kiki

[…] Whilst a seemingly normal family film on its own merits, it is peculiar and unique viewed from the standpoint of 2018. It is specific to its production time of 1989, when anime (previously “Japanimation” in common parlance) began to find traction in mainstream consciousness in North America, with corporations like MGM and Fox producing English dubs. Kiki’s Delivery Service was the first Studio Ghibli film distributed by Walt Disney (in 1997), and looking at the source material, style, and content, it isn’t difficult to discern why. A thematically faithful, but loose on plot details, adaptation of a children’s book written in 1985 depicting a classic “European” Witch girl replete with broomstick and black cat, Kiki’s Delivery Service is something of an international anime. Both the film and book are set in a fictional Northern European country and feature native European characters, but is written and animated in tune with Japanese sensibilities. It is this Japanese slant on “Europeanness” that makes the film an interesting watch for ethnocentrically-minded, racially-conscious whites. […]

Again, this is a family film, but when us whites look at ourselves, we can tend towards the tragic-romantic or the tragi-comic, self-depreciation, gallows humor, the sardonic and ridiculous. In Kiki’s world (and anime at large), this element is almost entirely absent or manifested by otherworldly apparitions (for an extreme example, A Letter to Momo shows comedic demons who play the goof to an ordinary girl). It seems the Japanese are uncomfortable making dark jokes about themselves, even when looking through a European-tinted lens. It is this reverence for the ordinary which both beautifies Japanese society through well-regulated lifestyles and social harmony, and yet makes anime often incredibly tacky in its excessive seriousness and melodrama. Thankfully, extreme over-reaction has been toned down to suit the subject, and Kiki’s story centers on introverted self-realization over social capability. […]

[Read the rest of Buttercup Dew’s review at Counter-Currents.]

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AltLeft.com

What’s with these homies, dissing my girl?
Why do they gotta front?
What did we ever do to these guys
That made them so violent?

“Why do you like this song?” my girlfriend asked one time while we were driving somewhere. She had her iPhone plugged into the stereo, and I had been asking her to play various jams before at some point I requested to hear Weezer’s Buddy Holly.

Weezer is one of many bands that would likely be deemed too politically incorrect to be mainstream today, and if present trends continue, may one day be retroactively banned or censored. Of course, there isn’t really anything particularly offensive about their music or lyrics, but that just doesn’t matter anymore. People will find something whether it’s there or not.

I don’t recall being that interested in Weezer when I was in high school. I didn’t own any of their…

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Aryan Skynet

In the midst of the spew of generically Trump-trashing pseudo-solemnity about “Russiagate” and the Alt-Right cash-in books exposing the it-can-happen-here threat posed by 4chan and dudes in MAGA hats, one recent offering stood out as something that might be worth my time – even if only for the proverbial LULZ. In Dark Star Rising: Magick and Power in the Age of Trump, the prolific popularizer of esoterica Gary Lachman throws his sorcerer’s cap in the ring to confront the disturbing question of whether Trump’s election was not the work of Russians alone, but the doing of Russians and magicians.

The problem with Lachman’s book from the outset is that he…

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Garden of the Finzi-Continis 7

I never thought I would say it, but recently I saw a holocaust film that I found to be rather aesthetically alluring and traditionally beautiful to the point where I watched it no less than three times in one week to make sure that I was not hallucinating. Of course, leave it to Italy—a country that has somehow managed to elevate sleazy horror, western, and action genre trash to the level of art—to be responsible for such an inordinate cinematic work that seems like it was made with more intent than to simply spread the gospel of the (anti)Occidental post-religion of holocaustianity. Indeed, Il giardino dei Finzi-Contini (1970) aka The Garden of the Finzi-Continis directed by Italian neorealist maestro Vittorio De Sica (Bicycle Thieves, Umberto D.) is an excellent example of what happens when a real artist projects his own humanity onto the plight and suffering of an alien people that could not have done a better job on their own, but of course it was naturally produced by chosenites, including Arthur Cohn, Gianni Hecht Lucari, and Artur Brauner. The first film that the auteur directed after becoming estranged from his regular screenwriter Cesare Zavattini, De Sica’s strangely delectable feature is based on the semi-autobiographical novel of the same name by Ferrarese Jew Giorgio Bassani, who notoriously loathed the film adaptation. On top of being uniquely unkosher in its direction and overall execution, the film features the patently absurd novelty of featuring highly attractive (and mostly blond) Aryans with mostly noble demeanors portraying rich spoiled Jews that are just too decadent and terminally introverted to sense the rise of fascist antisemitism. In short, the film was clearly made to cater to tendencies of a naive all-goy audience, as if it would be too much of an aesthetic risk to feature real live Jews portraying Jews (at the very least, they could have cast handsome half-heeb Vittorio Gassman). In fact, while the film features characters sporting Star of David necklaces, synagogues, and various references to the growing tide of Hitler-inspired Italian fascist antisemitism, I was never able to truly able to embrace complete suspension of disbelief and sincerely feel that I was watching a movie about the holocaust, thus underscoring De Sica’s innate dedication to humanism and cinematic art. In short, I was somehow able to rather enjoy the film despite its Hebraic holocaust theme.

[Read the rest of Ty’s lewd review at Soiled Sinema.]

Aryan Skynet

Hello, Hipster Racist

I’m a 21-year old guy from Russia, I’ve been reading your blog and AryanSkynet for quite a bit, so Ive got a few questions for you if you dont mind:

1) From what I have read, I can assume that you are for an all-White ethno-state in the US, but what about other races, in particular the Black people who have been citizens of this country for many generations for now?

You ask me about other races, but what about Whites? I advocate for my race, my ethnic group – Whites, Americans. America was started for my family and I, we are the “posterity” of the Founding Fathers. The United States were founded for us, as the Founders spelled out explicitly in the Constitution.

