← Autodidact Archive · Original Dissent · Hilaire Belloc
Thread ID: 13747 | Posts: 2 | Started: 2004-05-16
2004-05-16 17:46 | User Profile
Perun1201: Catholic but nevertheless we Christians and nationalists in general can learn from it.
Film and the Counterrevolution By Oliver J. Olinger
Concerning contemporary times, I think that few would disagree that the enemies of the Catholic Church, to include Liberalism, Protestantism, Communism, etc., have wrought their heretical philosophy and imposed it on the people mostly through the use of the weapon called media. On the social and political fronts, the revolution propagated by these enemies has meticulously arranged an atmosphere that harbors the useful idiot mentality among the masses, making them ripe for media influence. This dumbed-down population responds very little to reason, Truth, and logic, but exceedingly well to drama and theater. Some of the most obvious examples of this theatrical manipulation can be seen in political races and high profile court cases. Their typical attacks consist of ad hominum responses to the Truth, highly dramatic sob stories (e.g. gay couple Bob and Fred are sad because they can't adopt a child), and warped concepts of tolerance and equality. They have taken idealism out of art and replaced it with their own twisted version of realism (just look at the popularity of 'reality shows'). The counterrevolution must go out, meet the dumbed-down masses head-on in the place where they turn to for answers (i.e. the media) and show them a way out. Film and mass media will be the battleground of this campaign. (For more on the counterrevolution read Revolution and Counterrevolution by Plinio Correa de Oliviera).
The true power of film seems to be ignored for the most part by the right. The left, on the other hand, has utilized the film medium almost since the beginning. A brief look at the history of cinema will reveal the gradual changes over time, through a carefully calculated Hegelian system of compromise, that have lead the film and television medium to where we find it today. The Catholic League's approval on movies became nullified and replaced by a moral-less rating system, the antihero replaced the hero, the good guys became the bad guys, and eventually their own rating system was usurped through tactics such as double entendre (just about any Mike Myers movie will suffice as an example) and the public's shifting feelings of responsibility (i.e. a movie gets an 'R' rating for any amount of violence, even if the violence is heroic in nature, while another movie gets a 'PG' or 'PG-13' despite sexual promiscuity and perversion on a large scale).
I think that another reason the right stays away from film and television is a fear that only liberals watch movies and TV. The right doesn't see that a foray into film would be highly profitable, and here's why: The studios in Hollywood have turned into assembly plants. They invest a certain amount, and based on marketing research, expect a specific return. However, this marketing research is erroneous because it is based on the people that watch movies, not the people that would watch movies if it wasn't for the fact that only liberals make movies. Even an optimistic conservative investor might assume that a conservative Catholic movie wouldn't make any more money than a liberal movie due to its abandonment of the liberal audience. However, today's moviegoers aren't as loyal to Liberal Hollywood as one might think. The average moviegoer will throw just as much money into wholesome Catholic movies like The Lord of the Rings trilogy as they will into the mindless 'Harry Potter' series. Entertainment is still the underlying necessity for success in film. While I stood in line for The Passion of the Christ (Now number seven on the all-time domestic box office record with over 360 million dollars in ticket sales) I met people that hadn't been to the theater in over a decade, and many more that went only once or twice a year. The Hollywood marketing analysts are missing (or intentionally ignoring) an enormous market.
But we, as conservative and traditional Catholics, for the most part, wouldn't touch film and television with a ten-foot pole. We have surrendered one of the most powerful means of reaching the people over to the enemy, who takes advantage of the medium to spew their heresy. To illustrate the success of liberal, socialist, and protestant propaganda in film, I've compiled a few examples:
Domestic Disturbance by Harold Becker, starring scientologist John Travolta. At one point the main character goes to a prostitute's home, where a crucifix hangs on the wall, suggesting that Catholic women are whores.
Deep End of the Ocean by Ulu Grosbard. Whoopie Goldberg (a liberal) plays a homosexual. It's mentioned once, then left alone to be forgotten, suggesting that homosexuals are normal.
Keeping the Faith by Edward Norton, starring Edward Norton and Ben Stiller. The two stars play a priest and a Rabbi respectively. They've been friends since childhood, and end establishing a Jewish/Catholic social club. While some points in the movie are good (such as the priest deciding not to try and sleep with Jenna Elfman's character because he is a priest) the overall spirit of ecumenism ruins it.
