Thursday, November 19, 2009
One needn't read too widely to discover a recurring rape interpretation of Ridley Scott's 1979 sci-fi/horror classic Alien. We have said before that we consider Alien to be a companion film to Scott's Blade Runner, and taken together we can develop a pretty clear picture of just who is doing the raping. We would also add that the film makes an interesting comparison to Spielberg's Jaws: both have instinctual killers preying on isolated environments. The shark kills for food, the alien uses humans as incubators to reproduce--both kill to survive.
Recall that the first beast of Revelation 13 is a global dictatorship; the second beast is the "antichrist," world leader, or CEO. We see this world government being put into place right now, a collectivist global corporate state:
"A state based on the theory that the political community is composed of numerous economic and other functional groups whose importance in the life of the state and the individual is so overwhelming that they, rather than localities or individual suffrage, should form the basis for political representation." (The Norton Dictionary of Modern Thought)
The film begins on board the commercial towing starship Nostromo, running via automation as the seven crew members travel in stasis. The ship's name is an allusion to Joseph Conrad's novel of the same name--a novel which none of the NWOIB crew has read, so we won't comment on it. However, the escape ship is named the Narcissus, also a reference to a Conrad novel.
So rather than allusions to the novels themselves, these names are most likely alluding to Conrad himself; and you can't allude to Conrad without alluding to his masterwork Heart of Darkness (which our Lead Intel Analyst has read) and the themes of colonialism/imperialism. And one can't allude to Heart of Darkness without then alluding to Kutz's last words, "The horror, the horror."
Anyhoo, we'll be doing a write-up on Apocalypse Now soon if the apocalypse doesn't wipe us all out before we get a chance.
It is at this point, as the camera roams throughout the ship's cabin, that a message is received and the ship is woken up so to speak. It can't be seen in the picture above, but this is the first instance that we learn of the Weylan-Yutani Corporation (Weyland-Yutani in the sequal). This, like the Shimago-Dominguez Corp in Blade Runner, suggests the big multi-national corporation, the corporate golem-machine, that views humanity as merely expendable human resources --which is exactly what they are as we'll come to find.
After the order is received, we see lights come on in a corridor leading to the crew members. This is symbolic of a path of illumination: we're going to be shown something here.
Behind the door we find the seven crew members sleeping in pods. The order causes the ship's computer to wake the crew from stasis. To support the path of illumination symbolism, this represents an awakening process.
The viewer doesn't know it at this point, but the first crew member is Kane. The ship, by order of the Weylan-Yutani Corporation is raising Kane. The phrase "raising Cain" refers to raising hell, or causing trouble.
"Kane" is an obvious reference to the Biblical Cain, who killed his brother. The name Cain represents "possession," which, the viewer will come to learn suits Kane just fine as he is the one who brings the alien on board in his gut.
After the crew is awakened, Dallas, the ship's captain, goes to a special room to receive his orders from Mother. We notice the decor of Mother's room is in contrast to the rest of the ship; in here it is warm and soft, comfortable.
Here Dallas is receiving his instructions to retrieve a specimen from a nearby planetoid sending out a signal--distress or warning they do not know. When we do later learn the contents of this message, we will also learn that Dallas is one of those just following orders gutless drones who allows tyranny to flourish--but he gets his just desserts.
After landing on the planetoid, three of the crew members disembark, eventually discovering a craft.
Inside the craft they find a fossilized alien who appears to have had some kind of object exploded from its chest. The fact that this alien is identified as "fossilized" suggests that this predator is an ancient one.
Our guy Kane gets up close with an unidentified pod, which soon jumps out, burns through his face shield and attaches to his face.
Against the ship's quarantine protocol, Captain Dallas brings Kane with "face hugger" on board.
Later, the face hugger dies and falls off, leaving Kane seemingly unaffected.
But Kane soon begins choking and falls onto the table. He is, in fact, possessed. A small, phallic-shaped, alien bursts from his stomach and leaves him for dead. When Parker moves to kill the infant alien, medical officer Ash stops him, thus allowing the alien to escape into the recesses of the ship.
