Friday, May 30, 2014

Maleficent: Socialist & Horrible Quality

The only thing we see Angelina Jolie do is walk around; the only thing Elle Fanning does is smile and look dumb; the only thing King Stephan does is talk in that awful voice of his and the only thing the narrator does, the older Aurora, is belittle the audience and lie to us.
In addition to announcing its pro-socialist agenda within the first ten seconds of the film (so that you want to leave by the end of the first five) you have to suffer through childish utopian construct of how the world is, one cliche after another, because it's entirely constructed upon emotions and trying to force the audience to identify with Maleficent (i.e., "evil"). Not only that, it has heavy lesbianism overtones between Maleficent and Aurora, with Prince Philip being nothing more than a prop. The theater was practically empty, so I had a great seat, but the IMAX 3D was not worth it at all: instead of special effects, it was mostly just blurring and Elle Fanning not looking very attractive (too much smiling). The guy playing King Stephen has the worst voice in the world, which was intentional, but this movie is, top to bottom, awful. Miss Jolie is a very talented actress, but she can only do so much, besides ramming all these liberal agendas down our throats.

Thursday, May 29, 2014

Erasure & Time: Godzilla (2014) & MUTO Identities

I don't think anyone could have been as surprised with the blockbuster opening of Godzilla as I was: I am a huge fan of the film, and I was hoping it might manage to pull in around $50 million, maybe, but $90+ is truly something to take note of; so, the question is, why? Why did a monster film, notable in cinematic history as a "low-point" of quality and realistic special effects, drive Americans to the theater this weekend?
The story.
There are numerous similarities to Pacific Rim, which was, in my estimation a really great film. So, why did Godzilla do so much better at the box office than Pacific Rim? It might have been nature. In Pacific Rim, humans pilot monster machines, whereas in Godzilla, the monsters are made by nature. It could be something that simple marking the difference between a mega-blockbuster and a bomb, however, if you didn't catch Pacific Rim, I can recommend it.
It's not just the story, but the key players in the story. Before, however, we get involved with the narrative, let's consider the opening credits, because that's actually one of my favorite parts of the film. At the very start of the film, we see are various reels and moments from history of the detonation of the hydrogen bomb at Bikini Atoll, Marshall Islands (this incident resulted in the largest nuclear fallout ever). As we see the scenes passing upon the screen, we see the credits of the film makers who labored to make the film, and wide strips of white covering out parts of the words that have been written on the screen.
Why?
The very first example of what French philosophers call Sous rature, or erasure, in English. Godzilla marks at least the fourth time we have seen serious implementation of erasure as a means of communicating with the audience (The Cold Light Of Day, Zero Dark Thirty, and Skyfall, which is perhaps the most important of the three in relationship to Godzilla, please see below under Skyfall poster; also, in The Cold Light Of Day, Bruce Willis' character is referred to as "Godzilla" by his son, portrayed by Henry Cavill). What's the point of this? Philosophically, it's the gesture of attempting to communicate what inherently, by its very nature, cannot be communicated and yet, an attempt must be made. We don't have to limit this to lofty philosophical topics like "being" or "truth" or "consciousness," there is a political signification for this as well: censorship. You want to be critical of something, but it's not allowed--for one reason or another--and so you do what we always talk about at this little corner of cyberspace, you "encode." Something, in other words, becomes a symbol for something else, so one can say what is "forbidden" to say, but there is an intended audience for whom it is understood when they receive it. 
Seriously, why go to all the bother of writing all that stuff out on the screen--not to mention the expense--if it's only going to be whited-out? What's up with these credits? They are telling us how to watch the film. There is something lurking "underneath" even if we don't think there is, the film makers are telling us, because they want us to be informed viewers who know how to scratch away the surface and find what it is they have "planted" underneath.
An enormous, radioactive skeleton which contains two, un-hatched pods. This takes place in 1999. What was happening in 1999? The most "earth shattering" thing to occur was that then-President Bill Clinton was acquitted of impeachment proceedings for perjury before a grand jury and obstruction of justice relating to his affair with intern Monica Lewinsky. Yes, he was acquitted. Why does this matter? We could call the skeleton in the image above Clinton's "skeleton in the closet" that, in 1999, gave birth to the monsters who would hatch 15 years later, that is, in 2014 (we'll talk about the two MUTOs in a moment). The name of Serizawa's (Ken Watanabe) operation that is set up at the old nuclear site in Janjira is called Monarch. This is an element of what deconstructionists would call "instability," or "undecidiability," because "monarch" could refer to the monarch butterfly (the MUTO that hatches at the site has wings, after all), or it could refer to a the type of monarch that a king or queen is. How does this all tie in?  We could say that, 15 years ago, the skeleton of Bill Clinton's impeachment trial and acquittal, made him a "monarch" and therefore, not accountable to the American people and setting a precedent that Barack Obama has taken advantage of time and again in lying to America (from Fast and Furious to Obamacare to Benghazi), and the break-down of the office of "presidency" in favor of a "monarch," which is where the country is headed, has given birth to two dangerous MUTOs that are trying to destroy the world (again, we will discuss the MUTOs below, I promise). There is an important visual parallel to the opening credits and the Obama Administration, as well: the whited-out credits are what documents from the White House and the Department of Justice frequently look like when they finally make it to Senate investigative committees, i.e., they are all blacked out.  The writing disappeared so quickly on the screen underneath the "white out," that I had a hard time reading any of it, but I am certain that I saw "The Illuminati" on one line of type that was written over.
Consider, if you will, parts of the film "echoing" this technique (as in the "echolocation" Joe studies): the enormous skeleton buried in the Philippines quarry lies beneath the mining operation; the monster that brings down the Janjira nuclear plant went beneath the plant; we see Godzilla swim "beneath" the aircraft carriers; Godzilla raises himself up from beneath the skyscraper that has fallen on top of him and the army (with Ford) has to carry the warhead out from "under" the trash debris where the female MUTO has laid her eggs. The argument can clearly be made that just as many things take place "on top of" or "above" as other things, and that's a valid point, but it doesn't negate these points especially as these important moments in the film lead us to the all important question: who or what are the MUTOs?
