by Scott Creighton
All across the country the debate is raging: gun “nuts” verses the rational, reasonable pragmatics who wish to enact gun “control” on our society in response to all the senseless violence of the past 6 months. The “liberal” left and the “moderate” right are coming together as they have in the past on issues like extending the FISA warrentless wiretapping, the Global Free Market Wars, the TARP banker bailouts plan, NDAA 2012, constant warmongering sanctions on the people of Iran, keeping Gitmo open and torture. The pragmatic center which houses the likes of Brennan and Panetta and Clinton and the Bush clan are teaming up with the Hollywood elites to push for gun “control” in order to make us a safer society. Now is the time they say to take action to end this senseless violence in America.
But while they do that, and I mean right in the middle of this push, out comes today’s Oscar nominees and what films do you think lead the pack in the category of Best Film? “Zero Dark Thirty”, “Argo” and “Django Unchained”
Two films of admitted CIA propaganda justifying horrific violence and one of gratuitous desensitizing gun violence taken too an unprecedented and even comedic level.
This is the best of the year that Hollywood has to offer a country that is sick of undeclared wars, random drone strikes killing children and mass shootings in theaters, malls and elementary schools?
All this while an early Oscar favorite, a film that received a 10 minute standing ovation at the Toronto Film Festival, garnered not one single Oscar nomination. Not one. It’s message, perhaps it’s warning, was simple and completely ignored:
“Our lives are not our own. We are bound to others past and present. And by each crime and every kindness we birth our future”
What are we becoming?
“Dark Thirty” is purely a CIA Mockingbird creation. They admit it. It was made in collusion with the CIA and the White House. It is pure propaganda which rationalizes torture by presenting it as a reaction to 9/11.
It continues the mythology that Osama bin Laden planned 9/11 even though there is absolutely no evidence to prove that and bin Laden himself clearly stated he had nothing to do with it. It presents almost every Muslim in the film as some kind of monster who is preoccupied with killing the heroic CIA agents who are busy torturing people for truth and justice and the American way of life.
It’s Islamaphobic propaganda brought to you by the agency that has been running death squads for dictators for the past 60 years. “Dark Thirty” is designed to promote violence toward Muslims and anyone else who stands in the way of our “national interests” in Africa or the Middle East or anywhere else our CIA determines we need to torture insurgents who don’t like the agenda we have planned for them.
“Argo” is similarly a CIA construct remaking the story of the Iranian revolution in such a way as too present the heroic CIA officers infiltrating a country after one of our worst dictators, the Shah of Iran, was overthrown. The CIA agents went there to combat the evil and angry Iranian people who are presented as this angry mob running around trying to kill Americans. (the fact that the hostages weren’t actually killed or kept in Gitmo or water-boarded like the CIA does to Iranians is not mentioned nor was Reagan’s October Surprise which kept the hostages in bondage for 60 additional days until he was inaugurated)
Ergo “Argo” again is nothing more than propaganda being packaged and literally sold to the American public by one of the most dangerous fascist institutions the world have ever seen: the CIA. “Argo” is designed to promote/justify violence (and sanctions are a form of violence) toward the people of Iran.
As bad as the selection of these two pieces of trash are, the worst of all of them has to be “Django Unchained”
I have seen this film. Watched it last night to be specific. All of it.
Have you all seen that commercial featuring the Hollywood elites talking about gun control? It starts off with a bunch of celebrities reading off the names of all the recent mass casualty events in the ongoing destabilization campaign in America. They stand dramatically and read off “Sandy Hook”, “Aurora”, “Clackamas Town Center”, the “Sikh Temple”
Featured prominently in that infomercial is an actor by the name of Jamie Fox who happens to be the star of the movie Django Unchained. He plays Django, a freed slave who is taken under the wing of a German (uhhh) bounty hunter back in the 1850s.
The film centers around Django learning the trade of bounty hunting, as the German character puts it, “another form of trading in flesh”. Eventually, after about a minute of “training” the film goes on to show Django and this guy killing one person after another in pursuit of money.
The film is made by a guy by the name of Quinton Tarantino and is made in this hookie spaghetti western style. It is deliberately “shocking” in that it uses the word “nigger” about 300 times. Everyone seems to have to say it in between every other word.