I’m strongly anti-slavery. Bringing Africans to the North American continent was an awful crime against humanity. I wish it had never happened. I…

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Second Coming

Richard Wolstencroft, the Aussie behind the classic underground Boyd Rice vehicle Pearls Before Swine (1999) – a movie that any weirdo reading this should stop and watch right now if they never have before – is back with the second installment of The Second Coming, the first volume of which was finished in 2015. Part of an even grander series that Wolstencroft calls the “March on Rome” trilogy, the two halves of The Second Coming comprise a magickal diptych of miscegenated and mutated gleanings from Crowley, Manson, nuclear physics, social Darwinism, Faustian racialism, and William Butler Yeats, whose poem “The Second Coming” provides the inspiration for a nebulous plot involving a global conspiracy of revolutionary dissidents attempting to usher in a new age of unmediocrity through occult, scientific, degenerate, and quasi-fascistic skullduggery. If such a revolt against the modern world is to be successful, The Second Coming indicates, its principal stumbling block will be the mutual distrust of the various elements necessary to bring the new order into being.

This is essentially a no-budget undertaking – the only money spent seems to have been on travel expenses for the mix of dully mundane and dangerously exotic locations – but what makes The Second Coming a must-see film is the assortment of oddballs Wolstencroft managed to assemble to participate in his production. There are too many to name, but readers may be especially interested to know that proto-Alt-Right hate scene legends Jim Goad and Boyd Rice both have small but perfectly cast and hilarious roles as players in the satanic conspiracy. The phone conversation between the two of them, short as it is, is one of the greatest moments ever stitched together for a movie. A gloriously off-the-wall Kim Fowley, Shaun Partridge, and late Feral House publisher Adam Parfrey also have cameos in The Second Coming, in case the foregoing was not already enough to entice the viewer. In my book, I briefly discuss the potential for the emergence of a white nationalist cinema. Is Wolstencroft’s The Second Coming the realization of this ideal? Well … not exactly. Wolstencroft is too individual a creator and too perverted a reprobate for that. The Second Coming does, however, gesture vaguely in the directions that such a cinema might undertake to explore if it ever emerged from the wilderness of its online chaos. Both volumes of Wolstencroft’s epic can be accessed through Affirmative Right – free to view for a limited time.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – The DEFINITIVE Alt-Right statement on Hollywood!

 

 

Aryan Skynet

Joyce

Regular readers of Aryan Skynet may be aware that lately, specifically in the comments under my post “Carl the Cuck, Continued”, there has been some controversy over the Patrick Little candidacy and the matter of whether or not white advocates need to confront the realities underlying the “Holocaust”. As the author of a book that treats the subject to less than the expected degree of reverence, to put it mildly, I am perhaps not the most qualified person to stake out a workable third position on the “Holocaust” Question that would allow white advocates to move beyond it without either fully embracing or rudely transgressing the conventional historiography on the subject. It is, however, in this spirit that I submit Andrew Joyce’s remarks on the significance of the “Holocaust” for his own generation. Prefacing a review of a book by the Jewish scholar David Cesarani in the Winter…

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Aryan Skynet

Protocols of the Elders of Zanuck is a book about the movie industry as a means of convincing and thereby controlling the American people. It is also a book exploring the ethnic dimensions of this program of cultural parasitism” – Rainer Chlodwig von K.

VoltaireSunglassesRainer Chlodwig von K.

Rainer Chlodwig von K. of Aryan Skynet and Ideological Content Analysis has done yeoman’s work in researching and compiling a 649 pages tome (hereafter POTEOZ) that meticulously dissects the cancerous tumor that has metastasized out of Hollywood and affiliated centers of cinematic “entertainment” and now infects the global multitude and particularly the modern man (sic) of the West. This encyclopedic work required thousands of hours of viewing films from “classics” to obscure B-movies and everything in between. While most of us surely have enjoyed movies and will admit that they have had a pronounced influence on our lives and the…

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A new book from Brandon Adamson is an underground literary event, gents, so hitch a ride.

AltLeft.com

Available in Paperback here

and eBook (pdf) here

Skytrain to Nowhere is an imagination driven and esoteric volume of free-form poetry. The book documents the author’s experiences, thoughts and observations while riding the skytrain at Phoenix Sky Harbor International Airport over the period of several weeks. Since the skytrain is only designed to transport travelers between various terminals and parking facilities at the airport, someone spending nearly 50 hours riding it purely for recreation and artistic inspirational purposes is highly unusual (to put it mildly.) Aside from occasional quirky anecdotes about various passengers, the poems mostly deal with themes of motion, the passage of time, and nostalgia. The author grapples with these issues from a retro-futurist perspective. Skytrain to Nowhere celebrates the realization that our vitality hinges on our ability to always keep moving, while recognizing we are unwilling or unable to leave some things behind on the journey.

Purchase

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No offend Chinese women!

Aryan Skynet

Tiananmen Square Really?

In March of this year, Aryan Skynetspotlighted the race-based resentment engendered by the presence of African students in the Soviet Union. As an article published today at The Unz Reviewcorroborates, the Russian frustration with blacks was not an anomaly within the communist world – nor, as will probably not surprise Skynet readers, was the bloodshed of Tiananmen Square precipitated by spontaneous popular unrest alone. “The idea that any elite – let alone the child-worshipping Chinese – would murder its own children for demonstrating peacefully over legitimate grievances is even sillier than the notion that they were demonstrating about democracy,” begins Godfree Roberts in “Tiananmen Square, 1989 – Revisited”. Instead, the students “were demonstrating about money and sex,” he suggests:

1989 was a most uncommon year: the fortieth anniversary of the founding of the People’s Republic, the seventieth anniversary of the May Fourth Movement, the…

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