At the end of the opening credit scene, for just a few seconds, GODZILLA is written just as SKYFALL is written in this poster; why? For at least two reasons: first, SKYFALL itself is under a form of erasure (it's disappearing, or it hasn't fully appeared, we can't be quite sure, but not all of the text is there, not all of it, at least, as we are generally used to); so the type of erasure taking place in Skyfall is the type of erasure Godzilla film makers want us to associate with Godzilla; what is that erasure, exactly? Well, we see Bond "die" at the start of the film, and then become resurrected, as he himself says later in the film; We also think we see Godzilla die at least twice in the film, from which he, too, is "resurrected." Secondly, in such a blatant form of mimicry of a hugely successful film that everyone saw, this is a form of quoting the Bond film, that there is something about Skyfall which we should apply to Godzilla; what, exactly? By the end of Godzilla, Godzilla is the "last rat standing" just as Bond is the "last rat standing" at the end of Skyfall, a reference to the anti-capitalist story Silva (Javier Bardem) tells Bond (and, a structural narrative that, ultimately, The Hunger Games is based upon also [I consider THG to be anti-capitalist]). 
What males in society are "small" and have wings? Homosexual men with their effeminate qualities, like fairies. What females are as huge as monsters? Feminists. The two small segments of the population, homosexuals and Feminists, go together in nearly all circumstances, especially as it relates to nukes and their anti-war stance, which is why they "feed" on radiation: nuclear warfare is the result of heterosexual, white men who want to destroy the world, and they are horrible, terrible and wretched, and that's why we have to have Marxism now (so they say)!
Why does Sandra Brody (Juliette Binoche) die? Because, in 1999, when Bill Clinton, then-president, was changing the country to prepare for Obama, women like Brody died. Not only does she symbolize America-as-the-motherland, contaminated by the pollutant radiation released into the world with the oozing of homosexuality and Feminism into American politics, but also the very eroding of the American moral code and system of honor when he muttered, "It depends upon what your definition of "'is' is." Clinton was toxic, in other words, and the "melt-down of the core" of American morality and just the basic sense of right, wrong and personal responsibility, symbolized by the collapsing of the power plant and the melt-down of the core, reflects who benefited from that happening to this country: the homosexuals (symbolized by the "fairy" male MUTO who was feeding off the Janjira power plant).  Please recall, there was also a problem with the core of the USS Enterprise in Star Trek into Darkness, and Captain Kirk had to sacrifice himself to "restore the balance." (In the TV series Salem, it's the women, Mary Sibley, Tituba and Mercy, who have control and they are ruining the town between them and their power struggle).  
Straight white men have everything to gain from a "nuclear world," whereas the dis-possessed homosexuals and Feminists do not, so by "feeding" on the topic of radiation and the horrible things white males have done in bringing civilization into the atomic age, they have--what they believe to be--an unshakable political platform: get rid of nukes, get rid of white men (we saw something similar to this in GI Joe Retaliation,when COBRA tried tricking the whole world into getting rid of their nukes). Please remember, the female MUTO is kept where "We keep all the nuclear waste," because that is the part of having nuke weapons that Feminists focus on: the nuclear waste and what it does to the environment.
This is one of several important scenes that help us to establish who the MUTOs are; how? What we have here are families that has been ripped apart: Joe's family has been ripped apart; Ford's family has been ripped apart; the little Asian boy's family has been ripped apart, and we can even include the Japanese family picking up their,.... "child," (I couldn't tell if it was male or female) at the jail in Japan when Ford had arrived to pick up Joe (more on this below). Let's not forget, in the opposite direction, Ford tears apart the family/eggs of the female MUTO that he sees in her radioactive sack and has prepared the radioactive bomb/missile for their first meal (attacking civilization for having nukes and anything causing radiation is the first "food" young radicals learn to digest in dismantling Western Civilization). On an entirely different note, why is Joe Brody named "Joe" and "Brody?" He is named "Joe" after Saint Joseph, who was the protector of the Holy Family, and even 15 years later, Joe Brody is still trying to protect his family from a lie and a cover-up. He's named Brody because Roy Scheider's character in Jaws was named Brody because Jaws and Godzilla are linked in their themes of World War II; for more, please see Jaws & the Cleansing Of America. On still a different note, why does the power plant fail on Joe's birthday, and then we are reminded of Joe's birthday again when he and Ford return and see his birthday banner hanging up? It's a sign that he's a prophet: there is a tradition that prophets always die on their birthdays, so linking up those two days over a fifteen year span tries to communicate to us that, far from being crazy, Joe is being prophetic about the cover-up that has been fed to the public for all this time. To illustrate for us just how "crazy" everyone sees Joe, when Ford waits for his father to come out in the Japanese jail, that strange kid comes out before Joe, the kid we can't tell if it's male or female. First, this depicts for us the "class" of criminal Joe is considered to be by authorities, and, secondly, it provides us a photographic moment of what a human MUTO is: Massive Unidentified Terrestrial Object, although the teenager of ambiguous sexuality isn't, granted, "Massive." But the teenager cannot be identified, which ties the child into being a UTO. On still a different note, why does Joe die? I have said in the past, that a character never dies unless they are all ready dead: first, Joe survives the nuclear collapse, then he survives another 15 years and he manages to uncover--thereby--vindicate himself and his "conspiracy theory." Once this has been accomplished, Joe is finished, his task is complete, and he must die so that Ford--and the generation of Americans Ford symbolizes--can take up the battle for themselves and believe for themselves what Joe knew and proved.
Now, perhaps the most important line of the film is when Joe Brody (Bryan Cranston) yells that "It's going to send us back to the Stone Age!" A rather important animated film was made about this very thing, The Croods, which takes place in the Stone Age. What I think is going to happen, if I may take a moment to digress, is with The Transformers IV: Age Of Extinction, the appearance of the dino-bots (T-Rex) joining Optimus Prime and other Transformers to save humanity, I think the "Stone Age" will be an argument enlisted to fight against liberals (the dino-bots representing the Stone Age, when their biological counter-parts lived, or before that), but the problem is, Liberals/Progressives want us to go back to the Stone Age, like The Lone Ranger and Noah, both Liberal films, because in those times, white males didn't have power or property, everyone was forced to be as stupid as the Liberals, and that's what the Liberals want. Let's take another supporting feature of this argument: Elvis in Las Vegas.
This is an important scene on several levels. First, we actually have a normal, traditional family. The family has been put back together again, now that the MUTOs have been destroyed; yes, I know exactly what I just said: when homosexuality and Feminism are destroyed, the family will thrive again. Ford--as in Ford Motor Company that didn't take any bailout money from the government, but used the market to its favor--is in a traditional, masculine role both as protector and patriot of his country and family, but also his sexuality: the other men in his unit are their to support each other in the missions they have to carry out, not sleep with each other. Elle (Elizabeth Olsen) is in the traditional roles of a nurse (not so much a career, like Sandra's career of being in the nuclear industry, but the nursing as a symbol of her role as a nurturing woman and a return of the American motherland), mother and wife. They have a child. They didn't abort their baby, they have a child, and they are married. The re-unification of the family is the happy ending the film seeks to deliver to us, but it's either our families, or the MUTOs' non-traditional families. 