Our modern term "rape" comes from the Latin rapere, which means seize, take by force, or abduct, but was generally without the sexual connotation in early usage. This is the type of rape in Alien, non-sexual possession, a human resource seized and forced to perform a function. This is a raping of humanity. It's a possession and manipulation for selfish purposes, ultimately resulting in destruction.
This scenario also reminds us again of Genesis 6:
"And it came to pass, when men began to multiply on the face of the earth, and daughters were born unto them, that the sons of God saw the daughters of men that they were fair; and they took them wives of all which they chose."
It's strange how many movies reflect the Genesis 6 accounts; we have a theory that the descendants of the Nephilim, the "men of renown" are now occupying various positions of status in fields such as entertainment and leadership and have built themselves up as idols and receive a form of worship that they desire.
The storyline of a corporate dictatorship working to bring an ancient race of foreign beings back to earth is one that can only be told in science fiction.
Above we see the engineer Brett wearing a jacket with a triangular patch near the shoulder. Inside the triangle is a circular design, reminiscent of the pyramid and eye of the "Illuminati."
Brett is killed shortly thereafter by the now fully-grown alien who thrusts an penetrating jaw-within-a-jaw into his chest. Brett isn't left for dead though, he is carried away.
Ripley goes into Mother, the computer room, and accesses the message that woke them from stasis and diverted their mission. She learns that the Welan-Yutani Corporation wants a sample of the organism returned at all cost. The crew, she finds, is expendable. This is why Ash, the medical officer, broke quarantine protocol and and later allowed the alien to escape.
Ash then attacks Ripley in a rather unusual fashion: he rolls a pornographic magazine and attempts to choke her with it, a death not unlike the face-hugger alien, and obviously symbolic of rape. So why is Ash being symbolically linked to the alien?
Well, it turns out that Ash is an android, a golem--a bit of information the crew is unaware of. (It's interesting to note here that Ash dies in the same spastic manner as the replicant Priss in Blade Runner.)
Here the android Ash provides us with the nature of the alien: "You still don't understand what you're dealing with, do you? The perfect organism. Its structural perfection is matched only by its hostility."
Lambert: "You admire it."
Ash: "I admire its purity. A survivor... unclouded by conscience, remorse, or delusions of morality."
Compare Ash's assessment of the alien with the horrors of combat Colonel Kurtz witnessed in Vietnam (from Apocalypse Now):
"I remember when I was with Special Forces... Seems a thousand centuries ago... We went into a camp to inoculate the children. We left the camp after we had inoculated the children for Polio, and this old man came running after us and he was crying. He couldn't see. We went back there and they had come and hacked off every inoculated arm. There they were in a pile... A pile of little arms."
"And I remember...I...I...I cried... I wept like some grandmother. I wanted to tear my teeth out. I didn't know what I wanted to do. And I want to remember it. I never want to forget it. I never want to forget. And then I realized... like I was shot... Like I was shot with a diamond...a diamond bullet right through my forehead... And I thought: My God... the genius of that. The genius. The will to do that. Perfect, genuine, complete, crystalline, pure."
"And then I realized they were stronger than we. Because they could stand that these were not monsters... These were men... trained cadres... these men who fought with their hearts, who had families, who had children, who were filled with love... but they had the strength... the strength... to do that. If I had ten divisions of those men our troubles here would be over very quickly."
These are adequate descriptions of the soul-less, yet efficient, Corporate-Golem killing machine, a legally personified entity operating outside the framework or normal human decency, thus responsible for nothing, accountable to no one. As Kurtz tells Willard, "You have the right to kill me, but you have no right to judge me." Kurtz has rejected so-called civilized society along with their standards of morality.
Ripley, the lone surviving crew member, set the Nostromo for self-destruction, then escapes in the Narcissus.
However, the alien has snuck aboard and Ripley must face it for a final showdown. This monster cannot be defeated by running away from it; it must be dealt with.
Having sucked the alien out the door, Ripley finally feels safe and is able to sleep. The film began with an awakening--in both senses of the word--and ends with sleep, symbolic of a false sense of security. Ripley has won the battle, but the war is far from over; only one alien was killed, there remain hundreds of face-hugger pods back on the planetoid LV-426, and the W-Y Corporation will continue to retrieve a specimen for weapons development.
