Archives for posts with tag: rape culture

Jurassic World Fallen Kingdom

Star-Lord (Chris Pratt) is reluctantly recruited by ex-girlfriend Gwen Stacy (Bryce Dallas Howard) to rescue as many species of dinosaurs as they can from Isla Nublar before the island’s volcano erupts. The enterprise is being bankrolled by a mysterious philanthropist (Rafe Spall) – but is his offer what it appears to be? Most importantly, can the unfossilized and feral creatures be contained after they are transported to safety? Jurassic World: Fallen Kingdom delivers the mayhem fans are expecting and more, with the volcano’s explosion providing the perfect pretext to fill the screen with giant reptiles of every variety as they scurry and stomp for their lives.

4 out of 5 stars. Ideological Content Analysis indicates that Jurassic World: Fallen Kingdom is:

[WARNING SPOILERS]

4. Feminist and pro-miscegenation. Representing the Coalition of the Fringes are a tattooed Latina man-hater (Daniella Pineda) and a nebbishy mulatto computer whiz (Justice Smith).

3. Anti-white, anti-gun, and animal-rights-militant. Ted Levine appears as a “great white [sic] hunter” whose hobby of assembling necklaces from the teeth of endangered species earns him a dinosaur jaw’s worth of trouble. Guns, in addition to being unreliable, are problematic in the possession of trigger-happy white men in particular.

2. Disingenuously antiwar but actually anti-Slav and neoconservative. The dinosaur rescue operation turns out to be a nefarious military-industrial plot – what? social justice hijacked for capitalist plunder? I’m shocked! – and the movie climaxes at an auction at which arms procurers from around the world bid on weaponizable reptiles. Present at the auction are representatives from Russia, Slovenia, and Indonesia, the world’s most populous Muslim nation. “Too many red lines have been crossed,” as well – ostensibly with regard to Frankenstein genetic science, but probably also in reference to Syria.

1.Racist! Bookending the film are testimonies from learned elder of science Jeff Goldblum, who warns that humanity, by saving the dinosaurs, is risking its own extinction. Underlying the film is the West’s anxiety about the acceptance of “refugee” populations from the Third World. The dinosaurs, as savage, prehistoric animals – rather like Africans, the film seems to imply – are objects of both amazement and civilizational trepidation. Indicative of the mingled fear and excitement experienced by mentally ill social justice warriors in the presence of rapefugees is an unsettling scene in which a dark-colored dinosaur creeps into a little girl’s room and hovers over her in her bed, extending a claw to caress her. This same child’s decision at the end of the film to release the dinosaurs into the modern world can be read either as a parody or a celebration of naïve Europeans’ – and particularly women’s – childishness and erotic retardation in ushering in their own racial and cultural annihilation. She makes her momentous choice after discovering that she is a clone and not the person she thinks she is – which is to say, after having her sense of identity undermined.

Alternatively, Jurassic World: Fallen Kingdom can be read as an allegory about the danger inherent in providing succor to Jews. After rescuing the dinosaur-Jews from the volcano-Holocaust, western man is faced with the problem of how to survive with these troublesome creatures in his midst – an interpretation bolstered by an attempt to exterminate the dinosaurs with cyanide gas at the end of the film and which, furthermore, would put a somewhat different and perhaps self-revelatory spin on the aforementioned scene of the giant lizard in the little girl’s bedroom.

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!

Prick Cadillac

Oozing down the street, indeed. Make no mistake, fellow social justice warriors: Bruce Springsteen is pure, unadulterated pink slime.

[Ideological Content Analysis is both pleased and privileged to bring readers this thought-provoking and patriarchy-challenging guest post by Rokuro “Rocky” Roth-Hideyoshi, roving pop correspondent for Beat/Down: A Journal of Queer Quriticism and Aural Experience.]

Does any circumstance better illustrate the unrepentant heteronormative and intra-racial supremacy of corporate radio than the fact that “Pink Cadillac”, Bruce Springsteen’s hate-saturated 1984 B-side to the disturbing “Dancing in the Dark”, continues to receive occasional airplay on nominally non-Aryanist networks and to be hosted on YouTube and other popular websites without censorship or content disclaimers? As Kevin Ransom writes, it is one of those “songs that have practically been pounded into cliché by super-heavy radio rotation.” Springsteen’s ersatz protestations of anti-racist commitment are never convincing – a case, one suspects, in which, as Hamlet would put it, “the hater doth protest too much” – and even assuming the “Boss” has the best and most progressive of intentions, his social justice eruption insurance premium is always going to be on the high side in view of the unforgettable wreck that constitutes his “Pink Cadillac”.