The three monsters meet up in Las Vegas and have an epic battle; why? Well, a background song plays to give us a clue as to what we should be thinking of during this scene: "You look like an angel, talk like an angel, but I got wise: you're the devil in disguise," from Elvis Presley. Recently, on The Bible mini-series, which was the most watched TV show in history, the character playing Satan caused a stir because of his close resemblance to Barack Obama; additionally, it makes sense that we would be thinking of Obama and Las Vegas, because between 2008 and 2012 alone (not including the last two years), Obama has made 10 trips to Vegas, including the day after the 9/11 Benghazi attacks because he wanted to do a fund raiser. What does all this mean?
...Enough said,...
Given that Obama is quite familiar with Las Vegas, and he has recently been compared to the devil, we can say that the unleashing of the MUTOs onto a famous, busy and prosperous American city to destroy it and cause utter havoc, reveals the "devil in disguise" and his co-workers. It's not enough to know who the MUTOs are, and who they serve, we also have to know who Godzilla is and what he symbolizes, which, ultimately, is the reason why Americans flocked to see this film.
The introduction of the army captain Stenz is another form of "erasure," borrowed, we could say, from The Cold Light of Day and Will's introduction (Henry Cavill). Like Will, Stenz is seen only from the back side: even though he's walking around and interacting with people, it's a long moment before we meet him face-to-face; this is obviously a technique, so why was it employed for this character and not for any of the others? It is, we can say, a form of erasure, because only a portion of the character's communication is reaching us, like the text in the SKYFALL poster above: we don't see Stenz's facial expressions or gestures, we don't get the total volume of his voice (because he's talking to someone in our opposite direction) so this may very well be indicative of the "fading" of the American military due to the current administrations' targeted efforts at destroying the country.
Even though I disagree with the finer points of the assumption on a large scale of audience reading into Godzilla's identity, without a doubt, Godzilla stands for America as a super-power, not only in the minds of Americans, but in the world as well. Why and how did America become a super-power? Winning World War II and definitively defeating the socialists (in Germany and Italy) and the imperialists (in Japan). So, how is America-as-super-power an effective symbol against Feminists and homosexuals (or, collectively, Marxists/socialists/communists/liberals/the media/the Clintons)?
I'm glad you asked.
Who is this Japanese kid that Ford ends up taking care of for nearly half the film? A reminder, just like the watch of Serizawa, of what happened. Even though Japan destroyed Pearl Harbor, even though America dropped the bomb on Japan two times, we stayed with them and helped them rebuild their country and economy to become one of the strongest countries on earth; so, the boy symbolizes Japan's future that was safeguarded by the United States, as well as the bond between the US and Japan (and, of course, we saw this explicitly demonstrated in that awesome film, Battleship). On the other hand, when the little boy is re-united with his parents, and Ford didn't really do anything but take care of the kid, that serves hope to the audience that miracles still happen and Ford will be re-united with his family as well (which serves as hope that all families will be re-united). 
America-as-a-super-power is an effective argument against all the "America haters" because no other country has done so much good for their own citizens and citizens of the world; yes, Godzilla certainly causes destruction, and that is regrettable, just as America has sadly had her bad moments as well; yet what other country in history has donated so much (in terms of money, aide and soldiers) to safeguard the ideals of democracy and equality in the world? America, even seen as a monster, even seen as an incomparable monster like Godzilla, maintains balance in the world against the purely destructive and self-interested enemies of humanity (Marxists of all branches, Feminists, homosexuals, etc.). This leads us to the last point in this discussion.
We can easily say that all the virtues we see in Ford, are also true of America, and this would be echoing what we saw in Emperor with Tommy Lee Jones and Matthew Fox. The same qualities that Japan thought would cause the US to lose the war, were the qualities that helped us to win, such as our dedication to each other, our sense of dignity for ourselves and others, and our love of country. These are the qualities that make Ford a strong soldier, son, husband, father and America, and even as we see Godzilla in his larger-than-life form, we can say that we see "another" Godzilla in the smaller, more intimate forms of Ford and his commitment to being the very best that he can be, every moment of his life. This is the reason why, at the end, the female MUTO (a symbol of Feminism) comes after him because Ford is on the boat with the bomb and maybe she even knows that it was Ford who destroyed her unholy nest; this would be, clearly, the battle we are seeing in America today: the media calls it "The War On Women," but I call it, "The War On White Males," and 
Why does Godzilla breathe fire down the throat of the female MUTO? It is an interesting way to die, you have to admit. Fire purges and cleanses. When something is strong and durable, it can stand "the test of fire" and becomes purer in its essence, like gold, for example (we see this throughout the film with Ford standing up to the tests that he endures in every scene and becoming stronger for it). The blasts we see in the beginning of the film, when it is revealed that they were trying to kill Godzilla? Godzilla survived the blasts, but the female MUTO can't survive Godzilla's "pointed" fire (another interpretation of this is that socialists and Feminists can't win an argument that undermines their position and the "lose their head" when someone argues facts, history and logic against them, like Godzilla breathing the fire down her throat, here the fire coming from the throat could symbolize language, since we know Godzilla and the MUTOs were communicating earlier).
Fans of the sci-fy films of the 1950s will recognize this scene, when the military and science hold a frank discussion about the impossible enemy they face and what feeble hope there is for humanity. Why have a scene like this? Continuity. The film makers want to invoke those earlier films to show that nothing has changed between now and then, rather, our situation is more dire now than it was then because of the nature of the threats we face.
At a time when America's role is intentionally being eroded away on the world stage and history pages, the might and power of Godzilla "restoring the balance" and fighting for Americans who stand and fight with other oppressed people of the world, certainly delivered a much-needed catharsis for Americans. Whether it's a Tony Stark (Iron Man), Godzilla or Ford Brody, Americans have produced top quality human beings, who have sought to bring their dreams to the world, and help make the world a better place, whereas the MUTOs only desire to commit mass genocide against all humanity and see their own agendas lived out to spite all those they hate. Godzilla is a ray of hope that balance can be restored.
Eat Your Art Out,
The Fine Art Diner
P.S.--One last point: Serizawa's watch, which stopped at the moment the bomb was dropped on Hiroshima, is the exact opposite of erasure, it records definitely and for all time a moment that has to be remembered, and the watch--itself symbolic of history/memory--cannot be erased, unlike the other instances of erasure discussed above, even though some will try to erase it for their own ends.