One could weave a simple analogy here to our political election process: two sock puppets put up for public consumption, both connected to the same puppet-master--the corporate-golem killing machine. Things get bad, people demand change, they get a new puppet; the public--or many of them, anyway--then falls back asleep thinking their job well done.
Finally, consider these points:
1) In the collectivist corporate state, the beast, economic factors outweigh sovereignty or individual rights.
2) The Book of Revelation tells us the significant trait of the mark of the beast, 666, is an economic one: no man will buy or sell without it.
3) The upcoming Copenhagen climate conference will attempt to establish a "carbon economy."
4) Carbon 12, the most abundant form of carbon, has 6 protons, 6 electrons, 6 neutrons.
5) A corporation is a legal person.
at 2:59 PM
Sunday, November 8, 2009
In light of recent events, it feels bizarrely apropos to revisit John Carpenter's 1981 film Escape From New York, part of Carpenter's trifecta including The Thing and They Live. The background motif for this analysis is Pastor David Wilkerson's prophecy of warning:
"AN EARTH-SHATTERING CALAMITY IS ABOUT TO HAPPEN. IT IS GOING TO BE SO FRIGHTENING, WE ARE ALL GOING TO TREMBLE - EVEN THE GODLIEST AMONG US. For ten years I have been warning about a thousand fires coming to New York City. It will engulf the whole megaplex, including areas of New Jersey and Connecticut. Major cities all across America will experience riots and blazing fires—such as we saw in Watts, Los Angeles, years ago."
The crime rate has risen 400% and Manhattan Island has been surrounded by a 50-foot containment wall and turned into a prison. All inmates on the MIP have life sentences.
Based on a veritable embarrassment of symbolic riches of this sort from Hollywood films, every time the NWOIB crew sees the island/prison/life sentence theme the big red Gnostic flag pops up.
The prison's control center is on "Statue of Liberty Island." It's odd that we find the head of the statue lying in the street in the promo poster only to later find that at no time prior to the narrative nor during does any harm come to the statue.
The controlling authority of the prison is the United States Police Force, and they have converted Liberty Island into their control post symbolizing of the notion of freedom having been co-opted by the fascist police state. In Carpenter's 1996 sequel/remake Escape From L.A., this fascist government was depicted as a Christian Theocracy; while we agree that this government will be religious, it most certainly will not be Christian.
Snake Plisskin, a former Special Forces soldier arrives at the island; he has been given a life sentence for robbing the Federal Reserve Bank.
The President of the United States' aircraft, Air Force One, is hijacked, i.e., the government has been hijacked. The President boards the escape pod and is ejected. This President we don't get to know in any real or meaningful way leaving him as merely a representation of the office itself.
The above picture is hard to see, but that's Air Force One flying over Liberty Island towards Manhattan Prison.
Remember this? From the Wall Street Journal:
A "Classified Photo Op Turns Into A Soaring Blunder For The White House"
Here's where your tax money went. Hope you like it.
Air Force One fly-over. Check.
Hijacked government. Check.
Snake is offered a full pardon if he rescues the President and his briefcase containing an important tape within 24 hours.
Prior to the hijacking, the President had been on his way to a summit with China and Russia. He was bringing with him a recording having something to do with nuclear fusion. The Commissioner of the USPF tells Snake that the "survival of the human race" is at stake if the tape doesn't reach the summit meeting.
Snake enters the prison via glider. He lands on top of a World Trade Center tower.
Snake in the glider represents a winged, or feathered, serpent: Quetzalcoatl, the Mesoamerican deity. Ergo, what we're seeing is a deity coming to the material prison (earth) to save humanity.
It's also interesting that Snake wears an eye patch as Islamic texts describe the Dajjal, an "impostor messiah," as having one eye.
Several other bloggers and suchlike have described the 9-11 event as the opening of a "stargate"--which is definitely supported symbolically here in this film: the deity entering our world though the trade center; however, we can't view this as a literal opening of any stargate until someone can explain how demolishing two skyscrapers can open one. But who knows?