An unabashed paean to European-American sexual exclusivity as well as a puerile celebration of priapic chauvinism, “Pink Cadillac” concerns the leering interest of its self-aggrandizingly amorous protagonist in the “back”, i.e., posterior, of a womban’s “Cadillac”, or objectified, dehumanized, commercialized, and customized “crushed velvet” body – conceptualized in this instance as an empty vehicle-vessel requiring a licensed (i.e., privileged) driver – which is, of course, to say an owner. “But my love is bigger than a Honda, it’s bigger than a Subaru,” he insists, betraying his insecurity while at the same time perpetuating the adolescent cruelty of the miniature Asian male sexual organ stereotype. Springsteen is one of those white men who only feels adequate when he has succeeded in making the other – in this case, the “yellow man” he fantasizes about killing in “Born in the U.S.A.” – feel small and marginalized.

The economic context, one must also remember, found the American worker and music consumer – Springsteen’s primary audience – uncertain about the future of their country’s industrial base in the face of Japanese electronics and automotive competition after nativist propagandists had largely succeeded in riling white Americans into a paranoid frenzy about global trade and the opportunities this presented for economic development in an increasingly interconnected and justice-seeking planetary order. The butt-wiggling braggadocio of the “Boss”, then, must have provided a powerful salve to the chafed egos and bruised sexualities of a generation of self-absorbed and privileged white males in desperate need of perpetual reassurance. Losing at one game, he plays another: reproductive protectionism.

Bruce Springsteen

In 2016? Really?

“Honey, I just wonder what you do there in the back of your Pink Cadillac,” he declares, hovering hairily over the listener, who feels herself almost compelled to detect the beer that is undoubtedly on his breath. He positively belches a pushy, intrusive curiosity about the sexual history of an unnamed female-gendered person, and one is left to glean from the rapist protagonist’s later reference to Eve that Springsteen is addressing a womban. Invading her mental and physical space, he commands her to “come on over here and hug me” in an attempt at projected volition so as to facilitate his intention of sexual assault and simultaneously implicate the victim as an accomplice in his own act of non-consensual violation. His invocation of Eve, too, serves to shame the target of his transgression into complicity by establishing a useful correlative with the temptress of myth.

The song, which Springsteen wrote in its first version under the rapey title “Love Is a Dangerous Thing” in 1981, took on anti-Semitic and white supremacist overtones as it devolved into what would become the honky-tonk clunker “Pink Cadillac”. In an erratic aside, the “Boss” – knowing he has the undivided attention of his impressionable audience – actually interrupts the assault to address his male listeners specifically, wishing to issue a warning to them about an imagined Jewish peril. “Well, they tempt you, man, with silver, and they tempt you, sir, with gold,” he rants, going on to espouse the canard about how the Joooooooz also “tempt you with the pleasures the flesh does surely hold.” Honestly, Mr. Springsteen? In 1984? The “Boss” confirmed for the world the depth and grossness of his anti-Semitism and sexism when he forbade peerless diva Bette Midler to include a cover of “Pink Cadillac” on her 1983 album No Frills.

Springsteen also revealed his frightening adherence to the white supremacist beliefs of the Christian Identity cult when he prefaced a live 1984 performance of “Pink Cadillac” with these contextualizing remarks: “Now, this is a song about the conflict… between worldly things and spiritual health… between desires of the flesh… and spiritual ecstasy… now, where did this conflict begin?… well, it began in the beginning in a place called the Garden of Eden… now, the Garden of Eden was originally believed to have been located in Mesopotamia… but the latest theological studies have found that its actual location was ten miles south of Jersey City, off the New Jersey Turnpike… now, understand, in the Garden of Eden, there were none of the accouterments of modern living… I mean they didn’t have no Laundromats, they didn’t have no like, like little toasters you could put your Pop-Tarts in and then watch Johnny Carson on TV…”

Relocating the Garden of Eden from the geographical Middle East to some presumably pristine white enclave of the American imaginary when it was still free of the tacky consumerist dreck and mass media “brainwashing” peddled by the stereotypical Jewish merchant caricature of anti-Semitic propaganda, Springsteen casts Adam as the progenitor of the Aryans, whom he believes to be the living embodiment of Israel. BDS activists have attacked Springsteen for the singer’s apparent willingness to tour the Zionist state this summer; but these misguided crypto-racist neckbeards miss the point entirely. Springsteen, if the dark history of “Pink Cadillac” is any indication, is venturing to Israel not to entertain the evil Joooooooz, but to conquer and occupy what he, in the fever of his sweaty, race-crazed delusions, regards as the rightful lebensraum of the Aryan Nations of Jersey.