Tuesday, May 27, 2014

Frozen & Liberal Political Agendas

There is an important note to be made: Elsa (the blonde girl on the left side of the snowman) was supposed to be a villain, until the film makers heard the song Let It Go, deducing that a character who would sing a song that "self-affirming" could not possibly be a villain, so they adjusted the story line so she wasn't a villain in the strictest sense of the word. Now, there is a philosophical problem with adopting a value or set of beliefs just because someone who espouses them is "self-affirming" because this is an appeal to the emotions of an individual (how the film makers felt and how an animated character feels) versus the laws of society, nature and logic, i.e., this exemplifies the crumbling foundation upon which the entire liberal agenda is built. By continuously appealing to the emotions, at every single turn of the film, they are trying to make logic and the faculty of reason "obsolete"; why? Liberals can't argue. They have absolutely no facts to support anything they hold to be true, or anything to support why their beliefs are superior to anyone else's, so what they are trying to do is make people who can think and reason look bad and inferior with their constant elevation of emotions and feelings, because with emotions--which are very human and we need to exercise them, but we shouldn't be led by them--they don't ever have to be justified, they just exist, and all anyone has to do is appeal to the emotions, or tap into the emotions of their audience; nothing has to make sense or be moral or ethical, as long as it's "emotional."  
Cartoons and other animated works are, by definition, "abstract," they are images more or less realistic (depending upon the style of the animators) and we, the audience, engage our imagination with the images and sounds to enable the story to be told; more than in any other genre, even Fantasy and horror films, animated tales require a willing suspension of disbelief. When we begin to watch the story, we make an agreement with the film makers that we will suspend our doubts and knowledge of the world in exchange for the story they want to tell us and we will not hold them accountable to reality (this is the reason why so many are so hyper-critical of horror films: they want to see a horror film, but refuse to suspend their disbelief).  In the clip below, which is not in the film, but was released as the first trailer for Disney's Frozen, which won the Oscar for Best Animated Feature of 2014, we see ample demonstrations of both the need for us to willingly suspend our disbelief and,... something else.
A talking snowman doesn't bother me at all; a talking snowman who loses his nose doesn't bother me; a talking snowman who disembodies himself and drags himself across the ice doesn't bother me, and neither does a snowman who sneezes and his head shoots off; those are all aspects of the comical. What does bother me is the element of the "unnatural," that which goes against the principles of nature. This is where it gets tricky, and this is why liberals scored so high with their policies in this area: there is a difference between nature and reality, our willingness to suspend our disbelief, and the subversion of our beliefs, the "play of the comical" and the slow propagandizing of forcing us to accept that which goes against nature, namely, a snowman living in the tropics.
"Reality" would dictate that a snowman cannot walk, talk, see, taste, smell, feel nor think; the willing suspension of disbelief allows all these things to happen. The flower growing in the thick snow, however, is the unnatural (just wait, let me finish). Why, do you ask, is the flower "unnatural" and the animated snowman just unrealistic? In and of itself, the flower isn't an assault on my beliefs of what is "natural," but--in the long-line of unnaturalness the film presents throughout its narrative--the flower growing in the temperatures so cold that the trees are buried under frost and snow shows a determined assault on nature, just as, at the end of the film, there is another assault on nature in the snowman living in heat and not melting. What this is teaching is, first of all, that our emotions are more important than our rational faculties: I like Olaf, I have identified with him as a viewer and I don't want him to melt. So, the film provides the answer with him being able to artificially live in a warm climate and enjoy pleasures (like flowers and heat) that he--BY NATURE--would not be able to enjoy otherwise. There is the same situation with the trolls: trolls are bad, mean, they are the monsters of society but in Frozen, they are cute and adorable. The power of art is its power to hypnotize the viewer and entice them into entering the world that has been created, where all manner of things are possible. When we are suddenly being told that "Trolls are good," these are the same arguments that are basically being used by Satanists to introduce humanity's greatest enemy in an "humanist" light, but the erosion of these symbols which communicate evil and danger are, one, causing our ability to express evil and danger to disappear and, two, putting the Left in control of the vocabulary so they can change words and their meanings as they please, just as we see in George Orwell's 1984.
(This is very unprofessional of me, and I do apologize: the text above this point is all that I had completed on this film. One of The Fine Art Diner readers, Taylor, wrote me and asked me about Frozen, which has of this weekend, become the fifth highest grossing film of all time, which is regrettable. Not being able to get more done, I wrote out a response to Taylor, and the response is what follows: it is not nearly as long-winded as my usual posts, which many readers might enjoy, but it is a very quick look at a serious work of liberal ideology that deserves more time than I have to devote to it. Again, I do apologize this is not more complete, however, I do hope you will find some nugget worth your while! As always, thank you for reading! God bless!).
A Christian pastor charged that the film promotes bestiality and homosexuality. First, I disagree with the Reverend about the charges of "bestiality" in the film: he contends that the relationship between Kristoff and his moose Sven was a sexual one. I didn't find any basis for this charge in the film. However, I do absolutely agree with him about the end credit scene with the masculine abominable snow man character finds the tiara/crown in the snow and puts it on himself: the Reverend charged that this was promoting homosexuality, and I agree with his view (it does something else, but we'll discuss that below).
Another aspect the Christian pastor was concerned about is that Anna has a suitor, but Elsa doesn't, and the pastor saw that as a sign that she's a lesbian. I am a Catholic, so the idea of being single isn't scandalous to me the way it is to Protestants; Catholics have monasteries and convents, there are still hermits--my family would probably call me one--so Elsa's solitude is a perfect legitimate choice according to my religion: I will argue about Anna below, because there are problems with that, but as far as Elsa's isolation goes, I truly don't see anything wrong with that. I do understand how a male Protestant minister could be upset that Elsa hasn't chosen a man to share her life with, and the reason for this is that, as we have said and demonstrated numerous times, white men are under venomous attack in America today because they are the dominant power holders in the country so, in order to take over the country, white males have to be disposed of and vilified.
We have two clear-cut examples from other animated films promoting homosexuality: Paranorman (at the end, we find out the big blond-headed brother is gay) and the upcoming How To Train Your Dragon 2, one of the characters is going to confess to being gay; there is also the cross-dressing female pirate in Pirates! Band Of Misfits!. I don't know how many of the Ice Age films you have seen, however, they promote the idea of the "non-traditional herd" which is being held up as a metaphor of a non-traditional family, and the proof of this lies in the cross-breeding of different species of animals, analogous to the same-sex breeding in homosexuality. So, the charges of homosexuality in animated films isn't something being imagined, we are seeing this more and more, not in isolated contexts, but in greater doses, aimed at ever-younger audiences (not to mention that Common Core education wants children to embrace homosexuality).
To me, this is perhaps the most important moment of the film (a number of films have employed important works of art to advance their narrative, such as Skyfall, which had two, Oblivion and X-Men Days Of Future Past). Please click on the image to enlarge it, even save it to your computer so you can really examine it. On the left is the "source painting" from which Frozen did their mock-up: The Swing, by Jean-Honore Fragonard, of 1767. Although it was completed years before the French Revolution, this, I would like to argue (and will if I ever get caught up on the posts for this poor blog), is the first paining forewarning that a horrible revolution was coming, which is also why it has been included in Frozen. I can't go into much detail here--I could go on about this painting for days--but here are just a couple of important notes. First, the woman in the swing symbolizes France, the "motherland." Secondly, the swing symbolizes time itself, like the pendulum on a clock keeping track of time. Thirdly, "underwear," in any form that we know it today, had not been invented by this time; in other words, under the volumes of her dress, she's wearing absolutely nothing. The saying, "I see Paris, I see France, I see someone's underpants," isn't accidental: it's a celebration that the French finally started wearing underpants (part of the reason for not wearing them is that there were no toilets: people, even in the palace of Versailles, would literally urinate or defecate wherever they were, right on the floor, in front of the king or queen, and just leave it, because there were no bathrooms, so the halls of Versailles were basically a public sewer,... anyway,...). The young man in front is an aristocrat--we can tell by his manner of dress--but he's something else, as well: a rake. If you look closely in the foreground, there are a couple of rakes in the bottom, center of the