Runaway Jury by Gary Fleder starring John Cusack, Gene Hackman, and Dustin Hoffman (all liberals). Gene Hackman is a corrupt lawyer who supports a gun company and fights for gun rights. There is a dialogue where Gene Hackman's character tells Dustin Hoffman's character that morality doesn't mean anything to him, suggesting that Dustin Hoffman, the liberal lawyer trying to destroy the second amendment is the moral, decent character, and that the defender of the 'right to bear arms' is evil.
Pirates of the Caribbean by Gore Verbinski, starring Johnny Depp and Orlando Bloom, was based on the premise that Cortez was evil.
I could, of course, write more examples, but my computer's hard drive is only 240 gigabytes. This type of propaganda acts as elements of rationalization for the dumbed-down masses that patronize movie theaters. Now they will have a picture in their head to go with the liberal and socialist principles they see in the news.
However, there is a growing sense, as socialism and animalism penetrates every aspect of our culture and society, that there's something wrong with the world. But when the people turn to the media for answers, they're force-fed more of the same sickness. The recent trend in 'realism' is a manifestation of this concept. The good old days of heroes and villains in entertainment has been replaced by characters who find themselves in a world of mediocre intentions and selfish acts of 'free expression.' This type of 'entertainment' masks itself behind the label of 'art'. Misery loves company, and in the case of 'reality' filmmaking, a moviegoer leaves the theater feeling justified in living a life of utter uselessness.
Occasionally, a glimmer of idealism shines through the gray cloud of realism that imprisons Hollywood. Most recently, the Lord of the Rings trilogy exemplified classic 'good vs. evil' idealism in film. The success of these types of films is staggering, but the Hollywood liberals are willing to sacrifice profit for the propagation of their disease, and continue to turn out trash. They refuse to admit that the people are starving for Catholic ideals as they exhaust their perpetual attempts to keep their dying 'art' alive. Another example of film success in idealism is the Star Wars series (the most successful film series of all time). While questionable in some of its mysticism, Star Wars maintains the existence of absolute good and absolute evil. George Lucas also suggests through his movies that a United Nations-type of organization (the Republic) is responsible for birthing a holocaust (the Galactic Empire). Whether George Lucas intentionally wrote this message into the script I can't say, but the message is there nonetheless.
A few other important examples: My Big Fat Greek Wedding, which presented a large, fairly traditional family in a good light (although the two main characters did have sex outside of marriage). It also contained hilarious, family oriented comic elements (instead of the vulgar 'shock-humor' that has permeated film of late), was produced for a mere 5 million dollars and grossed 241 million (domestic box office), proving that:
a. people are starving for real tradition, and b. Titanic-sized budgets (200 million) aren't necessary to reach the people through film. Also, M. Night Shyamalan's Signs used a corny but entertaining sci-fi story to tell a moving story of one man's search for faith. Signs grossed 228 million just in domestic ticket sales, surpassing everyone's expectations.
If the counterrevolution is to successfully utilize the film medium, we must understand the nature of the offensive (as opposed to defensive) position we must take. Our enemy has become greatly dependent on the media for the dissemination of their cause. This dependence is based on the fact that the people have been gradually conditioned through education, social programs, etc. to swallow everything fed to them by Hollywood and the liberal media. This is where the battle to free the people from their revolutionary prison must be fought, because this is where the people are. It is important, however, to remember that we must reverse the process. This means we will have to start by using plots and themes similar to what audiences are used to and gradually pull them toward our goal. For the Catholic counterrevolutionary movement to be effective, any and all Catholic financing should go either to the counterrevolution in film and TV, or to education ministries (web sites, schools, colleges, etc.) that can be ready and able to receive and inspire potential converts as they come.
Now is the perfect time for us to launch this counterrevolutionary campaign. The Hollywood studio system is crumbling under the weight of their own loyalty to dying ideologies. To add to this demise is the rise of independent film, complete with the increasing accessibility of low-budget digital filmmaking. Thanks to Mel Gibson, The Passion of the Christ has paved the way for wide distribution of Catholic films with little or no risk. Additionally, the September 11th bombings have helped to expose people's hidden loyalties and misunderstandings. Socialism prepares for its final transitions into Godless anarchy, and as it tightens its grip, more and more people are slipping through its fingers (I borrowed that last line from Star Wars.) And most importantly, the institution of the Catholic Church itself is crumbling from the inside, leaving us with the responsibility of maintaining the True Church through outside influences (film and TV rather than the pulpit and the Vatican). This isn't the first time we, as Catholics, have had to fight heresy from within. St. Hillary of Poitiers in the 4th century responded to the Arian heresy's composition of hymns that promoted their tenets by composing hymns of his own that promoted the True Faith.