No wonder a 2012 study found that listening to Bruce Springsteen music for seven minutes can turn normal people into racists!

Rokuro “Rocky” Roth-Hideyoshi

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1Xyv1Hw

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY SEVENTEEN

Maleficent

After decades of speculation about her actual physical form, Angelina Jolie appears without makeup or airbrushing software in Oy Gevalt Disney’s Maleficent. For years her horns and razor-sharp cheekbones have remained hidden, digitally erased through the wonders of CGI; but now the moviegoing public can finally see for themselves what a witch Brad Pitt pledged to fuck on a regular basis in exchange for worldly celebrity in a Luciferian pact with the Globalist Nazi Illuminati Council on Foreign Relations.

[WARNING: SPOILERS]

4 out of 5 stars. Ideological Content Analysis indicates that Maleficent is:

5. Globalist. Rival realms are united after the death of a king (Sharlto Copley). War will be obviated by the erasure of national borders.

4. Multiculturalist. Disney managed to dig up a few medieval European blacks for extras.

3. Pro-gay. Only “true love’s kiss” can awaken Aurora (Elle Fanning) from her slumber. Of course, Maleficent’s creepy lip-squish does the trick. “I’m going to live here in the moors with you,” Aurora has said earlier. “Then we can look after each other.” Maleficent teaches little girls that men, and especially white men, are not to be trusted unless weak and dim-witted. “Fairies” are the good characters, whereas men are evil.

2. Misandrist. The only positively depicted males are an apparently lobotomized prince (Brenton Thwaites) and a shapeshifting furry omega (Sam Riley). In a kid-safe evocation of “rape culture”, Maleficent is drugged on a date of sorts and has her wings clipped while she sleeps. Armies of senselessly violent (and mostly white) males rampage over the countryside, hell-bent on oppressing women and diverse magical creature populations.

1. Cultural-Marxist. Up is down and down is up. A hideous monster in the fantasy world of this movie is “classically handsome”. Maleficent, described as “both hero and villain”, purports to be “strongest of the fairies”, but anybody with a preschool education knows a being with horns growing out of its head is called a devil. This is one of myriad movies in which the traditional symbols of evil, as in Little Nicky and Dracula Untold, have been transformed into sympathetic characters – a process discussed at greater length here.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1PxcJG1

DESCENT

Henry L. Racicot reviews Rosario Dawson rape revenge programmer Descent.

Descent: Talia Lugacy, the writer/director of this inept rape drama, doesn’t seem to like white men. This feeble-minded, racially misguided AmerICKan attempt at shock cinema depicts white men as racist, latent homosexual, insecure, riddled with deep feelings of inferiority and with longings to be dominated and humiliated. . .in other words, all AmerICKan white men want to be Kelsey Grammar. . .ha ha ha. But anyway, here’s the story:

Maya (name probably reflects some embarrassing Lugacy tribute to one of her probable *inspirations:* the buffoonish *poet* Maya Angelou) is a pretty young AfrICKan-AmerICKan college girl. . .she’s the bookworm type. . .it seems important to Lugacy the audience view the colored Maya as *smart*. . .it may be, considering the abysmally condescending course this movie will take, that Lugacy is one of those very hip, clued-in New Yorkers, who drinks fancy coffee beverages with an assortment of mud people and therefore marvels at her own tolerance and thus wants to enlighten the rest of AmerICKa, which certain of the snobbish inhabitants of the Big Apple believe resembles the hills of Tennessee, circa 1867. . .
Anyway, Maya is AfrICKan-AmerICKan, pretty and smart. . .and very wary around men. . .we learn Maya is still hurting from the break-up of a recent relationship. . .so Maya is VERY GUARDED, not wanting to get burned again. . .since she is so smart, she can easily see through all the shallow men who hound her. . .then at a party, Maya meets Jared. . .a white college football player. . .he wouldn’t seem to be exactly bookworm Maya’s type. . .but Jared really works on her, giving her a lot of what Lugacy must think to be cunning romantic sophistry, but what the audience (even the boobs out in the sticks west of New York) will realize are just lame come-ons. . .but, of course, Maya falls under Jared’s weak spell. . .she goes back to his apartment, they kiss for a bit, then Jared starts to fondle her breasts and Maya says “no,” “stop,” and all that good date rape stuff. . .but Jared, who had to work real hard to convince Maya that he was worthy of her, will not take “no” for an answer. . .he proceeds to rape the poor girl, all the while hurling mean racial epithets at her (such as nigger, maggot and baboon). . .
[Here let it be noted, as per the Department of Justice’s Criminal Victimization in the United States statistics, white-on-black rape has a zero percent statistical chance of occurring. . .less than 10 sample cases out of the 36,000 cases of rape in which black women were the victims (conversely, of the 111,000 cases of rape in which white women were the victims, 33% of the rapists were black)]
         Continue reading

