Sunday, 25 October 2015

Human Nature


The Hubris of White Supremacy

Summary: Caucasians unable to enjoy themselves, without guilt, teach mice table manners.

Like A Clockwork Orange and L’Enfant Sauvage, this film reveals why Whites are so deeply repressed - although it offers no practical solutions to their lifelong trauma - especially when confronted with the invidious nature of those who are not so afflicted.

Operant conditioning is here shown as a substitute for genuine, ethically-based family values; while all attempts at conflating civilization with the suppression of healthy human instinct inevitably leads to an anally-retentive obsession with that very instinct.

The actors are fully-engaged and make us believe that the emotional traps within which most of their characters exist are the result of lived experience. Everyone plays it deadpan; successfully emphasizing the comedy because of the frequently absurd things their unsatisfied human needs make them say to one another.

Posted by Frank TALKER™ at 19:25 0 comments
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Saturday, 17 October 2015

Child 44

The Are No Political Friendships

Summary: The Communist version of political correctness.

Fascinating analogy for all modern fascist political systems (eg, Communism, National Socialism, religious fundamentalism & White supremacy) where the crucial center-of-power is the destruction of Personal relationships in favor of an affective marriage with a state that punishes people for doing otherwise.

When speaking your mind is a crime, you can trust no-one, yet the state here relies on the self-same emotional connections between family and friends for blackmail purposes that it ultimately intends to destroy. This self-contradiction at the heart of such systems explains both the creation of such societies (the friendless thinking those they resent possess an Achilles’ heel: Friendship as a hostage-to-fortune) and the eventual downfall of such states (the economic decline brought about by those who do as little work as possible to avoid serving a polity that is intent on their destruction). It also explains the existence of the unhappy monsters allowed to run riot in the inevitable internecine-carnage that political-correctness always creates.

Citizens become effective wards of the state, as well as unpaid civil servants, whose sole job in life becomes perpetuating a society that does them nothing but harm; while providing them with limited means of escape, since the acceptance of political dogma means the automatic denial-of-reality. The paranoid schizophrenia so bred makes adequate social-planning impossible so that the reality denied must then be replaced - at least in one’s own mind - with falsifications and delusions like “two plus two equals five”. Public and private behavior becomes equivalent, as one must be on one’s best behavior at all times; pretending to agree with whatever others believe; while never being completely sure just what it is one is actually expected to believe - and when one is expected to pretend to believe it.

The state of a permanent fear of being denounced by people who can only pretend to be friends is palpable here, especially since friendship becomes, in effect, treason to the state because it presupposes a higher loyalty than that owed by citizens to the state. All that remains for the inhabitants of such polities is existential emptiness supported by blind obedience. Within such a system, Personal identities become hard or impossible to forge; leaving the citizens affective zombies - walking the Earth without internally-directed purpose or the ability to express Personal pride or pleasure in privately-initiated activities, because the latter are rigidly-suppressed.

As with all such political systems, sexuality must be as rigidly-controlled as all other emotions and thoughts. Desire can so easily lead to the Personal relationships the state must, necessarily, attack for fear of producing citizens with divided loyalties who may then work against the state. Heterosexual marriages based on fear, expediency & pretense; secretive homosexual liaisons, out of fear of homophobic laws: One goes to bed with Politics, not one’s partner(s), because there are few viable alternatives.

Superbly-acted - albeit with characters a little too individualistic to be believable in the highly-conformist culture depicted - but without any profound understanding of how such systems work, in detail, and of how common they are in both the East and the West. The movie entertains and deftly avoids numerous Hollywood romantic clichés, but lacks the courage of its convictions to point out how similar Western fascism is to that of the East.

Posted by Frank TALKER™ at 10:35 0 comments
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Saturday, 10 October 2015

Little Chaos


The best Caucasian cinema can produce

Summary: Whites, struggling against the psychological limitations of their culture, waste money building a pointless palace.
Work-related image.
(www.indiewire.com)

Although well-acted by all concerned, and being more than a little amusing, this suffers from the usual problems of Caucasian cinema. Namely, no explanation as to why Whites would create the culture depicted, wherein no-one is allowed to be happy nor to seek happiness - in the company of those they choose for themselves.

Whites rely, instead, on the approval and acceptance of others to achieve any kind of valorization - no matter how shallow; perfectly-complemented by the shallowness of the characterization made available to the performers by the screenplay.

Work-related image.
(www.standard.co.uk)

This is the masochism of a White supremacy in which the price of being a guilt-ridden beneficiary of such racism is an obsession with material well-being and its concomitant: Emotional suicide.

Ultimately, this movie is a celebration of materialism and the showy emptiness of Western architecture with its focus on politically-domineering looks rather than ethical & value-laden purpose.

Copyright © 2015 Frank TALKER.
Permission hereby granted to reproduce & distribute this posting in any form - provided you cite this Blog.
All other rights reserved.
Posted by Frank TALKER™ at 16:13 0 comments
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Friday, 9 October 2015

AVENGERS:
Age of Ultron
(2015)


Hysterically-violent & tedious, but driven by high-quality SFX

Summary: Retarded Caucasian values wrapped-up in applique humor & the pretense at characterization cannot hide the fact that this is just nonsense.

The usual White supremacist claptrap about the ability of Whites to destroy all the enemies they have created with the superior technology they specifically-created to dominate others.

White narcissism leads them to pretend that destroying one’s enemies can be done without getting any wrinkles in ones costume; while remaining very cool under pressure - as if the White world is being saved by attractive zombies who are always acting the part but, somehow, never become the part. (Would they be any good in bed? I somehow doubt it!) The emotional affectlessness is exacerbated by enemies who are un-self-disciplined and clearly intellectually and physically inferior. This removes any dramatic suspense or tension, since these enemies are so easy to defeat. (And why, oh why, do the villains in these movies never bathe adequately?)

The movie also contains the usual White fiction that the enemies of Whites (& Jews) are always external and that Whites had nothing to do with creating them, in the first place. Whites have no sense of a past or a future; of consequences from actions; of a reason to save a culture that simply denies its own humanity. All to avoid any analysis of the White penchant for political violence. Revenge is a dish best served without thought for the reasons or the consequences - just like in the Sicilian Mafia.

The amusing attempts at self-parody only emphasize the sense of a White superiority complex vainly masking a complicated sense of inferiority. With straight faces, the actors declaim sub-Shakespearean dialog as if it actually were Shakespearean: What is needed now is a new directing talent who can take such films forward with originality and style, much like Spielberg did and which many others copied. This would allow for the creation of new clichés to replace the ones with which this film is replete.

Very little of this movie lingers in the mind afterwards - it disappears without a trace almost as soon as it is consumed. Most actors here are coaxed by large fees into performing roles that are really beneath their talents; leaving the audience with no-one to really care for: Two hours of boredom makes for a sorry basis for any movie.

Posted by Frank TALKER™ at 10:46 0 comments
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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.



Albert Camus… (1913-60), French-Algerian writer & philosopher. The Rebel: An Essay on Man in Revolt: New York: Vintage Books, (1984; page 182.)