We’ve lived so long under the spell of hierarchy—from god-kings to feudal lords to party bosses—that only recently have we awakened to see not only that “regular” citizens have the capacity for self-governance, but that without their engagement our huge global crises cannot be addressed. The changes needed for human society simply to survive, let alone thrive, are so profound that the only way we will move toward them is if we ourselves, regular citizens, feel meaningful ownership of solutions through direct engagement. Our problems are too big, interrelated, and pervasive to yield to directives from on high.
—Frances Moore Lappé, excerpt from Time for Progressives to Grow Up

Saturday, December 1, 2018

Foreshadowing, Ritual and Symbology in Film

Click here if you wish to access Bonnie Faulkner's 56 minute interview with Jay Dyer directly from her website. (As you may know, she was even too "controversial" for the censors at KPFA, a listener sponsored radio station in Berkeley, California, and as a result she has gone independent.) I regard this as a "best post".
Jay Dyer discusses his book, Esoteric Hollywood: Sex, Cults and Symbols in Film. We take an in-depth look at Stanley Kubrick's Eyes Wide Shut and Clockwork Orange; Roman Polanski's Rosemary's Baby, The Ninth Gate and Chinatown; The Manchurian Candidate and The Parallax View, as well as television programs The Lone Gunman and G.I. Joe, with special emphasis on predictive programming, mind control and the influence of the military and intelligence on Hollywood productions.
In the following interview Dyer explains the thesis of his book as being the focus on the connections of a society's power structure on art, particularly film-art in today's capitalist societies. 

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