Vice poster

Sometimes nothing quite hits the spot like a bleak futuristic movie. Combining elements of Westworld (1973) and Blade Runner (1982) and updating these themes with apprehensions of twenty-first century cultural rot and a rising police state, Vice is a worthy entry in the dystopian thriller genre. Appropriately, generic actress Ambyr Childers stars as a synthetic human plaything at Vice, an indoor resort complex for perverts and sadists. Thomas Jane is cool as the dedicated but tired cop who attempts to find Childers after she escapes into the outside world, and Bruce Willis oozes the sleaze of authority as Vice’s untouchable proprietor. Fast-paced and relevant, Vice is solid. Those hoping for outrageous depictions of high-tech debauchery, however, will be disappointed, as most of the sex is merely teased.

4 out of 5 stars. Ideological Content Analysis indicates that Vice is:

5. Arguably Christian. A church provides at least momentary refuge. One line of dialogue suggests that those wrapped up in illusions avoid such places. Christians are falsely blamed as likely terrorist suspects.

4. Misandrist. Vice, unfortunately, is full of today’s hysteria about a ridiculous “rape culture”. The film depicts a nightmare America not unlike that from the Purge franchise, in which white males would delight in nothing more than to pay for the privilege of beating up, raping, and murdering women.

3. Anti-state and anti-corporate. Vice reflects the darkening reality of a world governed by a sexually permissive but totalitarian state guided by materialistic corporate interests. Elements of the police are in Willis’s pocket and work to cover up his crimes. The Vice resort fronts for defense sector research, the “artificials” being tested for military applications. The film can also be read as a skewering of the official 9/11 story.

2. Luddite. Technology threatens human liberty. Characters hope to escape to the “tech-free zone” of St. Helena.

1. Pro-censorship. Surprisingly for a Hollywood movie, Vice contains a thinly veiled argument for censorship. Describing the pleasure palace in words that might just as easily refer to the multiplex and its desensitizing effect on viewers, Thomas Jane’s cop holds forth as follows:

You know, people go in there and they get their freak on and they do whatever they do, and then they keep goin’ in there, and then they keep goin’ in there, and then they bring that shit out in the real world, it feels normal to them. [. . .] I used to be a cop. I’m not a cop anymore. I’m a fuckin’ garbage collector since that fuckin’ place opened up. It needs to be shut down.

Later, in a confrontation with villain Willis, he adds:

This is the only place I know that any scumbag in the world can get into paradise [. . .] You would think that if you created a place where people could come and they could commit any crime they could think of, just any fucked-up thing that comes into their head, they could get it out of their system and they’d become better citizens, you know. But you know it turns out, the exact opposite is true. These people get a taste and they just can’t get enough.

Rainer Chlodwig von Kook

Scarehouse_poster

Sorority sisters, haunted houses, and nights of revenge are all typical slasher movie elements; but Killer Party this is decidedly not. A Canadian blast of cold gore porn, The Scarehouse is a story of two competing horrors: the tortures inflicted by its vindictive protagonists, on the one hand, and the vapid “21st century party monster” mentality of their bevy of victims on the other. As to which is more appalling, that is for each viewer to decide. Co-ed sadists Corey (Sarah Booth) and Elaina (Kimberly-Sue Murray) are out of prison and out for vengeance after taking the rap for a sorority prank that resulted in an involuntary manslaughter. Determined to torment their fellow sisters, the pair has designed a haunted house attraction to mask the actual torture laboratory within.

