrived, suspenseless & tensionless plotting, this makes any true empathy for any of the characters impossible - along with their plight.


See also: “The Walking Dead” Doesn’t Make Any Damn Sense


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Monday, 28 July 2014

Shutter Island

Also Known As:
Unknown
Year:
2009
Country:
United States…
Predominant Genre:
Mystery
Director:
Martin Scorsese…
Best Performances:
None
Premiss:
A US Marshal investigates the disappearance of a murderess who escaped from a hospital for the criminally insane and is presumed to be hiding nearby.
Themes:
Guilt
Compassion
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
DVD

Silly & Derivative

This film has two basic problems it can never overcome:

  1. The lead actor simply cannot act; making us care little for his plight;
  2. plot-wise, if what we initially think is happening was actually happening, it would have been a far more interesting and more satisfying thriller;
    1. there are no significant insights into human nature to justify this movie's over-length; hence, the vain attempt at overly-elaborate plotting to compensate.

Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Sunday, 27 July 2014

Coco Avant Chanel
(2009)


Also Known As:
Coco Before Chanel (2009)…
Year:
2009
Countries:
Belgium… France…
Predominant Genre:
Romance
Director:
Anne Fontaine…
Best Performances:
None
Premiss:
The story of Coco Chanel’s rise from obscure beginnings to the heights of the fashion world.
Themes:
Original Sin | Personal change | Self-expression | Compassion | Totalitarianism | Political Correctness | White supremacy | Ethical Politics
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
DVD

Enjoyable melodrama about a fascinating figure who either made feminism possible by dispensing with the common use of the corset in haute couture or was simply following the inevitable trend away from restrictive clothing for women.

Given the lowering of the infant mortality rate - from advances in medical science - women could work and have careers in addition to being wives and mothers.

This film wants to have it both ways by suggesting that the tail wags the dog in politics in that necessity is not the mother of invention. And yet, if Gabrielle Chanel had been born a hundred years earlier, her designs would never have been accepted. Not because they violated tradition but because women had to produce babies to compensate for the high infant death rates.

The problem with so much feminism is its inability to relate the social position of women with the wider culture in which women live such that feminists are propagandized as women ahead of their time when they are merely ahead of the game. The latter recognize that they can change things because science and technology - not women’s yearning to be free from nappies and cooking - have made it possible.

Moreover, science and technology largely devised by men. This explains why low-technology cultures have so little change in their social arrangements because without science there can be no reason for such change.

Having said all that, the other issue that this film does deal with well is whether clothes wear you or you them. Fashion victims are always mutton-dressed-as-lamb because they have no idea of their own style and simply copy what is modish.

Here we have a designer who knows what works and that most women do not in fact, at any given time, fit the stereotype that fashionable living demands. In this, Chanel’s character and her work become one as she refuses to relinquish her principles for the sake of being a flash-in-the-cultural-pan.

Control
(2004)

Also Known As:
Unknown
Countries:
Aruba… United States…
Predominant Genre:
Thriller
Director:
Tim HUNTER…
Best Performances:
Ray LIOTTA… Michelle RODRIGUEZ…
Plot:
Sociopath saves himself from execution by agreeing to become a guinea pig for a mind-altering drug that might suppress his compulsion to kill.
Themes:
Personal change
Self-expression
Compassion
Political Correctness
Similar (in Plot, Theme or Style) to:
Clockwork Orange | Nikita
Review Format:
DVD

Redemption

An overly-contrived plot - with too many extraneous characters - does not detract much from above-average writing and acting in this unusual story of personal redemption for sins.


Saturday, 26 July 2014

How the Irish Became White


Also Known As:
Unknown
Year:
1996
Country:
United States…
Predominant Genre:
Non-fiction
Author:
Noel Ignatiev…
Best Performances:
None
Premiss:
The Irish came to America in the eighteenth century, fleeing a homeland under foreign occupation and a caste system that regarded them as the lowest form of humanity. In the new country, they found a social hierarchy based on skin color.
Themes:
Totalitarianism | Political Correctness | White supremacy
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
Book

A subtle and well researched exploration of White phenotypism directly addressing White solidarity. The desire to be accepted as White explains why Whites find it hard to break with their traditions by remaining complicit with today’s so called racism.

