Ed Noor: Two story tellers, Tarantino and Spielberg. Both Jewish. Both with personal agendas. Which one does the most damage to society?
In my humble opinion it is Spielberg with his agenda of twisting history to suit the false Jewish narrative, of events during the last century. It is said most Americans now learn history from Jewish owned media, movies and television and accept what they see as the true history. Needless to say they happily lap up the misconceptions that have the potential to shackle humanity under the Jewish heel New World Order.
Meanwhile Tarantino seems to push a violent hatred of the White race in his bloody I offer two quotes from the stars of his gratuitously gory films which I personally do not find at all worthy of spending a penny (or time) watching.
“It’s almost a
deep sexual satisfaction of wanting to beat Nazis to death, an orgasmic
feeling. My character gets to beat Nazis to death. That’s something I could
watch all day. I thank you, and as a member of the Jewish tribe, I thank you,
motherfucker, because this movie is a fucking Jewish wet dream.” ~ Eli Roth on
his role in Inglorious Basterds
“I kill all the white people in the movie. How great is that?” ~ Jamie
Fox, Saturday Night Live speaking about his role in “Django Unchained.”
February
16, 2013
History is commonly regarded as an attempt to produce a
structured account of the past. It proclaims to tell us what really happened,
but in most cases it fails to do that. Instead it is set to conceal our shame,
to hide those various elements, events, incidents and occurrences in our past
which we cannot cope with.
History, therefore, can be regarded as a system of
concealment. Accordingly, the role of the true historian is similar to that of
the psychoanalyst ~ both aim to unveil the repressed. For the psychoanalyst, it
is the unconscious mind. For the historian, it is our collective shame.
Yet, one may wonder, how many historians really engage in such
a task?
How many historians are courageous enough to open the
Pandora Box?
How many historians are brave enough to challenge Jewish
History for real?
How many historians dare to ask why Jews?
Why do Jews suffer time after time?
Is it really the Goyim who are inherently murderous, or is
there something unsettling in Jewish culture or collectivism?
But Jewish history is obviously far from being alone here:
every people’s past is, in fact, as problematic.
Can Palestinians really explain to themselves how is it that
after more than a century of struggle, they wake up to find out that their
current capital has become a NGO haven largely funded by George Soros’ Open
Society?
Can the Brits once and for all look in the mirror and
explain to themselves why, in their Imperial Wars Museum, they erected a
Holocaust exhibition dedicated to the destruction of the Jews?
Shouldn’t the Brits be slightly more courageous and look
into one of the many Shoahs they themselves inflicted on others? Clearly they
have an impressive back catalogue to choose from.
THE GUARDIAN VS. ATHENS
The past is dangerous territory; it can induce inconvenient
stories. This fact alone may explain why the true Historian is often presented
as a public enemy.
However, the Left has invented an academic method to tackle
the issue. The ‘progressive’ historian functions to produce a ‘politically
correct’, ‘inoffensive’ tale of the past. By means of zigzagging, it navigates
its way, while paying its dues to the concealed and producing endless ad-hoc
deviations that leave the ‘repressed’ untouched.
The progressive subject is there to produce a ‘non-
essentialist’ and ‘unoffending’ account of the past on the expense of the
so-called ‘reactionary’. The Guardian is an emblem of such an approach,
it would, for instance, ban any criticism of Jewish culture or Jewishness, yet
it provides a televised platform for two rabid Zionist so they can discuss Arab culture and
Islamism.
The Guardian wouldn’t mind offending ‘Islamists’ or British
‘nationalists’ but it would be very careful not to hurt any Jewish
sensitivities. Such version of politics or the past is impervious to
truthfulness, coherence, consistency or integrity. In fact, the progressive
discourse is far from being ‘the guardian of the truth’, it is actually set as
‘the guardian of the discourse’ and I am referring here to Left discourse in
particular.
But surely there is an alternative to the ‘progressive’
attitude to the past. The true historian is actually a philosopher ~ an
essentialist ~ a thinker who posits the question ‘what does it mean to be in
the world and what does it take to live amongst others’?
The true historian transcends beyond the singular, the particular
and the personal. He or she is searching for the condition of the possibility
of that which drives our past, present and future.
The true historian dwells on Being and Time, he or she is
searching for a humanist lesson and an ethical insight while looking into the
poem, the art, the beauty, the reason but also into the fear. The true
historian is an essentialist who digs out the concealed, for he or she knows
that the repressed is the kernel of the truth.
