Sunday 25 June 2017

Road to Kalamata
A Congo Mercenary’s Personal Memoir
(1989)


:
Unknown
:
Original research
needed to precede following dl
:
First
:
1989
:
Image of the national flag of the United Kingdom
:
134 pages
Review Format:
Book
:
Image of the national flag of the United Kingdom
Predominant Genre:
Non‑Fiction
Authors:
Authors

Mike Hoare
Image of Author Mike Hoare
:
Irrelevant
Premiss:
At the close of 1960, the newly‑formed independent African state of Katanga recruited mercenaries to suppress an indigenous rebellion of fierce warriors rumoured to be cannibals and known to torture and dismember enemy soldiers.
Themes:
Aggression | Alienation | Civilization | Cowardice | Curative | Destiny | Emotional repression | Ethnicity | Freedom | Identity | Nationality | Personal | Political | Political Correctness | Sadomasochism | Schizophrenia | Solipsism | The West | Western culture | White culture | White people | White privilege | White supremacy
:
Fiction:
Image of a similar work
Non‑Fiction:
Image of a similar work
:
Image of a similar work
Awards:
Unknown

The last days of Caucasian empire: Götterdämmerung

Summary: Caucasians pretending to love those they openly‑despise.

Aside from the usual White supremacist hypocrisy of the author – so typical of White people who claim to love an Africa whose people they are only too willing to exploit, murder & rape – this is compelling‑because‑based‑upon‑experience account of a failed revolutionary war in early 1960s Africa.

We get a real sense of life lived on active service and in action as a group of European mercenaries come to the aid of Moïse Tshombe in the break‑away African State of Katanga. The psychological realism is superbly‑detailed as only a first‑hand account could ever be.

What this book lacks, given that it is written by a White person with an amoral euro‑centric point‑of‑view, is any real sense of the damage inflicted upon Africa by Whites along with the absurd undercurrent that Whites benefited Africa in some inexplicable and mysterious way.

This book would make a good, charcter‑based tv series only if its central political fallacies were openly‑critiqued and a more objective historical perspective applied.

Sunday 18 June 2017

Pacifc Rim
(2013)


:
Unknown
:
Original screenplay
needed to precede following dl
:
Image of the flag of Hong Kong Image of the national flag of the United Kingdom Image of the national flag of Japan Image of the national flag of the People’s Republic of China
:
131 minutes (Uncut)
Review Format:
DVD
:
2013
:
United States
Predominant Genre:
Action
Directors:
Director

Guillermo del Toro
Guillermo del Toro
:
Outstanding Performances

Mana ASHIDA
Mana ASHIDA
Premiss:
Aliens threaten Earth with dinosaurs that humans decide can only be beaten by giant robots.
Themes:
Advertising | Alienation | Capitalism | Corporate Power | Emotional repression | Globalisation | Grieving | Love | Loyalty | Materialism | Narcissism | Nostalgia | Parasitism | Passivity | Personal | Personal change | Political | Political Correctness | Propaganda | Redemption | Republicanism | Role modeling | Sadomasochism | Schizophrenia | Solipsism | The State | Stereotyping | Terrorism | Totalitarianism | The West | Western culture | White culture | White people
:
Transformers film series King Kong versus Godzilla (1962) Green Berets (1968)
Spin-offs:
Unknown
Summary: Unintelligent movie made by intelligent people – minus the fun of the Japanese originals.

The usual Caucasian War on Terror metaphor; suggesting the enemy (the Kaiju here) are simply monsters – without any motive that would make them at least seem rational.

Pretending the enemy’s behavior makes little sense is an evasion of the fact that to understand them would automatically offer painful insight into:

  1. Oneself;
  2. one’s weaknesses; &,
  3. one’s unethical desires.

Indeed, despite attempts at human/Kaiju mind-melding, no attempt is ever seriously made to understand the Kaiju; making them harder to defeat.

The Green Berets-style attempt to justify unwinnable wars by claiming the young are the most threatened by malevolent forces bent on wanton demolition makes no survival sense. For any creature to completely destroy what they feed-off would be suicide (like leaving a job before having another to go to), yet this logical absurdity is completely side-stepped by the screenwriters who, themselves, feed‑off irrational notions to spend and make large sums of money.