Racism is a concept with no basis in biology nor anthropology; being merely a political conceit offering Whites unearned economic advantages at non Whites’ expense. Whites are unlikely to kill the goose laying them golden eggs, so the Irish became White because they adopted the attitudes of those they resembled to avoid the segregation they experienced when initially lumped with Blacks.

Those identifying as “White” come out badly from this highly critical, well written and accessible book; explaining why today’s skin fetishism persuades Whites to avoid the label “Race Traitor”.

Wednesday, 23 July 2014

Head of State

Also known as:
Unknown
Year:
2003
Country:
United States…
Predominant Genre:
Comedy
Director:
Chris ROCK…
Best Performances:
None
Plot:
When a presidential candidate dies unexpectedly in the middle of the campaign, a Black Washington, DC alderman is unexpectedly picked as his replacement.
Theme:
White supremacy
Similar To (in Plot, Theme or Style):
Candidate
Review Format:
DVD

God bless America... and no place else!

Fictional look at the first Black to become US president that hits the nail on the head as to the essential difference between White and Black politics. Whites waste their time focusing on Consequences, after it is too late to do anything about the problems they have caused; Blacks focus on Causes, before it becomes too late.

Not as subtle as The Candidate, but much more fun.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Monday, 21 July 2014

Albert Nobbs


Also known as:
Unknown
Year:
2011
Countries:
France… Ireland… United Kingdom… United States…
Predominant Genre:
Drama
Director:
Rodrigo García…
Best Performances:
Janet McTEER…
Plot:
Albert Nobbs struggles to survive in late 19th century Ireland, where women aren’t encouraged to be independent.
Themes:
Personal change
Self-expression
Compassion
White supremacy
Similar To (in Plot, Theme or Style):
Unknown
Review Format:
DVD

Without a Substantive Culture, the Personal is always Political

Amusing take on passing-for-White in a story about a woman passing for a man in a White culture where women have fewer human rights than men. the problem of pretending to be someone you are not in order to become who you are is well-presented as we focus on the pretense that such an imposture entails means agreeing with an oppressive system in order to operate in any way successfully within its limitations. A freedom that is not really a freedom because she is trying to be something that she can never be, since the lie only works if you believe in it.

As today, when Whites are reminded of the Institutional Racism from which only they benefit, they deny that such pretense is required while demanding integration into a social system designed to demean non-Whites. This White-created paradox mirrors the central problem of the woman here: Integrating into a culture that requires her to renounce her gender and her humanity. This entails that she trust no-one - as, for example, Blacks distrust Whites - for fear of exposure; while embracing the benefits of the very Institutional Sexism her imposture rails against.

The schizophrenia that results is as inevitable here as it is with Blacks who pass for White: Self-renunciation; lack of personal identity, self-respect & happiness - all because others are unable to accept themselves.

What is missing here is any realization that such a culture requires that everyone to be acting, to give the impression that one agrees with the oppression in the hope of benefiting from it. A culture of forms, without substance, that tries to ensure that people feel substantial without any of the necessary effort required. And that there is no real opportunity in such a culture for a private, decent nor dignified life. Nor is there any dissection as to why Whites would create a culture that is so disrespectful to woman.

Technically-accomplished, the acting is superb - especially Janet McTEER. The actresses fully understand the ironic nature of the drama in the acting-out of people who spend their lives acting in a desperate attempt to find themselves. a peculiarity of cultures that claim to be loving (eg, the Christian one shown here) that also ask the ingenuous question as to why people choose to live false lives as if the answer were not obvious and the questioner deaf, dumb & blind.

Yet, in spite of everything, this is a very human drama that makes you glad to have been born Homo sapiens rather than dolphin or tiger.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Sunday, 20 July 2014

Ancient Egyptians for Dummies


Also known as:
Unknown
Year:
2007
Country:
United States…
Predominant Genre:
Non-fiction
Director:
Charlotte Booth…
Best Performances:
None
Plot:
None
Themes:
None
Similar To (in Plot, Theme or Style):
Ancient Egyptians for Dummies (2007)…
Review Format:
Book

Where Did Ancient Egypt Come From?