painting, right beside him; although the garden is overgrown, and even though the tools for cleaning and pruning are there, he prefers to enjoy himself. About the garden, please note how overgrown it is even though most of it is in the shade (which is the purpose of the sunlight upper-left portion, to make us take note of the darkness), so, gardens are usually symbols for the soul, and this garden is overgrown with the "dark sins" of vice, specifically, promiscuity. How do we know that? From looking at the young man looking up the dress of the young woman, who wears the hat of the shepherdess, a sign of her innocence and country-ways; the shoe, as we know, is a symbol for the will, so her careless loss of the shoe in mid-air suggests she no longer has the will to protect her innocence she so easily displays to the young man in the foreground. It's the older man in the background, however, who is important. The woman in the swing has reached the "climax" of the energy in going forward, in other words, she has climbed as high as she will; it's the man in the shadows who will now start to pull her back towards him, and herein is the charge of prophecy about the French Revolution: the older man can be seen as "Father Time," or even a "founding father" of the traditions of France and its laws, and his pulling the young female--a symbol of the motherland--away from the younger aristocrat, suggests that Fragonard wanted to communicate to his upper-class patrons that their time of robbing the innocence of France was over, too many weeds had grown-up in the garden of the country's soul and reparation time had come (or was coming). Now, how does Frozen "fit in" to this scenario? Anna literally "fits herself into" the painting. She's daydreaming about love, but she's part of a revolution, and her love affair is actually to be propelled forward with a "push" from Hans and her refusal of marrying nobility. Now, please remember: we are not dealing with real people, Kristoff and Hans have been intentionally created with various characteristics to evoke emotional responses from the audience in the direction the film makers want. Kristoff, as an orphaned and unemployed, is espoused by Anna, whereas the Hans is nobility and Catholic--please don't forget, that in this very same song pictured above, Anna mentions Joan of Arc, and Hans being from a family of 12 suggests a large Catholic family--so his being "exposed" as a fraud and impostor, who was only after Anna's money and position, works well for the film makers because it, of course, makes Catholics look really bad not only as immoral beings, but also because of their belief against birth control ("If they didn't have so many children, Hans wouldn't have had to cheat Anna to make a living for himself," the audience thinks to their self). Additionally, however, the film makers have taken the people accusing Obama of being an impostor and reversed the charges to make them the impostors. In the image above, Anna isn't just looking for a boyfriend, she's dreaming of "something to happen" because nothing favorable has happened for socialists for so long, so, like the girl on the swing, she needs a push to be launched forward. There are, according to the film, two types of socialists: those like Elsa (Obama) who live in a ivory tower (ice tower, in this case) and who are happy to be alone with themselves, while the other socialists are like Anna, young and naive, full of emotion without any wisdom, who have lost their memory of the harm and damage socialism has done (when Elsa hits her with the ice and her memory is erased, because of the trolls, remember?). Anna's dress is green, not a particularly good color choice, given how completely she blends in with the green of the painting, but that's because this is a symbolic dress she wears: green is the color of hope, and on the day of Elsa's coronation, just like on the day of Obama's inauguration, being compared to Woodstock,  Anna is "full of hope," that Elsa will become queen and things are going to change, and they will change, just like they have changed under Obama.
My second problem with Frozen is the ice monster finding the tiara and putting it on: Elsa has thrown away the dignity that she was born with, and a monster has taken it up for himself. Elsewhere, we discover in the film that Kristoff was raised by trolls, which are also monsters, but have been made to look cute and loving--which they are not, that's why they are trolls, like the trolls we also see in The Hobbit: An Unexpected Journey--but in bestowing Elsa's crown upon the monster, and even our willingness to "identify" and "enjoy" the trolls trying to wed Anna and Kristoff, our awareness of what trolls are, and what they symbolize in our society, breaks down further and further. Shrek is a perfect example (it's a commentary on abortion and how it's effected our society and ourselves; please see Abortion & Fairy Tales: Shrek for more). Harvard allowing the Black Mass to be celebrated (and Johnny Depp doing a movie by that name, although it doesn't have anything to do with Satanism, as I understand, the idea of "Black Mass" is being used more to desensitize us to its inherently evil meaning) is undermining our ability to identify evil and our desire to separate ourselves from it, like the state of Satan that some Satanists are trying to get put up at the Oklahoma Capitol building by the Ten Commandments. All of this is slowly working against society, like water eroding the stones. Our value and dignity as the Children of God is just tossed away, like Elsa's crown, and those monsters who symbolize sin and the fears of the civilized have taken "the crown of dignity" for themselves.
Another area of complaint the Christian had was a part in the film when Kristoff comes to the trolls and says, "Hi, family," and there is another male there and infant trolls; the pastor contends this scene suggests that the male troll and Kristoff "beget" the baby trolls together, which I disagree with. Kristoff was adopted by the trolls, as I understand the story to go, and so those trolls would have been his "adoptive" family as they took him in. 
Now, what is the highpoint of the film? The part people claim to like the best of the show is the song, Let It Go. First of all, Elsa singing this validates that she isn't going to discipline herself anymore; she's going to let it all out, which goes against Christianity and our generally held belief that we have to discipline ourselves so sin doesn't overtake our souls; Elsa is blatantly refuting that: whatever you are, whatever you do, it's okay, just let it go and make people deal with it. The second reason the song is disturbing, at least to me is, who is it, that is a leader in our society, like Elsa, who has been hiding their identity and the destructive forces they are "letting go" onto American society? 
To me, that's Obama, who has spent millions having all his records sealed and is intent on destroying the American economy--just like Elsa has frozen the town so nothing can grow, nor can any trade take place, and the "weasel" guy, they are quick to point out, is from the town's biggest trading partner, and he's totally un-likeable, so trade itself must be un-likeable, so let's not trade or have any economic growth, let's have an ice rink instead!--and, just like the town being frozen, the American economy is frozen as well (like the parasites put into Wolverine's heart so he can't regenerate in The Wolverine from last year). So, Frozen and the song Let It Go is an invitation to Obama to "let it go" and freeze the economy to reveal who he really is (a socialist). Just like the other contestants in the Hunger Games sacrificing themselves for Katniss, their "beacon of hope" (which is what the socialists and liberals call Obama), so Anna willingly sacrifices herself for Elsa (it does make it more difficult to see it because they are sisters, however, this is a ploy to prey upon our emotions--they can't attack our logic, so they seduce our emotions and feelings--and make us "feel" rather than "think") so we, too, are supposed to willingly sacrifice ourselves for Obama because,.... because,... because,.... 
This "romance" between Hans and Anna is meant to discourage women from falling in love: it's better to be self-sufficient than to risk falling in love with a devious person who lies about everything to you and only wants to be in power for himself and will kill anyone to get what he wants and lie about anything to get what he wants, and he won't hesitate to throw a woman under the bus if it means he can advance his own career. Does that sound like anyone in America today? Again, Hans represents two or three of the characteristics of the conservative political Americans: he's a white male, he's Catholic and his from the upper-class; so the Left has taken all of Obama's bad qualities and projected them onto Obama's enemies in hopes that Obama's enemies will suffer for what Obama does. Yes, it is rather like Voodoo.
Remember Kristoff's sleigh that he had just paid off? The sleigh Kristoff earned for himself cannot be the vehicle of his "new life," the vehicle of his new life must be paid for and supplied by the government, Anna; yes, I agree, if someone wrecked their car helping you or I out, of course we would help them get it fixed, that's responsibility, but the film isn't concerned with responsibility, it's concerned with elevating Elsa and destroying the town and Kristoff's ability to provide for himself, rather than be dependent upon the government. Anna's bad run-in with Hans is one more bit in the propaganda machine trying to get women to avoid getting married (The Heat with Sandra Bullock and Melissa McCarthy was the BIGGEST piece of propaganda aimed at women that I have ever seen, and it was exactly the same!). Anna supplying Kristoff with the new sleigh is, essentially, (in the painting from above) Kristoff being on the swing--swinging from being in business for himself to being dependent upon the government--and Anna is the old man giving him the push from behind.
The animated films are the hardest to decode because we want to just sit back and enjoy them, but because we are just "enjoying them," film makers with liberal agendas have infiltrated this genre and are using it as their platform because our guard is usually down when being entertained with animated figures and their comical skits, but hidden therein is quite the dangerous poison.
Eat Your Art Out,
The Fine Art Diner

