Georg Gyssling and Leni Riefenstahl
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All installments in this series available here
Over the last few years, there has been some controversy about the influence of China over Hollywood. The claim is not that China is secretly controlling Hollywood, as the Alex Jones types have been insisting, but that Hollywood has been increasingly tailoring their films to meet the approval of the Chinese government in order to gain access to the massive Chinese market. Most commentators, especially liberal ones, consider this a bad thing. (more…)
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Down these mean streets, a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero, he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor, by instinct, by inevitability, without thought of it, and certainly without saying it. (more…)
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Part 2 here, Part 3 here
Tucker Carlson recently ruffled some feathers for calling WWI “the Iraq War of its day.” I’m not sure what these people were offended by. I think there are just people who get outraged by the things Tucker Carlson says first before coming up with a reason why (more…)
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James J. O’Meara
Passing the Buck: Coleman Francis and Other Cinematic Metaphysicians
Melbourne: Manticore Press, 2021
Imagine going thirty, forty, fifty, or even sixty years of your life without comprehending the dizzying implications of how some movies, typically — and often charitably — understood to be cringingly awful, actually serve as thaumaturgic runes which reveal glimpses of the painful, beautiful Truth behind this swiftly degenerating stage of Kali Yuga. (more…)
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Rick Perlstein
The Invisible Bridge: The Fall of Nixon and the Rise of Reagan
New York: Simon & Schuster, 2014
The Invisible Bridge is a look at the link between Richard Nixon’s reshaping of American politics and the Republican Party and the rise of Ronald Reagan. In the 1970s, Ronald Reagan was considered very far to the Right, indeed. (more…)
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Within the field of literature, Jews have often complained about negative Jewish stereotypes. There is a Wikipedia page [1] dedicated to the subject, and scholars have dedicated much time to researching this phenomenon. For example, in his 2005 article “How Racist Was Oliver Twist?” novelist Norman Lebrecht actually counted (or relayed someone else’s count of) the number of times Charles Dickens referred to his Jewish villain Fagin in the first thirty-eight chapters of Oliver Twist as “the Jew.” It was 257. (more…)
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Eilish. Billie Eilish.
Never afraid to wring every drop of money out of a pop sensation, this is who the film industry is having sing the theme to the new James Bond film, No Time to Die. The media is billing this interestingly; the New York Times covered the song with glowing praise and a mention of Eilish being the youngest person to ever record a Bond theme. (more…)
Harvey Weinstein leaving the New York Supreme Court. Justin Lane, for Shutterstock.
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Disgraced movie mogul Harvey Weinstein was convicted of criminal sexual assault and rape in the third degree this week. He did catch a break in being found not guilty of the more serious charges of predatory sexual assault and rape in the first degree.
Weinstein’s conviction was celebrated by President Trump and many of his supporters. (more…)
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Knives Out, Rian Johnson’s much-hyped addition to the mystery genre, is a forgettable, self-indulgent film whose flashes of competence are incapable of redeeming its trite plot, pathetically unfunny script, and aggressive commitment to political correctness.
The film has all the trappings of a classic murder mystery in the style of Agatha Christie or Dorothy L. Sayers. A wealthy patriarch, Harlan Thrombey (Christopher Plummer, in remarkably good form at 90) is found dead in his mansion after celebrating his 85th birthday (more…)
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Aquaman was perhaps the closest thing to a fulfillment of Kantbot’s promise that Trump would raise Thule, and Atlantis. In order to give Aquaman a saleable “mythic resonance,” it unavoidably has to draw on Greco-Roman mythology and showcase what is bemoaningly called White Male Power. Whilst a 2018 film, Aquaman seems to belong to the late ‘90s in its casting and racial attitudes, and the screenplay has all sorts of lines that describe an interplay of Aryan and Judaic values.
(more…)
Based comedian Frank Fay
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This article is the opposite of the article that I originally set out to write, which was about Frank Fay, the Nazi-sympathizing fascist vaudevillian who invented stand-up comedy. I mean, it says right there on Frank Fay’s Wikipedia page that “[i]n January 1946, just months after Nazi Germany had been defeated, a rally of 10,000 white supremacists gathered at Madison Square Garden for a pro-fascist event called ‘The Friends of Frank Fay’.” That sounds like a good topic for a White Nationalist Website, right? “Hey, kids! Did you know that stand-up comedy was invented by a fascist?”
(more…)
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The lighted pixels never go dark on John Wayne in the TV sphere. In the four decades since his passing, one can turn on a TV set at any time of day or night and there will be a John Wayne film being played on some channel.
When looking at John Wayne’s performances, many critics point out that John Wayne always plays John Wayne. However, he himself said, “That guy you see on the screen isn’t really me. (more…)
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“Welcome to the Jungle. Watch it bring you to your knees.”