Here I've compiled a list of possible ideas of how to counter-revolutionize the film industry:
Show heroic characters in action stories the just 'happen to be' Catholic (instead of heroes that just 'happen to be' gay, atheist, socialist, pro-abortion, etc.)
Villains that embrace the philosophies of socialism, liberalism, modernism, etc.
Catholic allegories (such as 'Lord of the Rings')
Romantic love stories without sex scenes or extramarital sex.
Science fiction and fantasy stories that address the inevitabilities of current modernist trends.
Abortions that end in psychological breakdowns and family disasters.
Comedies that focus on slapstick, situational comedy, witty dialogue, etc. and not vulgarity and 'shock-humor.'
Homosexual characters who are depicted as having perverted and destructive lifestyles.
Environmentalist characters that have no regard for human life and morality.
Peoples' lives being destroyed by pornography and sexual deviancy.
War stories that promote just war, not cowardice.
-If a scene has to be violent, don't allow it to become a peep show for the sick and twisted (i.e. tone down the gore).
-Have characters talk about scientific issues other than Evolution, so that the existence of other, more credible theories reaches the masses.
-Criminals taking advantage of liberal social policies to perpetrate their crimes.
It is incumbent on us to enter the world of film and media, because that is where the people look for answers. 'And I became to the Jews, a Jew, that I might gain the Jews . . . To the weak I became weak, that I might gain the weak. I became all things to all men, that I might save all. And I do all things for the gospel's sake: that I may be made partaker thereof.' (1 Corinthians 9: 20, 22-23). It is time to fight the liberals with their own weapons, at least until we can reverse the revolutionary process enough to appeal to the people through other, more complete methods. The average person today is lost. They haven't even had the opportunity of being raised by parents who were not lost, and thanks to liberalism and modernism in the media, they find their aimless wandering to be their home because they've never been given anything better to aspire towards. But in reality, they're cold and alone, and they're looking for a way out. We, as counterrevolutionaries and as Catholics, know the way to the light at the end of the tunnel, but we have to go into the tunnel to fetch those who are lost.
P.S. I would be remiss if I neglected to mention that I am a conservative, Catholic, and counterrevolutionary filmmaker. I have written a number of scripts that are ready to be produced. The only obstacle left is financing. If anyone is interested in contacting me for any reason I can be E-mailed at [email]OliverOlinger@aol.com[/email], or reached at (321) 727-7544.
P.P.S. Mel Gibson, please E-mail or call me.
2004-05-17 03:11 | User Profile
[QUOTE=perun1201]
Here I've compiled a list of possible ideas of how to counter-revolutionize the film industry:
Show heroic characters in action stories the just 'happen to be' Catholic (instead of heroes that just 'happen to be' gay, atheist, socialist, pro-abortion, etc.)
Villains that embrace the philosophies of socialism, liberalism, modernism, etc.
Catholic allegories (such as 'Lord of the Rings')
Romantic love stories without sex scenes or extramarital sex.
Science fiction and fantasy stories that address the inevitabilities of current modernist trends.
Abortions that end in psychological breakdowns and family disasters.
Comedies that focus on slapstick, situational comedy, witty dialogue, etc. and not vulgarity and 'shock-humor.'
Homosexual characters who are depicted as having perverted and destructive lifestyles.
Environmentalist characters that have no regard for human life and morality.
Peoples' lives being destroyed by pornography and sexual deviancy.
War stories that promote just war, not cowardice.
-If a scene has to be violent, don't allow it to become a peep show for the sick and twisted (i.e. tone down the gore).
-Have characters talk about scientific issues other than Evolution, so that the existence of other, more credible theories reaches the masses.
-Criminals taking advantage of liberal social policies to perpetrate their crimes.
[/QUOTE]
Those would be steps in the right direction, and I would hope the writer of the article know that he would have to form his own movie company to go about such suggestions.