Friday, May 23, 2014

X-Men Days Of Future Past, Edge Of Tomorrow & SALEM

UPDATED: This post now contains important information about the end-credits scene; if you have not seen the film yet, you may want to stop reading; if it were me, I think I would want to know because I had no idea what was going on in that scene, so you might appreicate it more having some background information.
There is the excellent Captain America: the Winter Soldier and the fabulous The Amazing Spider Man 2 and the monumental Godzilla. It's X--Men Days Of Future Past that is the movie of the year! It is absolute perfection, I wouldn't change anything, it's perfect! There is an end-credits scene, so don't leave before you see it because that's probably the basis for X-Men Apocalypse!
This is Apocalypse, the arch-enemy of the X-Men and the star villain of the next installment, X-Men: Apocalypse. In the end credit scene, he's seen much, much younger, to emphasize--when the next film comes out--how long he's been around and how powerful he is; oh, and that he's used to being worshiped like a god. 
There is a person with thin arms/hands, raised up, moving pieces and segments of the pyramids, as hundreds and thousands fall down before the figure and worship (the revealed) young man. The actor in this scene will not be portraying Apocalypse in the next film, we have been told, however, we do have a definite idea of the next film being about someone who has a god-complex, thinks he can take apart ancient civilization just because he has some power and is mindlessly being worshiped; sound like anyone you know?
When the trailer first came out, I was boggled by all the action to the point I couldn't make heads or tails of a story line; once I found the story line, I just kept forgetting to post on it. Tom Cruise's 2014 summer sci-fy-action-thriller Edge Of Tomorrow is going to be awesome. It just is.
We'll talk about this in greater depth later, but ask yourself this: who is it that keeps wanting to change history? The liberals. They flat-out deny that the Nazis and Hitler were socialists, or that the Soviet Union was socialist, or that North Korea is socialist, or that China and Cuba are socialist; they do it wrong, it just needs to be done the right way, which no one has ever done. We've seen those octopus-like creatures before, it's the symbol of HYDRA in Marvel comics that Captain America is constantly fighting off. What I love about this is how important of a weapon our memories are in this battle and how we can learn to overcome them by their mistakes. This is going to be a great film!
I have finally watched the pilot for WGN's SALEM and yes, we are definitely going to do this! It's not quite as sophisticated as Penny Dreadful, however, there is quite a bit of great stuff going on and it will give us a chance to really flex our muscles. Episode 6, The Red Rose and the Briar, airs this Sunday; if you don't get WGN, like myself, you can download it at iTunes under the Salem heading, I think it's $2.99/episode OR YOU CAN WATCH THEM FOR FREE AT THIS LINK, just by entering in your birthday; yes, it is legit, I tried it (I do suggest turning on the closed caption, which you can do once the screen is pulled up and put your cursor of the little widget at the bottom, right hand corner of the screen; Captions On Off will be displayed, just click ON and it will make a big difference . How many episodes are there? I haven't been able to figure it out, somewhere between 7 and 9, but it has been confirmed that it has been renewed for another season, which is another reason to watch it. We will be doing Penny Dreadful, but I probably won't do it until it comes out on disc.
Really, Godzilla is almost done, and there are a few things I want to think about for X-Men, but you have to go see it, it was perfect!
Eat Your Art Out,
The Fine Art Diner

Thursday, May 22, 2014

What You Need To Know If You Haven't Seen X-Men

This is pretty good: if you haven't seen any of the X-Men shows, or not all of them, or don't remember it, this will get you ready in 3 minutes for the biggest film of the year:
ALSO, I have finally watched the pilot for SALEM, and YES, we are going to do this! It's not quite as sophisticated as Penny Dreadful, however, there is a substantial amount of great stuff going on, and it has been renewed for a second season! You can either go to iTunes and download the episodes there, for $2.99/episode (I still don't know if there are 7 or 9 episodes in the season) or you can watch all the episodes released at this TV Guide link FOR FREE. All you have to do is enter in your birthday and watch it for free, I have all ready tried it and it's perfectly legit! We will do the first episode of Penny Dreadful, but wait for the rest of the episodes to be released on video to do the rest of that season, and after the first episode of Penny Dreadful, we'll move onto Salem! I am drinking Coke to stay away for the red-eye showing of X-Men tonight, and I will be tweeting my response, and I am currently working on the Godzilla post!
Eat Your Art Out,
The Fine Art Diner