On the ground we find that New York is indeed burning. The government has crashed/collapsed and society has regressed into a state of barbarism.
Following his tracking device, the first place Snake goes into is a theater. Inside, there is a performance called "Everyone's Coming To New York," which can be heard here.
Theaters are important cinematic symbols as they indicate something being staged. A theater, also, can be either a building where performances are shown, or a region of military operations. This double entendre was limned artfully in Stanley Kubrick's Full Metal Jacket.
Later in the theater we see the word "COLOM" spray-painted on the wall. This is Moloc, or Moloch, spelled backwards, the deity who requires a burned sacrifice--as in a holocaust, or massacre. Coincidentally, there is a character "Moloc" in the TV series Stargate SG-1, but we can't say much about it as we don't follow the series.
The President is being held hostage by the self-proclaimed "Duke of New York." A duke is a nobleman of high rank, a European term.
The current Duke of York is Prince Andrew, second son of Queen Elizabeth II. Being that New York City was the first capital of the U.S., and now the President is chained to a wall there, this "Duke" character represents the government of the U.S. held hostage by the Royal Family. The NWOIB crew pieced together last year a possible historical narrative concerning how this Royal Family relates to the NWO: The Merovingian Code.
Later in the film we see the President in the "Executive Room." Here he is tied up with a flag and wearing a wig, like a theater costume. Also in the room are games and mannequins. Our President/royal hostage is also a mannequin, or a puppet--like Bush, Obama, or whomever. He's a front man for big banks and the throne, sending American soldiers to do their dirty work in foreign countries.
Snake eventually gets the President to the wall and he is rescued.
But Snake later finds that our royal sock-puppet President is more concerned about his appearance than the people that died getting him out.
Because of this disappointment, Snake gives them the wrong tape and the nuclear fusion recording does not make it to the China/Russia/US summit. Snake destroys the tape as he walks away.
We must surmise here, based on Commissioner Hauk's words earlier, that nuclear war follows. So mankind is not saved, as the "impostor" eye patch indicated earlier. Maybe Snake realized there is nothing worth saving, or maybe he feels "we have to destroy it in order to save it." Maybe there's no stopping what is to come.
The quotation at the beginning of this post was taken from The Watchman, 911 and The Harbingers which lists the "eight harbingers of judgment" surrounding the 9-11 event. There seems to be a lot of chatter concerning the threat of imminent nuclear disaster in America sometime soon. One of these could be written off as popular doomsday prophecy that occurs occasionally, but there have been A LOT recently. More from Pastor Wilkerson:
"Right now, I believe God is speaking a warning to New York City and I wrestled with His severe word as I prepared this message and I prayed, Lord, is this really going to happen? Again and again I heard this still small voice, "Preach it and warn the people. Those who want the truth will receive it.
"Saint: This warning is not meant to scare you. It's meant only for you to take to the Lord and pray. This is what I believe the Lord has shown me. Thirty days of chastisement will fall on New York City such as the world has never seen. God's going to let down the walls. Unimaginable violence, looting, a thousand fires will be burning at the same time throughout the city and it's burroughs. Times Square will be ablaze and the flames that ascend into the heaven will be seen for miles. Fire trucks will not be able to handle it all.
"Trains and buses will be shut down. Billions of dollars will be lost. Broadway shows will stop completely. It will cause businesses to flee the city in an unstoppable hemorrhage. The violence will be ferocious. It will shock the whole world. Our streets will be lined not just with National Guard but the militia. The Los Angeles fires were confined to a few sections of their city but New York will be ablaze and its burroughs. Such things are expected in Third World countries but not in a civilized nation like the United States. Yet in not too long a time afterward New York City will go bankrupt. The city's Queen city will be cast into the dirt. A city of poverty. You ask, when will all this happen? All I can say is I believe I will be here when it happens. When it happens, no matter where we are, in your apartment or on the job, God's people are not to panic or fear."
Passports Linked to 9/11 Found in Pakistan
Fort Hood shooting: Texas army killer linked to September 11 terrorists
Navy Vessel Made From Twin Towers
at 5:14 AM