Apart from not explaining where the culture and civilization of ancient Egypt came from in Africa; that is, what pre-existing people it resembled, this book fails to get much beyond the White Western historical perspective of its author.

Ancient Egypt is presented as an African miracle; almost spontaneously sprouting as the world’s alleged first civilization. Western Egyptologists have a problem placing ancient Egypt firmly within the context of what came before despite the existence of similar civilizations further south that predated it. One can only suspect the racism of White Egyptologists unwilling to admit any Black undertaking to be worthwhile.

Worse than this, the book is written to interest modern Western readers in the practices of an ancient culture by comparing and contrasting them with us. This leads us to assume that anything the ancient Egyptians did that we find strange today is objectively strange; while anything they did that we find acceptable is objectively rational. These cultural assumptions are never mentioned in the book’s Foolish Assumptions section; representing a cultural chauvinism that tells us more about ourselves than it does about them, despite this book not being called Modern Westerners for Dummies. (Indeed, no such book exists precisely because no author can be found to interrogate their own prejudices sufficiently to justify its existence.)

Black Egyptologists tend to understand a Black culture better than White ones since some aspects of ancient and modern are identical and can be better explained to a modern audience from that cultural perspective. The White author here is quite incapable of removing herself from her own observations about people she simultaneously claims have strange practices and yet are just like us! Whatever happened to objective history, erudition and true learning is tacitly expressed in this volume that never rises above the level of an undergraduate thesis.

If you are a dummy this book tell you much about yourself that you already knew, if not, then steer clear. To accurately study a foreign culture one has to go at least a little bit native, but this author is fascinated by ancient Egypt yet lacks the empathy, compassion and respect to ever truly understand it.

Saturday, 19 July 2014

Towards the Abolition of Whiteness

Also known as:
Unknown
Year:
1994
Country:
United States…
Predominant Genre:
Non-fiction
Author:
David Roediger
Best Performances:
None
Plot:
None
Themes:
Personal change
Self-expression
Compassion
Totalitarianism
White supremacy
Similar To (in Plot, Theme or Style):
Unknown
Review Format:
Book

White Alienation

The central tenet of any pro-diversity work is that homo sapiens are biologically indivisible by race and the basis of this book, that Whites have created a political category of race - unsupported by science - is the only explanation for the continuing widespread White belief that human character can be assessed on the basis of skin pigmentation. That Whites materially benefit from such a conception explains its longevity.

The difficult part of this discussion is that although the metaphysics, epistemology and ethics are easy to argue and defeat every argument White supremacists invent to excuse their pathology, it is in the political arena that the complexity of the issue reveals itself.

Whiteness is revealed as a (self-)destructive ideology based on patterns of behavior coming from a desire to conform that gives the impression that Whites are somehow different from others. So much so that Whites do not consider themselves to be a particular ethnicity, but default or neutral humans - everyone else being an inferior variant. This provides Whites with a psychological benefit that no matter how unsuccessful White individuals may be, they can never be as badly-off as a non-White. Yet, for this addiction for White supremacy to work, it must be practiced regularly and overtly. It is not enough to believe oneself superior, one has also to convince others of their inferiority to make the self-delusion appear real. The best way Whites have done this is to pass discriminatory legislation that makes White supremacism real where no White scientist could have succeeded; making scientific racism, itself, appear genuine.

Whites who resist this gene-supremacist norm are referred to as race-traitors and as being “soft on race”. This mutualised fear of social ostracism helps keep Whites in line with one another and the prevailing phenotypal-orthodoxy. Indeed, the more vacuous the concept of White supremacy is, the more supremacist Whites have to be and are. The snare for Whites here is both guilt and shame for accepting something that makes no rational sense; proving their dependence not on their own abilities and merits, but on the alleged demerits of others. One sees this same psychological dependency in drug addicts and alcoholics. This leads to the denial regularly practiced by politicians that race is a vote-losing issue so let’s pretend we are not racist, instead, and focus on the economy. Yet the very fear of discussing race proves that Whites see race as very important - as well as that they are happy to experience a weakened economy so long as Blacks are not equalized with themselves and benefit from a stronger one.