Wednesday, May 21, 2014

TRAILERS: Interstellar, Transformers IV, Cinderella, X-Men Days Of Future Past

This is dirty. It's greasy and worn and marked. Rather like Captain America's shield, these emblems are battered and wearing down. What we might deduce about the plot of the film from this image, is that the "hope" that the "S" stands for is the "heart" of the bat, and Superman helping Batman find his "heart" again, may be what this is about (we know that Batman has been in the batcave using drones to kill people, which Superman probably doesn't think is very cool). We also notice that the bat part is,... how should we put it,.... "squattie?" I mean, it looks like that vampire on the Muppets (please look below, for the comparison between this bat emblem and The Dark Knight Rises emblem). Another thing to be noted is the gold in the upper and lower curves of the "S" (because gold does not tarnish) but even Superman has obviously been through a really, really tough time. Lastly, on this image, we have to note the title: Batman is going against Superman, not Superman going against Batman. Does Batman decide to take out Superman? That's what the grammar suggests. Further, the "Dawn" suggests that, heretofore, we have been living in a "dark night of the soul" and justice has not prevailed (which is absolutely the truth: turn on the TV and just watch the newest "scandal" the Obama Administration has perpetuated upon the American people, it's a lawless country we are living in) so the idea of "Justice" in the title is actually a revolutionary one, given how lawless the US District Attorney is.
This is one of those tough-calls.
If I take time to post something like this, it distracts me away from getting the post done; if I don't get something posted, you might think I am dead. Godzilla has been so amazing to write on, however, I just needed to pull back for a moment to make sure I am getting everything and today's announcement that the Christopher Nolan-Zack Synder Man Of Steel sequel is now titled, officially, Batman v Superman: Dawn Of Justice (due out May 2016) was that golden nugget I needed to make a post.
So, what do we have?
Christopher Nolan and Zack Snyder know exactly what they are doing, so we have to trust them, but little things like this are the "bread crumbs" they drop so we can start to get an idea of what they are going to serve up to us for the main meal. Obviously, The Dark Knight Rises bat emblem (bottom) is waaaaayyyy cooler than the top bat emblem; why? It's not that they don't have as cool of designers for this film, it's that the top image is saying something about the new Batman they are presenting to us. The upper bat emblem is not defined, it lacks definition, it's,... "soft." That's going to reflect on the character of Batman in this film, and the "dirt" might actually mean a Bruce Wayne that is "dirty" in terms of his business and finances. If Batman is going after Superman, we could see the mirror-image in GOP leaders going after the Tea Party, or Whistle Blowers revealing the illegal activities of the Obama Administration, as examples.
This may sound like a moronic-status observation, however, we have two major super-heroes, and like Batman and Superman are MAJOR heroes, going against each other. I actually didn't think it would be the big B against the big S, that it was just a kind of fantasy comic-book-geeks fabricated and it got some speed behind it.
Here is the "S" from Man Of Steel, and steel it looks to be. "Red" either means that we love someone to the point of willingly shedding our red blood for them, or it means that we are angered/hate someone to the point of shedding their red blood to appease us. Because Superman has so much power to carry out his wrath, he has to have an even greater depth and breadth of love to keep from acting out on his anger. Why discuss this? The red is nearly all faded from the new poster above. The gold is still there, and that suggests that Superman's very "metal" will be tested, and, we might say, "rebuilt" because of the tasks he will have to complete in this newest adventure, which, I might add, will be followed up by The Justice League. 
Now, for the record, and I perfectly well recognize that I may have to eat every single one of these words, and that's okay, but this is just my speculation, B v S is doing what both Captain America: the Winter Soldier did and The Amazing Spider Man 2 did: casting well-known liberals as the villains so, when audience members see Robert Redford and Jamie Foxx, they consciously or unconsciously associate the villain with Obama and Left-wing liberalism. Likewise, Ben Affleck has made himself a member of the same group, and I think it's reasonable to assume that Nolan-Synder had the same consideration in mind when casting Mr. Affleck as Batman, especially since it is a fact that Josh Brolin--an even more public liberal than Mr. Affleck--had been offered the role before Affleck was and Brolin turned it down (for more on this, please see the caption below),...
It's my theory that, had Christian Bale accepted the $60 million dollar offer to play Batman one more time, Nolan and Snyder would have carried over the Batman image from The Dark Knight Rises; since they couldn't get Bale back, they decided to go with a totally different Batman, one we have not seen before, and they got a liberal to play him. What about this costumer? First, the ears on the helmet aren't very tall, nor defined (he doesn't listen or hears only what he wants to). He has no neck. That is one squattie shoulder-neck relationship; why? The neck reveals what leads us, like a leash, so not having a neck indicates that he isn't led by anything (this is a monochrome image, so it's possible there is color we aren't seeing). The "body" of the costume is,... how should I put it? "Thick," like it's separating him from the rest of the world, like a body armor that isn't protecting him against bullets, as much as protecting him against reality, and this is echoed in the "veins" we see bulging out; I know when guys are really ripped, we are supposed to be able to see their veins, but this reminds me more of a corpse that is being dissected, or a drug addict who has tapped all their veins too many times; in short, this isn't what I would call by the subtle clues a "healthy Batman."
This issue of casting "liberals" in important roles leads us to our next issue and our first trailer: Interstellar. The sci-fy fantasy space exploration film, due out in November, is the latest from Batman v Superman: Dawn Of Justice producer Nolan which he co-wrote and directed. Why is this an important film? There is a stunning array of big-name liberals: Matt Damon, Michael Caine, Matthew McConaughey, Jessica Chastain, Anne Hathaway, Casey Affleck (yes, the little brother of Big Ben) and even Ellen Burstyn is in it (although I don't know anything about her political affiliations). Now, why am I interested in this film? Because of the other space films we have seen recently.
Maleficent opens next weekend, which means, I have got to get on the ball and get the Sleeping Beauty post up. Ugh. There have been numerous clips released, but I still just can't make up my mind which way the film is going to go, so I am not going to make a decision prior to seeing the film. I know what I am looking for, and one of those items is hidden in this very image: the horns. Connecting the horns to the rest of the headpiece, it looks like electrical tape is holding it on. Why is this important? It's not a natural material. Maleficent is the Queen of the Moors, the Queen of Nature from what we have seen so far thusly; the more "unnatural" elements we see in her character, the more of the unnatural she will represent and, ultimately--OR NOT--align her with the Left.
Ender's Game, Star Trek Into Darkness, Thor the Dark World, the up-coming Guardians Of the Galaxy and Oscar winner Gravity. It is my position, that all the films (including Galaxy that hasn't been released) are pro-capitalist with the exception of Gravity, that I see as being very much anti-capitalist/pro-socialist. Here is the first trailer for Interstellar, just to refresh your memory:
And the one just released:
What do we have?
"We didn't run out of planes and television sets, we ran out of food." I think, Interstellar is a response to Gravity and even Noah, wanting the "end of mankind," and all the "progressives" in Hollywood who want to go back to the stone age: if you are right, I think Nolan is saying, that there is global warming and the earth is dying, then we should be increasing space exploration and using all our genius to try and come up with a better future for ourselves. In other words, Nolan might be catching the liberals in a deconstructive moment, i.e., showing they are hypocrites and they don't believe any of their own propaganda. The first "trailer" for the Kenneth Branaugh directed Cinderella (Cate Blanchett plays the evil step-mother) has arrived: don't cheat, but watch it and tell me why this trailer is the way it is; I have my comments down at the very bottom, you can do this!
Now, here is the newest Transformers: Age Of Extinction trailer, and this looks awesome! It appears that I was wrong about something: I thought with the appearance of the dino-bots (the dinosaurs that turn into transformers, or however that works) that it was a sign of "going back to the Stone Age" like what was warned about in Godzilla, and it appears that I was quite wrong about that,....
Now, X-Men Days Of Future Past, perhaps THE biggest film of 2014 (it has to make more than $95 million to beat Captain America: the Winter Solider {Godzilla is in second with $93.5}) opens Thursday night. Because it wasn't filmed in IMAX, I don't get to go to an early 3D screening of the film. I could go Friday, but then that would give me one less day to work on the post, and Friday is officially the first day of school being out for the summer, so I figured it was going to be pretty packed Friday, so I have all ready bought my ticket for the 10 pm showing Thursday night (it's almost 2.5 hours long). Of course I will be tweeting my initial response to how utterly cool the film will be, in the meantime, here is a "power piece" on Professor X:
And this one highlighting Quicksilver.
By the way, the clip that was dropped in the mid-credits for The Amazing Spider Man 2, had a vital piece of information: Mystique broke up with Magneto. We have no idea what he did or what she is doing--and of course, this completely explains why Mystique was at the Grassy Knoll at the Kennedy Assassination (as Oswald) and why Magneto would have been trying to stop her from doing it, which is why he has to be saved from jail in the film (just to refresh your memory, because I am confident this will play a role in the film, here is that Bent Bullet theory video):
And here is a "power piece" on Quicksilver, who will be returning for the next X-Men film Apocalypse:
Maybe it's just me,...
In this shot of Quicksilver and Magneto, Quicksilver reminds me of Silva (Javier Bardem) when he dressed as a cop to kill M (Judi Dench) in Skyfall; I don't know, there's just something about this.
Okay, I have got to get this post up, so this is just a bit of what we could interpret from the Cinderella trailer. First, Cinderella is as well know for her glass slipper and Snow White is known for her poisoned apple, or Sleeping Beauty upon her bed (or the spindle of the spinning wheel) so what they have done is taken the well-known object and imposed upon it certain characteristics that are part of Cinderella, but that can best be displayed in the image of the shoe (like Batman's costume, for example). We know that the shoe, since it goes on the feet, symbolizes the will--because the will takes us where we want to go in life, as the feet take us where we want to go in the world--so Cinderella is known for her will: believing that something good will happen, even though it appears it won't, and being kind and good--in spite of everything, etc. In the original animated version, the slipper was straight glass; in this trailer, it almost looks as if it could be crystal, it possesses so many facets, and we can say the same for Cinderella: even though she seems to be a simple maid, she, too, possesses many facets. The colors that start out in the trailer are purple, which symbolizes either royalty (because purple cloth was so expensive to make, only royalty could afford it) or suffering (because Jesus was the king of kings but He suffered for us, and all royalty should suffer for their people, rather than the people suffering for the royalty). The purple probably alludes to the wealth she enjoyed as a young girl, then the suffering into which she passed at the death of her parent(s). There are other colors briefly flitting in and out, like life's experiences, but then it goes to blue, because blue is both the color of depression and wisdom, because the price of wisdom is to travel the road of sadness. We could go on, but see if you can deduce more from it now that you have a hint!
Eat Your Art Out,
The Fine Art Diner