It is fashionable to the point of cliché to liken someone’s downfall to Greek tragedy. But in the case of Baked Alaska and his Los Angeles adventures, it would not be appropriate to compare him to the classics. (more…)
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These are two videos I have made that are connected by the theme of Hollywood. The first begins with an observation in Jared Taylor’s debate with black supremacist Tariq Nasheed in how black supremacists use the rhetoric of 1970s blaxploitation films to explain their situation, which is invariably one of being oppressed by the White Man. This I call “blaxplainin'”. (more…)
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Charlie Manson (1934–2017)
1.
Well, Charlie Manson’s dead,
just like poor Sharon Tate.
Upon his wrinkled head
above his eyes, the fate,
of his tattooed Swastika
is certain, after so,
so many years. The shiksa,
pale as November snow, (more…)
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13 Reasons Why, a novel by Jay Asher and now a Netflix original series, follows the trail left behind by the late Hannah Baker, a high school junior who committed suicide. She leaves behind thirteen tapes – each dedicated to a specific individual at her high school, each of whom served as the building blocks to her suicide. (more…)
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Part 1 of 3
Jay Dyer
Esoteric Hollywood: Sex, Cults and Symbols in Film
Walterville, Or.: Trine Day, 2016
“A film is a ribbon of dreams. The camera is much more than a recording apparatus; it is a medium via which messages reach us from another world that is not ours and that brings us to the heart of a great secret. (more…)
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So far this year there has been a lot of chatter in the mainstream media about how, for the second year in a row, the Academy of Motion Picture Arts and Sciences did not nominate any blacks for its Academy Awards.
(more…)
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Editor’s Note:
This essay was written in 2000 and published online at a long-defunct website. It contains some good ideas and good writing, so I believe it deserves to live again.
“The capitalistic world is low, unprincipled and corrupt.”
—Ayn Rand, Journals of Ayn Rand
(more…)
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There is little satisfying critical literature on the Coen brothers’ 1991 film Barton Fink. Most viewers are inclined to think that this is because the film is a pretentious, meaningless piece of crap. And Barton Fink is surely the most widely detested film by the Coens. The fact that it swept the 1991 Cannes Film Festival, winning the Palme d’Or, Best Director, and Best Actor (John Turturro) can simply be chalked up to French perversity and anti-Americanism. These people think Jerry Lewis is a genius, after all. (more…)
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English original here
Marilyn Monroe est l’une des nombreuses actrices non-juives qui tombèrent sous la domination d’une série de psychanalystes juifs, incluant, c’est bien connu, Ralph Greenson (né Romeo Greenschpoon) qui était son thérapeute lorsqu’elle commit ce qu’on pense être un suicide. (more…)
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Feminism is a major destructive force. Anti-male, anti-family, and anti-white, it is today a key ideological pillar of the ruling class. It is therefore necessary to look to the past in an attempt to identify healthy folkways associated with male-female relationships, sex, marriage, and family.
A 1939 romantic comedy called Honeymoon in Bali starring Scottish (or part-Scottish) American actor Fred MacMurray (more…)
D. W. Griffith, January 22, 1875–July 23, 1948
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Silent film pioneer David Wark Griffith, a native Kentuckian of Anglo-Welsh descent called by Jewish film historian Ephraim Katz “The single most important figure in the history of American film, and one of the most influential in the development of world cinema as an art,” has long been lionized in racialist circles as pro-white because of his classic The Birth of a Nation (1915). Left-wing critics, in turn, project a lurid image of the director as a sort of satanic “racist.”
I watched a number of Griffith films, including several of his early shorts, to gauge for myself how well the ideological consensus accords with fact. (more…)
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Television, movies, pop music, video games, the Internet, radio—the media of mass communications—are the chief mechanisms that determine “public opinion.” (more…)
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For years nothing about Richard Burton attracted my attention to him more than to any other famous person. He appeared in many inferior films, but even his highly regarded ones—Look Back in Anger (1959-British), The Spy Who Came in from the Cold (1965), The Taming of the Shrew (1967-US-Italian), 1984 (1984)—were not among my favorites. (more…)
Jean Seberg als Jeanne d’Arc in „Die heilige Johanna“
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Übersetzt von Deep Roots.
English original here
Am 20. Januar 2009 wurde der erste schwarze Präsident der Vereinigten Staaten in sein Amt vereidigt. (more…)
(1965) is my all-time favorite comedy. Based on a 1948 
by Evelyn Waugh, The Loved One stands alongside Flannery O’Connor’s 
(the book and 
) as a savagely on-target, dark comic satire on American Protestant civilization.