Instead, the audience’s attention is focused on the unsubstantiated White belief that humanity would come together to fight a common, external enemy. Something humanity has never done, historically – and are not doing in the current War on Terror. (If Whites win, they will return to fighting the very people who helped them, since the White ego leads White people to believe they are either a conquering army or a resistance force – never able to share anything with anyone else.)

In this movie, we only see the dependency of mutual need exemplified by a technology which appears to make two weak people into one person, rather than two strong individuals working synergistically together. Thus, no gestalt or symbiosis is ever truly established regarding the blind White faith-in-technology which they believe will somehow save them, when the real source of many White problems is the very White ideology that worships such technology, in the first place.

Yet, this movie’s love of industrial production (analogous to the mass-production involved in the film’s making) ultimately leads to the masochistic worship of destruction that is on show here, since what is produced is not spiritually-satisfying and, thus, not felt to be worth preserving. As money-without-wealth (credit) produces boom-and-bust economic cycles; construction-without-meaning helps produce recurring wars (within & without) Western cultures against that very meaninglessness. White people clearly sense their culture is inherently-fragile since it is based on a de facto need for conflict which, inevitably, dooms it from within.

These battling robots and roaring dinosaurs are little more than movie-merchandising opportunities, since this movie’s overly-complex, Heath Robinsonesque way of waging war makes no operational, tactical nor strategic sense. However, they are a good means of dramatizing the combat into individualized fisticuffs – rather than the emotionally-uninvolving spectacle of well-trained warriors clashing en masse.

Yet, despite these attempts at humanizing the drama, humans here are still shown as desperately wanting to survive without a fulfilling reason to do so (apart from rather bland sexual & paternal love stories). A motivating purpose to being alive is evaded in favor of implying that all that people want is simply not to die; inevitably leading to the solacing schadenfreude of hoping others (the Kaiju) are suffering greater existential angst than oneself, to make one’s own existence appear more satisfying – in comparison – than it actually is.

The humor – and the many references to the erstwhile glories of the best Japanese monster movies – serve only to distract attention from the essential emptiness of this exercise in blockbuster Hollywood movie-making (while inadvertently pointing-it-up), in which CGI monumentalism, computer-generated dialog & willful over-acting substitute for a convincing plot, worthwhile characters & an engrossing story.

Sunday 11 June 2017

On the Beach
(1959)


Caucasian Angst

Summary: Caucasians fretting over their lack of a substantive culture.

Interesting example of White guilt and the White tendency to wring their hands over the extreme downside of their totalitarian culture: Armageddon.

Here, White people appear to have started a total world war – for undisclosed reasons – that could only end in world destruction. The only survivors shown are a handful of US Navy seamen and White Australians, who battle with their personal demons and the impending end of the world’s various civilizations with combinations of self‑pity, mock remorse, phony sexual‑intimacy and a would‑be profound sense‑of‑loss. Yet, what is lost is never dramatically‑explored. No‑one here wonders about the White culture that is rapidly‑dying, nor any of its positive achievements, nor about the fortunes of any other culture.

No Aboriginal Australians are shown here to provide a cultural contrast to the fake sans souci of the Whites depicted – and, tellingly, the former are not shown being given lethal pills to end their lives before the incurable ravages of radiation sickness destroy them after the fatal cloud of atomic fallout reaches Australasia. This is the usual narcissism of a White culture where the only events that matter are those that happen to Caucasians.

Despite the usual Hollywood love‑story melodrama, the core of a haunting and, ultimately, terrifying story still remains. In particular, Whites clinging to the last vestiges of hope that White culture can somehow continue – for example, the wishful‑thinking that heavy rains can wash‑away the fallout from the air – despite the overwhelming evidence to the contrary. The scenes of an utterly‑dead San Francisco (with no signs of bomb‑damage) is more chilling than any scenes of devastation could conjure‑up because the focus is squarely on the lack of people, not the usual innate Hollywood materialism of a focus upon property damage. The characterization aids this in being solid, but not profound, as ordinary people try to go about their everyday business with doomsday just around the corner, abetted by competent performers from a host of American movie stars.

In this predicted future-world (1964 to the film’s production date of 1959), Whites conduct themselves with as much dignity and decorum as they can muster and the lack of scenes of mass panic only serves to emphasize the human waste and loss of potential of the next generation that will never be; while perversely‑implying that Whites are the most civilized in their self‑destructive ways that also destroy all other civilizations. Certainly, if any people are going to destroy all human life on Earth, it will be White people.

Contact Form:

Name

Email *

Message *

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.