Racist Liberalism: Finding Hitler in Hollywood
#1
I know we already have a  "Kino Diary" thread, but firstly, I wanted to make a more specific version, and secondly, making a new thread makes the forum more active.

With that, I'll discuss my choice for finding potentially pro-Nazi themes even in the most bleeding-heart liberal productions. 

"Hanna" was an action/thriller film released in 2011, directed by Joe Wright.

Hanna is a teenage girl being reared by her father Erik in a log cabin in some Scandinavian wilderness. She is taught to shoot, hunt, trap, and defend herself, alongside a more typical education.  She is shown as having ghost white hair, pale skin and light blue eyes. At the beginning of the film, she expertly tracks and shoots a deer, dispatching it without a flicker of remorse.

It is swiftly shown that her father is being hunted down by the United States, for reasons unknown. She is captured and interrogated by the film's antagonist, Marissa, an agent who is later shown to have a past with Erik. Marissa is a cold, spiteful, careerist, middle aged woman - the typical modern day regime enforcer. 

Hanna is captured and interrogated - but uses inhuman strength to murder her examiner, and escape from the black site. There follows a long, meandering journey where Hanna joins up with a travelling family to escape, and finds a glimmer of "normality" - but she leaves in the end. It isn't her calling.

After a while of frantic chase scenes by Marissa's goons (including  grungy, Neo-Nazi skinheads), Hanna finds her father again, and discovers, at last, the explanation for her existence: he is not her father, and she is part of a breeding programme to create a genetically engineered supersoldier. This explains her abnormal strength, senses and cold, flat demeanour. The programme was shut down after the US felt they could not control what they had created - and the order was to wipe out every last specimen.

He, as an agent himself, escaped the facility after falling in love with another test subject, but she is killed by Marissa. He then rears Hanna into fulfilling her mission: to avenge his lover, and kill Marissa.

Agent Marissa is tasked with eliminating Hanna, as the potential last of her kind. She is portrayed as the archetypal Wicked Witch, an older woman gone badly wrong, bent on killing the younger generation out of spite and envy.

Erik is murdered by Marissa and her goons, and and Hanna finds herself being chased through a decrepit, abandoned Berlin amusement park. But Hanna uses her power to her advantage, and hunts Marissa down herself, eventually trapping her and killing her with two shots, like the deer: a predator of animals and man both, fulfilling her created destiny.

The film itself is shown through a libtard lens: the villains are essentially the CIA, and Hanna shares an intimate moment with a girl when with the travelling family. 

But then you step back, and realise the film is essentially about the United States military hunting down a genetically engineered Aryan specimen because they fear they cannot control her, and fear her power. The hunter is a bitter old woman, a regime servant, looking to to strangle the future in its crib.


The film also has an excellent soundtrack: 
https://m.youtube.com/watch?v=HBmwcuLa1as

If anyone has other films they'd like to discuss  feel free.
#2
Not a film but I think that my go-to example of an ostensibly liberal/left/normalfaggot piece of work self-owning and pointing right is Fallout New Vegas.

Regardless of what any character in the game says the best answer to everything turns out to be autocracy. The player is an all-powerful god of death and all crafts and every situation is solved by the most powerful and qualified actor (you) showing up and disregarding all standards, norms, and procedures to just do the thing. The NCR normalfaggot army's problem is that it's not autocratic. Pretty much every quest is a competent person asking you to work around their bullshit because their hands are tied by the fundamentals of their system. You can only serve democracy by acting autocratically.

Meanwhile at the Legion, everything they profess is in line with what they ask and expect of you, and their in-lore success is traced back to this efficiency and clarity of purpose.

And House, same thing. He's an autocrat whose rule is purpose-driven. He acts like you do when playing a video game. He just beelines for what he wants and doesn't let NPCs get in his way.

It's the concessional integrity-breaker at the heart of all *socialised* action stories. If the hero is going to fight for good normalfaggot domestic order, he's fighting for a world fundamentally unlike himself, what suits him, etc. You buy New Vegas for this exciting world where the problems of being embedded within a complex and rather decrepit social order drop away and you can act decisively against all obstacles in your way, and most people unthinkingly support the NCR as a good guy path for this story to take. The NCR are going to build the world that drove you to seek refuge in Fallout: New Vegas. The Legion and Mister House are only going to honestly ask you to continue acting how you're already almost certainly acting, for the purpose of creating a world that harmonises with this free spirit of play and decisive action you pick up games for.


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