The lighting and atmosphere of the film should satisfy devotees of the genre, and genuinely homicidal psychos should also be entertained. The lead performances, particularly Booth’s, are strong; but The Scarehouse, like other torture-oriented horrors, suffers from lack of likable characters. The backstory explaining the night’s motivation is never sufficient emotional justification for the shocking degree of onscreen brutality, and serves only to ensure that even the screaming victims of the atrocities garner little audience sympathy. Occasionally humorous, The Scarehouse is more often disturbing, and this reviewer would much prefer to have seen a movie about these two characters not killing people.

2.5 stars. Ideological Content Analysis indicates that The Scarehouse is:

4. Homosexuality-ambivalent. From the perspective that there is no such thing as bad publicity, The Scarehouse is pro-gay for featuring homoerotic flirtation between young women; but the portrayal of the lesbian lead as a psychopath is hardly flattering.

3. Anti-Christian. Jesus freak Jaqueline (Katherine Barrell) stands for the film’s contempt for “fire and brimstone shit”. Other irreverence takes the form of the sadists’ appropriation of crucifixion symbolism: Corey has a cross tattoo on her back, while Elaina at the end can be seen wearing a crucifix.

2. Anti-drug. “You might want to stick to water.” Drinking, along with a rufie, results in the accidental death that sets the plot in motion, and drunks are also more susceptible to the torture porn treatment. One of the songs on the soundtrack also refers to alcohol poisoning.

1. Anti-feminist. Whatever The Scarehouse’s intentions, it shows something of a divided mind with regard to its array of targets. Elaina and Corey advertise no overt ideological motivation for their murder spree, but do demonstrate a distaste for traditionalism as it takes on grotesque, hypocritical forms. Jaqueline’s Christian good girl moral code is a lie, so she must be punished. Similarly, Katrina (Emily Alatalo), for “Frankensteining” herself in an exaggerated devotion to a male chauvinist’s hourglass figure ideal, must answer for her betrayal of her sorority oath to embrace woman’s “inner beauty”.

Corey and Elaina, if they are supposed to be radical feminist progressives, discredit their cause with their violent antics. The moon phases pictured on Corey’s tank top may mark her as merely a walking, talking, rampaging case of PMS. “Why does everyone think I’m a lesbian?” she wonders aloud, to which Elaina replies that “there is some truth in it”, the implication perhaps being that the political agenda of Corey and her type is motivated more by sexual frustrations than by reason or fairness. Elaina blunders through the sorts of clueless academic abstractions that cause social experimenters’ projects to fail. “You know I only have textbook theory,” she frets. “I built this place on a lot of theory, and this is a test run, so give me a frickin’ break on a few minor flaws.”

The fact that horny, drunken fraternity men appear as the gullible victims and not the perpetrators of murder and sex crimes undercuts the popular misandrist myth of an ubiquitous “rape culture” on college campuses. Women’s degradation and endangerment appears as their own doing in The Scarehouse. The sisters only degrade themselves by calling each other “cunt” and “bitch”. As women’s femininity has been eroded, their pedestal toppled by political empowerment, they no longer enjoy their previous freedom from violence and sexual mutilation at the movies. (“I am going to punch her in the box,” Corey threatens.) Just as a man can be kicked in the crotch with the utmost casualness, as has been the case for decades, “liberated” (i.e., dehumanized) women are now more apt to see their breasts removed or their eyelids ripped off on the big screen. A satirical indication of the degeneration wrought by the sexual revolution comes when the sight of the bloody and ravaged Katrina makes one character wonder if this is a “sex party”.

IRRUSSIANALITY

Russia, the West, and the world

Muunyayo

A Vote Will Never Negate Nature...

Fear of Blogging

"With enough courage, you can do without a reputation."

Alt of Center

Life. Liberty. And the Pursuit of Beauty

The Alternative Right

Giving My Alt-Right perspective

Logos

| literature |

The Espresso Stalinist

Wake Up to the Smell of Class Struggle ☭

parallelplace

Just another WordPress.com site

NotPoliticallyCorrect

Human Biodiversity, IQ, Evolutionary Psychology, Epigenetics and Evolution

Christopher Othen

Bad People, Strange Times, Good Books

Historical Tribune

The Factual Review

Economic & Multicultural Terrorism

Delves into the socioeconomic & political forces destroying our Country: White & Christian Genocide.

Ashraf Ezzat

Author and Filmmaker

ProphetPX on WordPress

Jesus-believing U.S. Constitutionalist EXPOSING Satanic globalist SCAMS & TRAITORS in Kansas, America, and the World at-large. Jesus and BIBLE Truth SHALL PREVAIL!