Leo Strauss provides us with a very useful insight in that
regard. Western civilization, he contends, oscillates between two intellectual
and spiritual poles ~ Athens and Jerusalem. Athens ~ the birthplace
of democracy, home for reason, philosophy, art and science. Jerusalem ~ the
city of God where God’s law prevails.
The philosopher, the true historian, or the
essentialist, for that matter, is obviously the Athenian.
The Jerusalemite, in that regard, is ‘the guardian of the
discourse’, the one who keeps the gate, just to maintain law and order on the
expense of ecstasies, poesis, beauty, reason and truth.
SPIELBERG VS. TARANTINO
Hollywood provides us with an insight into this oscillation
between Athens and Jerusalem: between the Jerusalemite ‘guardian of the
discourse’ and the Athenian contender ~ the ‘essentialist’ public
enemy.
On the Left side of the map we find Steven Spielberg, the
‘progressive’ genius.
On his Right we meet peosis itself, Quentin Tarantino,
the ‘essentialist’.
Spielberg, provides us with the ultimate sanitized
historical epic. The facts are cherry picked just to produce a pre meditated
pseudo ethical tale that maintains the righteous discourse, law and order but,
most importantly, the primacy of Jewish suffering (Schindler’s List and
Munich). Spielberg brings to life a grand epic with a clear retrospective take
on the past. Spielberg tactic is, in most cases, pretty simple. He would
juxtapose a vivid transparent binary opposition: Nazis vs. Jews, Israeli
vs. Palestinians , North vs. South, Righteousness vs. Slavery. Somehow, we
always know, in advance who are the baddies and who are the goodies. We clearly
know who to side with.
Binary opposition is indeed a safe route. It provides a
clear distinction between the ‘Kosher’ and the ‘forbidden’. But Spielberg
is far from being a banal mind. He also allows a highly calculated and
carefully meditated oscillation. In a universalist gesture of courtesy he would
let a single Nazi into the family of the kind. He would allow the odd
Palestinian to be a victim. It can all happen as long as the main frame of the
discourse remains intact. Spielberg is clearly an arch guardian of
discourse ~ being a master of his art-form, he will certainly maintain your
attention for at least 90 minutes of a historic cinematic cocktail made of
factual mishmash. All you have to do is to follow the plot to the end. By then
the pre-digested ethical message is safely replanted at the hub of your
self-loving narcissistic universe.
Unlike Spielberg, Tarantino is not concerned with
factuality; he may even repel historicity. Tarantino may as well believe that
the notion of ‘the message’ or morality are over rated. Tarantino is an
essentialist, he is interested in human nature, in Being and he seems to be
fascinated in particular in vengeance and its universality.
For the obvious reasons, his totally farfetched Inglorious
Bastards throws light on present Israeli collective blood thirstiness as
being detected at the time of Operation Cast lead. The fictional cinematic
creation of a revengeful murderous WWII Jewish commando unit is there to throw
the light on the devastating contemporary reality of Jewish lobbies’ lust for
violence in their relentless push for a world war against Iran and beyond. But
Inglorious Bastards may as well have a universal appeal because the Old
Testament’s ‘eye for an eye’ has become the Anglo American political driving
force in the aftermath of 9/11.
ABE’LE VS. DJANGO
What may seem as a spiritual clash between Jerusalemite
Spielberg and Athenian Tarantino is more than apparent in their recent works.
The history of slavery in America is indeed a problematic
topic and, for obvious reasons, many aspects of this chapter are still kept
deeply within the domain of the concealed. Once again Spielberg and Tarantino
have produced distinctively different accounts of this chapter.
In his recent historical epic Lincoln, Spielberg, made
Abraham Lincoln into a Neocon ‘moral interventionist’ who against all
(political) odds, abolished slavery. I guess that Spielberg knows enough
American history to gather that his cinematic account is a crude Zigzag
attempt, for the anti slavery political campaign was a mere pretext for a
bloody war driven by clear economical objectives.
As one may expect, Spielberg peppers his tale with more than
a few genuine historical anecdotes. He is certainly paying the necessary dues
just to keep the shame shoved deep under the carpet. His Lincoln is
cherished as a morally driven hero of human brotherhood. And the entire plot
carries all the symptoms of contemporary AIPAC lobby assault within the
Capitol. Being one of the arch guardians of the discourse, Spielberg has
successfully fulfilled his task. He added a substantial cinematic layer to
ensure that America’s true shame remains deeply repressed or shall we say,
untouched.
