It is a strange feeling to watch the American Republic’s decline into the madness of tribal collectivism. As a philosopher and historian I know the symptoms of cultural implosion so it is fascinating to watch the infection progress through the body. It is kind of like the interest a medical doctor has for the mechanics of physical malady. He can appreciate the biology but he doesn’t specifically relish the pain of the afflicted. Just like the doctor I can appreciate the philosophical gangrene coursing through the body politic but I do not relish the imminent disintegration of the American Republic.
So anyway, I went to see Elysium, staring Matt Damon and Jody Foster on Friday August 9th. I had a pretty good idea what I was going to be treated too, but I decided that maybe, just maybe I would be pleasantly surprised with an interesting futuristic thriller. Yea, well, a fool and his money are too easily parted. The upside is I was given grist for the Spiritual Tyranny mill.
On my unofficial publishing schedule I had an article addressing Al Mohler and TD Jake’s coming next. Alex Guggenheim inspired me to take a much deeper look at the rise of white guilt as a socio political tool with his article that I posted here. My intent was to take Jakes and Mohler to task over their comments regarding George Zimmerman and Trayvon Martin. My goal was to take up where I left off with my critique of Trillia Newbell mindset and address the philosophical functions of creating and sustaining manufactured racial guilt. But I was less than fifteen minutes into Elysium and I knew I had my next article; I spent most of the movie writing in my head.
Just for the record, I’m a blast to watch movies with . . .
I shout at the screen and call BS when the characters do something too stupid to live. I rail against continuity problems within the script or fume at the videography. Speaking of which let me get this rant off my chest. I am so over Hollywood’s love affair with spinning, twirling, twitching, bobbing, flashing, strobbing videography. I should NOT need Dramamine to watch a movie. And I do NOT want to be “in the action.” If I did, I would not be in a movie theater.
(I am truly sorry that every camera man in Hollywood is afflicted with the Michael J. Fox disease but would you Directors PLEASE find someone that can hold the camera STILL!)
Anyway, I really work at refusing to be insulted by the endless flashing and jerking but I really don’t succeed because I am acutely aware that I AM being insulted. The current videography style of infusing movies with an endless light show is directly tied to the presumption that the American movie going public has the attention span of a twelve year old. The camera work is merely the parental equivalent of clapping and snapping to get a child’s attention. It never occurs to the parent that the reason the kid doesn’t pay attention is because they don’t have anything important to say. Of course this is the real root of the moving making problem: Hollywood doesn’t really have anything to say. And instead of finding something significant to capture on screen they keep trying to dazzle the “mindless hoards” with flashing lights. Well, I’m not dazzled, and if annual movie receipts are any indication neither is the American movie going public.
I am pretty sure though, that Neill Blomkamp would be confused at my criticism that his movie didn’t have anything important to say since he tried triple hard to make a movie about racial oppression and global healthcare. What could be more important than the very heady conversation about white people being racially condescending and determined to condemn black and brown people to lives of squalor and sickness?
(I saw no Asians in the movie so evidently white people are the only racists on the planet)
I should probably insert my spoiler alert. I’m going to talk about the movie so if you don’t want to know the end, stop reading.