When a tale is being re-told, the new version has a choice: either uphold the lessons of the former and re-define the challenges in the new day, or subvert the old tale, change it, and turn it to your own cause; the later is known in politics and art as "propaganda," and this is the choice of Disney's new film, Maleficent, which follows with Disney's Frozen and The Lone Ranger. We have been seeing the very characteristics of socialism and socialist regimes being attributed to capitalism--which has its own problems, no doubt, but not the problems of socialism--and the very name Maleficent verifies this for us.Saint King Stephen of Hungary, who took the name of the first Christian martyr as his Christian name after baptism. What the socialists have done--and this is exactly what we saw in Noah, also--is taken the profane and made it holy, and turned the holy into the profane. Noah and Maleficent (and I am sure there have been others previously, but this is far more of an assault now with this bigger budget, expanded audience films) intentionally pervert--that is, turn upside-down--the political order and the religious order; why?
|"Diaval" is a mis-spelling of "diavel," which is the word meaning "devil." Since we first see the character as a black bird--raven or crow, I don't know which--that makes sense tying him to the devil because it's a bird of death (and that, after all, the film makers do know what "Maleficent" means, in tying her to the devil, however, they believe the audience too dumb to know or care; Diaval's change into a dragon towards the end of the film is the ultimate validation of this because the dragon, as the ancient, unnatural serpent, is the devil's worst expression in art). Aurora plays with the bird and calls him "Pretty bird," because she doesn't know any better that the devil hates her and wants her ruin and destruction. So, you may ask, if that is the case, why bring her food and watch over her? Well, we have seen this same scene, essentially, twice before, in the pro-capitalist films Man Of Steel (Superman's original home planet where they were harvesting people) and in Tom Cruise's Oblivion where the Tet was growing Victorias and Jacks to harvest the earth ("harvesting the earth" is what we will be seeing Eddie Redmayne's character doing in next year's Jupiter Ascending; so, again, we have a reversal of attributes, the sins of socialism--destroying the environment because, when the government owns all industry, there is no one there to enforce the government follow its own laws, and government employees get rewarded when they cut costs, just as we have seen in the last week with Obama's Veteran Administration scandal; for specific in-depth study on how socialism destroys the environment, please see Ecocide In the USSR). Maleficent, hating the child, doesn't want the child to live, however, when the child does live (the child is a drain on resources and is one more mouth to feed), the socialist state recognizes that it requires more people to work and support it, even as it discourages pregnancy and couples having children. The flower Diaval brings for Aurora to suckle is, literally, an environmental "nipple" for the child to be weaned upon, just as we saw "Nipple Confusion" in the anti-capitalist film Young Adult with Charlize Theron (please see Nipple Confusion: Young Adult & the Debate Of Art in Capitalism for more). So, Aurora is being "fed" on the environment by those who hate her (Maleficent). As for Diaval, while he probably isn't gay, he is a weak male who is completely at the will of Maleficent, who changes him according to what she wants, and this is imperative because it offers a further illustration of the "unnatural-ness" in the film and the socialist agenda overall: just as socialists believe people can change genders or sexual preferences as they want, so they believe you should be able to change any form that you want, because there is nothing special or sacred about the being you inhabit, you are just an animal, like Diaval's countless changes between man and animal.|
philosophy of Deconstruction to reveal power structures embedded in the American political system (and around the world). The Marxists wanted to demonstrate that the way Western Civilization thinks--in terms of these hierarchical dichotomies, with one being good, and its opposite being bad--is determined to "lock out" those who are the white man's "other," the woman, the black man, those who don't hold property, those who don't think like white men in anyway, and this was used as a rallying cry to unite all "minorities" (those who weren't white men) to overthrow--not only the white man--but his whole system of thinking that kept him in power. This is why socialists should not employ dichotomies: they are utilizing the very thought and value system they claim keeps them out of power and they promise to overthrow. Non-white men would replace dichotomies with narratives and means of discourse that oppositions and dichotomies would not be capable of understanding, like those we are seeing in Maleficent,...
Need more proof?
Iron, even though it occurs naturally in the earth, was the element man (not woman, but man) learned to use to begin the Iron Age which set in motion what Western Civilization has become today; again, we saw this very same thing in Noah with "the sons of Cain" learning to smelt metals and build, and they were the cursed race; Maleficent clearly echoes this condemnation and uses it as a rallying cry to destroy the world that, as they see it, was created by their oppressors, white men. Is this simplistic? Of course it is, but that's because that's how socialists think: "Get an enemy and unite against them and destroy them at whatever the cost!" and this is how they always do it.
Medusa. Medusa, like Maleficent, is a character created to warn women not to become for their own well-being and happiness (please see The Medusa Within: Clash Of the Titans (1981) for more on the historical significance of the Medusa in art and literature). I don't expect Kenneth Branaugh's upcoming Cinderella to be revisionist (I could be wrong) however, I confident that the first "teaser trailer" focusing on the glass slipper, a material object of great value and supernatural origin (the fairy god mother) would be the front and center introduction if he were going to present us with socialist philosophy that denies personal property and the existence of anything not tangible. As always, each film we see aides us in being able to understand the expanding vocabulary and the dialogue taking place so that we, too, can, take place instead of passively being indoctrinated.
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