Needles to mention that Spielberg’s take on Lincoln has been
cheered by the Jewish press. They called the president Avraham Lincoln Avinu (our father,
Hebrew) in The Tablet Magazine. ‘Avraham’, according to the Tablet,
is the definitive good Jew. “As imagined by Spielberg and
Kushner, Lincoln’s Lincoln is the ultimate mensch. He is a
skilled natural psychologist, an interpreter of dreams, and a man blessed with
an extraordinarily clever and subtle legal mind.”
In short, Spielberg’s Lincoln is Abe’le who combines the
skills, the gift and the traits of Moses, Freud as well as Alan Dershowitz.
However, some Jews complain about the film. “As an American Jewish
historian, writes Lance J. Sussman,
“I’m afraid I have to say I am somewhat
disappointed with the latest Spielberg film. So much of it is so good, but it
would have been even better if he had put at least one Jew in the movie,
somewhere.”
I guess that Spielberg may find it hard to please the entire
tribe. Quentin Tarantino, however, doesn’t even try. Tarantino is, in fact,
doing the complete opposite. Through a phantasmic epic that confesses zero
interest in any form of historicity or factuality whatsoever, he manages, in
his latest masterpiece Django Unchained, to dig out the darkest secrets
of Slavery. He scratches the concealed and judging by the reaction of another
cinematic genius Spike Lee, he has clearly managed to get pretty deep.
By putting into play a stylistic spectacle within the
Western genre Tarantino manages to dwell on every aspect we are advised to
leave untouched. He deals with biological determinism, White supremacy and
cruelty. But he also turns his lens onto slaves’ passivity, subservience and
collaboration.
The Athenian director builds here a set of Greek
mythological God like characters; Django (Jamie Fox), is the unruly king of
revenge and Schultz (Christoph Waltz) the German dentist turned bounty hunter
is the master of wit, kindness and humanity with a giant wisdom tooth shining
over his caravan. Calvin Candie (Leonardo DiCaprio) is the Hegelian (racist)
Master and Stephen (Samuel L. Jackson) is the Hegelian Slave, emerging as the
personification of social transformation. To a certain extent, the
relationships between Candie and Stephen could be seen as one of the most
profound yet subversive cinematic takes on Hegel’s master-slave dialectic.
In Hegel’s dialectic two self-consciousness’ are constituted
via a process of mirroring. In Django Unchained, Stephen the slave seems to
convey the ultimate form of subservience, yet this is merely on the
surface. In reality Stephen is way more sophisticated and observant than
his master Candie. He is on his way up. It is hard to determine whether Stephen
is a collaborator or if he really runs the entire show.
And yet in Tarantino’s latest, Hegel’s dialectic is,
somehow, compartmentalized. Django, once unchained, is clearly impervious
to the Hegelian dialectic spiel. His incidental liberation induces in
him a true spirit of relentless resilience. When it comes to it, he kills the
Master, the Slave and everyone else who happens to be around, he bends every
rule including the ‘rules of nature’ (biological determinism).
By the time the epic is over, Django leaves behind a
wreckage of the Candie’s plantation, the cinematic symbol of the dying old
South and the ‘Master Slave Dialectic’. Yet, as Django rides on a horse
towards the rising sun together with his free wife Broomhilda von Shaft (Kerry
Washington), we are awakened to the farfetched cinematic fantasy. In reality, I
mean the world out of the cinema, the Candie’s plantation would, in all
likelihood, remain intact and Django would probably be chained up again. In
practice, Tarantino cynically juxtaposes the dream (the cinematic reality) and
reality (as we know it). By doing so he manages to illuminate the depth
of misery that is entangled with the human condition and in Black reality in
America in particular.
Tarantino is certainly not a ‘guardian of the discourse.’
Quite the opposite, he is the bitterest enemy of stagnation. As in his previous
works, his latest spectacle is an essentialist assault on correctness and
‘self-love’. Tarantino indeed turns over many stones and unleashes many vipers
into the room.
Yet being a devout Athenian he doesn’t intend to produce a
single answer or a moral lesson. He leaves us perplexed yet cheerful. For
Tarantino, I guess, dilemma is the existential essence.
Spielberg, on, the other hand, provides all the necessary
answers. After all, within the ‘progressive’ politically-correct discourse, it
is the answers that determine, in retrospective, what questions we are entitled
to raise.
If Leo Strauss is correct and Western civilization should be
seen as an oscillation between Athens and Jerusalem, truth must be said ~ we
can really do with many more Athenians and their essentialist reflections. In
short, we are in a desperate need of many more Tarantinos to counter Jerusalem
and its ambassadors.