White supremacy is the result of White alienation from a culture that offers them little besides material benefits. The lower-class has never - despite their relative numbers - been powerful enough to bargain for better pay and conditions because they lacked solidarity. They openly refused to join forces with Blacks and so were always divided and easy to defeat. Moreover, the vacuity of White culture excludes any genuine possibility that Whites will renounce the benefits of their supremacism since such supremacism is all that White culture has to offer. Whites thus have a fragile sense of identity that their supremacism attempts to prop up. So much so that Whites had to invent the specter of Black racism to excuse their own as a form of self-defense against something that does not exist. Moreover, this crisis of leadership in White culture comes about precisely because of the supremacist basis of that culture.

Whiteness labels an absence of a culture; one that defines itself by both what it is not and by whom it can oppress. The price Whites pay for this is a lack of individual spontaneity, experimentation, humor, sexuality, danger, physical movement and rebellion that makes living such an exciting experience. Here envy and antipathy go hand in hand. Renouncing White supremacism also entails showing solidarity with Blacks, since one may not see Blacks as inferior yet still get better treatment from other Whites who do and who think that anti-Whiteness is a call to genocide. Ultimately, the White problem in the United States is that so long as Whites see themselves as White, they will always be supremacists and will always settle for hopelessness in politics and misery in their everyday lives.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Friday, 18 July 2014

Videodrome


Also Known As:
Unknown
Year:
1982
Country:
Canada…
Predominant Genre:
Horror
Director:
David Cronenberg…
Best Performances:
Peter DVORSKY… James WOODS…
Premiss:
Programmer seeks the ultimate in viewing thrills to boost the ratings of his small television channel.
Themes:
Original Sin | Self-expression | Compassion | Totalitarianism | White culture | White people
Similar (in Plot, Theme or Style) to:
Brainstorm (1983)… Poltergeist (1982)… Snuff (1976)… Strange Days (1995)…
Review Format:
DVD

Savage, New Times

Television was not invented to make human beings vacuous, but is an emanation of their vacuity.

Malcolm Muggeridge… (1903 - 90), British broadcaster. Tread Softly For You Tread on My Jokes, “I Like Dwight” (1966).

Clever movie about the ennui of White culture and its resultant obsession with mediated experiences - be they televisual or, now, Internet-connected. By assuming genetic superiority, Whites have rendered themselves necessarily psychologically-repressed in order to ensure they feel no empathy for those they attempt to exploit (Blacks, women, Muslims, the poor, etc.); otherwise, the exploitation would make them feel guilty.

But this has led to Whites lacking a proper and full emotional life; in this instance, seeking tv substitutes that make tv more real than reality. To those who become addicted to the gogglebox, the sense of the intimacy of a sexual experience is priovided, but without the actual intimacy.

...[W]e love television because television brings us a world in which television does not exist. In fact, deep in their hearts, this is what the spuds crave most: a rich, new, participatory life.

Barbara Ehrenreich… (born 1941), US author, columnist. The Worst Years of Our Lives, “Spudding Out” (1991; first published 1988), of “couch potatoes. ”

This inward-looking and narcissistic approach to living refuses to accept the need to offer any evidence for any statement of whom one is. Lacking evidence of their superiority, Whites attempt to use technology as a means to self-improve the breed.

The characterization of the quintessential neurosis of Western culture is well-presented through well-drawn characters who, yet, lack the soul the dramatist is struggling to explore. Yet this is sophisticated horror for grown-ups.

For Whites, the issue is: Do their hang-ups cause the refusal to face reality or does the refusal to face reality cause the hang-ups? Either way, a lack of humility leads to inevitable and internecine self-destruction: Sensually, emotionally & morally.


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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.