Quinton is regarded as a major celebrity and creative force in Hollywood. Every single movie he has made involves massive levels of gratuitous violence, blood and gore. Many of his films glorify or otherwise desensitize violence specifically gun violence to the point of comic responses from the audience.
But Django takes this to a different level. Much different.
In Django a repeated joke (repeated three times if memory serves) involves the title character, a freed slave, joking about getting paid to kill white people.
In the scene near the end, before he blows up the plantation, but before he does so, he kills the slave owner’s belligerent staff of meanies, men who tortured and killed slaves over the years. But after that, Django standing atop a flight of stairs, shoots and kills the wife of the plantation owner as she stands there unarmed doing nothing. In fact, she had previously in another scene been outraged at her husband as he humiliated a black woman at the dinner table. She forced him to stop.
Yet Django blows her away in a way that was staged to make her murder comedic.
Much of the violence in the film, the violence directed at white people that is, is handled in a comedic manner while violence toward slaves is shown while emotional music blares and the scene slows and disgusted reactions from other characters in the film are zoomed in on. For instance, the scene where a poor guy is torn apart by dogs because he can’t fight anymore, or whipping scenes of slave owners beating their slaves or a scene where two black men are forced to fight to the death by rich white slave owners for their entertainment.
That violence is deemed horrific and the film-maker intentionally portrays it as such. But violence against others in the film is handled in a very different manner. There is one scene in which some farm-hand henchman is lying on the floor writhing in pain as his buddies accidentally shoot him over and over again because they just suck at shooting. Blood flies through the air as we are supposed to laugh at his misfortune. Jokes are made as the two bounty hunters line up a shot on a guy fleeing for his life after his two brothers are shot dead in front of him. But that’s ok because he used to whip slaves for trying to run away. A sheriff is shot in cold blood standing on the street in front of the entire town, but that’s ok because years ago he was a rustler who stole some companies livestock.
And there is the case of the $7,000 bounty.
Django and his mentor sit perched atop a hillside with a sniper rifle looking down on a man plowing his little field with his son and their mule.
At first Django hesitates on his mark and his mentor takes the time to show him what the bounty is worth. The mark once was a bad man but now he’s a simple farmer raising his son trying to make an honest living from the little bit of land he owns.
Django kills him from 70 yards away and sits and listens to the cries of his orphaned son before strolling down the hill to collect the body of his victim to turn in for cash.
In the end this is what you expect from the maker of movies like “Dusk til Dawn” and “Kill Bill” and “Pulp Fiction”: deliberately incitement films designed to profit from shock tactics rather than any real skill or talent displayed by the film-maker himself. That’s because Quinton Tarantino doesn’t have any real skill or talent. Like a high school student just learning how to act, he simply copies what he has seen before and calls that paying homage to the genre.
But what is surprising is the fact that it was nominated as Best Picture. What is surprising is the fact that it was nominated at a time when Django himself is running community service announcements condemning senseless violence in America. What is surprising is the fact that it’s nominated with two other films that literally promote other forms of senseless violence across the globe.
Perhaps it shouldn’t be. Perhaps I should be more pragmatic. Perhaps I should come to understand that just like Obama’s Peace Prize or Presidential Medals of Freedom, awards like the Oscars are nothing more than propaganda themselves these days; meaningless trinkets handed out by the fake liberal class and lavished upon those who do the bidding of the coming fascist state.
The hypocrisy is stunning. But it shouldn’t be anymore. As Orwell spins in his grave, Django basks in the artificial limelight of a manufactured reality. Our own Dark Thirty approaches as we laugh and weep and rage upon command of the real masters of the universe and their clever makers of fable.
And no one seems to notice. No one seems to care. The message is clear.
“The problem you create is a political one… There is a natural order to this world and those who try to upend it do not fare well” Cloud Atlas
And this is what they snubbed…
Filed under: American Gladio, Aurora Massacre, CIA are the Real Terrorists, Clackamas Shooting, Clackamas Town Center Shooting, class warfare, Cloud Atlas, destabizing america, Global Free Market Wars, Globalization, Neoliberalizing Africa, Neoliberalizing America, Neoliberalizing Libya, Neoliberalizing Syria, Obama™, propaganda, Sandy Hook Massacre, Scott Creighton