Thursday, May 15, 2014

Godzilla Is Absolutely Amazing!

Here's a hint: the audience is in the school bus, we are the kids on the bridge about to be threatened, but also because we don't really know what's going on, so we are being "schooled" because this vehicle at this point in the film is a "school bus." In the lower middle of the window, the glass is cracked, which was caused by a bird, which verifies the "reflection" that is supposed to be taking place (the glass, just as it "reflects" Godzilla, so we are supposed to be "reflecting" on Godzilla as well, but also our role as "children" on a bus) but the crack suggests that we are not able to properly reflect, so we can deduce that the glass acts as another form of "erasure" in the film. Brilliant!
At the theater where I saw it, they even had Godzilla (in a costume, of course) handing out autographed pictures of himself! IT WAS AWESOME!!! Even better than I hoped it would be! Look, I don't do this often, but I would hate to ruin the climax of the film for you, so please, go and see it so I don't have a problem with spoilers, because when it happened, everyone in the theater started cheering, ha ha!
There is no end-credits scene, however, the opening credits are extremely important: they employ erasure. We have seen erasure twice recently, in both The Cold Light Of Day (which, you may recall, mentions "Godzilla" by name when Bruce Willis' character is called that by his son, portrayed by Henry Cavill; please see Without Baggage: Erasure & Identity In the Cold Light Of Day) and Zero Dark Thirty, the Osama Bin Laden film (please see Reflections, Masks, Noise, Erasure: Zero Dark Thirty for more). We will discuss this thoroughly, however, my advice to you is this: when the opening sequence of the film begins, don't pay any attention to the film footage in the background; if you can go with someone, one of you take the left side of the screen and the other focus on the right side of the screen. They have "messages" up that they then almost immediately erase under "white out" or that typing tape that most of you probably don't remember, but that's the film's sign to us, the audience, that they have "embedded" messages throughout the film and then covered them up; like Joe (Bryan Cranston) we must look past the "cover up" that has been put before us in the form of the film and look for something deeper. I am POSITIVE I saw "The Illuminati" come up on one of those lines, hmmmm,.....
I will get up the post on the original Godzilla first, I just have one more thing to write on it, then will turn to the new one!
Have Fun!
Eat Your Art Out,
The Fine Art Diner

Tuesday, May 13, 2014

Penny Dreadful News: Episode 2

It sadly appears that those at Showtime only think they know what advertising and making money is about. Penny Dreadful's first episode, Night Work, was free to watch on the Showtime website; episode 2, Seance, is all ready available, however, you have to have cable and pay the extra $20 a month just for Showtime; because of Showtime being ridiculous, it is neither available on iTunes nor Hulu (only the first, free episode is available on Hulu). It has been rumored, that the second episode, Seance, will be available to watch for free also (if you have Showtime, the second episode is available to watch now through their website). The reason this is so frustrating is because other Showtime series are available, but they are dangling out Penny Dreadful to boost their subscriptions so, basically, we are not going to get to see the rest of the series, unless you have Showtime or it comes out on disc, or they possibly release it on Netflix, etc., but this is disappointing.
However,....
Does this guy look familiar to you? No, it's not John Malkovich, but long-time readers should have recognized Nosferatu (a word meaning "the undead"), from the silent horror-classic of 1922 which was the very first depiction of Bram Stoker's Dracula in celluloid. Nosferatu was particularly interesting because they dramatically altered his looks from the text described in Stoker's novel: Count Dracula has a mass of black hair on his head, face and even his hands, whereas Count Orlock in Nosferatu is totally bald. In my post The Undead: Nosferatu, I posit that the reason the film was made was because of spreading homosexuality after men returned from life-in-the-trenches during World War I, and the film (directed by the homosexual F.W. Murnua) was essentially serving as a warning to men and women of the harms of homosexuality to themselves and society at large.  If you have never seen a silent film before, I can highly recommend Nosferatu: it's the first silent film my sister has ever seen, and she absolutely loves it, and her favorite genre of film is Rom-Coms, so while the music isn't particularly good, it is highly creepy and the springboard for many of the other horror films in general that were made afterwards. Back to Penny Dreadful: the inclusion of such a character
I have decided that we will do the first episode. It will be nice to have a break, and, additionally, all the incredible devices used in this episode are devices used in general, so it will help you in making your own interpretations and deductions in other works of art you encounter, so we will at least do the first episode that is available for free at their website (there are so many international readers of this blog, I want, as much as possible, to do films/television shows that nearly everyone can access so readers aren't getting left in the dust). So, as soon as Godzilla is over, we will take a breather to do Penny Dreadful, one or two episodes, depending on what is available (I have contacted them via their website and wrote how disappointed I am and that I hope they will reconsider listing it on iTunes/Hulu; do you have a moment to drop them a note suggesting the same at this link here?, and then we might do SALEM (at least that is on Hulu and iTunes). So, Godzilla comes out this weekend, I am going Thursday night to the 3D IMAX showing, and I can hardly wait!
Eat Your Art Out,
The Fine Art Diner
P.S.--Here is the trailer for the next episode of Penny Dreadful: