just forget it.
The virtuosity of the cinema – a vast and medium-encompassing hyper-art of music and design and photography and storytelling – is now a tool for liberal nihilists to peddle progressivism. As is the case for the Western publishing industry, television, major news media, and most of social media/silicon valley.
Of course you might say that progressivism was found in film from the very start (certainly in Hollywood). Certainly. Yet while there have always been rare turds of egalitarian propaganda, somehow it is only over the last decade that virtually the entire medium has been rendered (via politics and technological misuse) an unbearable and overtly childish means of mass public torture.
In what ways has it become unbearable, you ask?
Well to start, even movie theaters themselves are no longer the respected art deco cinematic temples they once were, surrounded by beautifully illustrated movie posters glorifying the poetic mastery and splendor of great filmmaking and storytelling. Unfortunately this alone has degraded the mystery and magic of the cinema experience, as the atmosphere of consumerist apathy generates an egregore of negative and a parody-stage decline.
Of course that is just the beginning. What has not been dissolved in committee-decided screenplays and castrated affirmative-action censor squads, has been truly muddled away with the inception of lifeless, overly-fluid CGI computer effects. Leaving the audience sitting there semi-hypnotized (comatose) through monotonous pantomimes of ‘epics’, an artless exercise which has destroyed the enjoyment of hand-crafted special effects and the formerly longstanding traditions of visual trickery. Those formerly respected arts which even at the master level made everything seem possible to the viewer, not necessarily as being 100% ‘real’,so much as within the means of human emulation. By being visibly the work of human hands, they inspired creativity.
But worse by far than the contemporary special effects are the ball-less and perpetually inverted value systems underpinning the actual stories. Instead of films glorifying the achievements of the culture (which actually created the film medium!) we have devolved into creating carnivals of revisionism, poisonously woke and imminently forgettable flops loved only by a small class of bossy managerial numpties who apparently actively hate storytelling, art, film, and their own culture. Of course their clueless and apparently unstoppable ‘useful idiot’ activity exists as a precursor to actually enslaving the stock of its very genius.
Films no longer promote optimism or romantic heroism, but to our misfortune, only false and trite themes of equity and narcissistic inclusivity-signalling. Their endlessly recycled formulaic plots are in themselves vehicles for social justice character choices and mocking negativity. We see classics (and even the mediocre but fondly remembered) remade badly but with ‘less white males’. That seems to be the entire point of the exercise.
The stories fall generally into contrived categories fabricated by marketing people (not artists) and the entire and formerly disparaged concept of ‘selling out’, once anathema to art, is now an accepted starting point of any artistic venture. Western film today is no longer about telling tales of great sailors, cowboys, conquerors, knights, explorers, artists, spies and inventors. Heroes of a people. They no longer embody accomplishment-oriented narratives at all, but stories which are based on hedonism and destruction. Audiences have a choice between apocalyptic torture-porn nihilism or popcorn-caped-heroes draped over stories which promote victim-hood and egalitarianism. Today’s films are obsessed with the losers, not with the victors.
Of course our inability to combat (let alone tear down) this shameful edifice has resulted over time in a successful and dramatic lowering of Western art expectations. Which has in turn aided in lowering actual average intelligence. Film remains a kind of pentultimate medium of artistic entertainment, so complex in its combining of so many other arts, that its influence can not be understated. So you might say, it is not a trifling matter.
This is the product of liberal nihilists converting our culture into an envy-oriented theme park, as opposed to what it is meant to be, in a healthy state: a culture which reveres accomplishments. We have undergone a culural coup without even realizing it, and live in a captured plutocracy where our culture barons work only to tear down great accomplishments, both historic and potential, in order to appease the underachievers. This is the liberal pursuit for an egalitarian society, a society which doesn’t revere greatness or beauty or artifacts of an ordered hierarchy, but a society which wants to level everything back to the broken primordial slime of egalitarian utopia.
Traditional storytellers need to re-conquer the cinema. We need films which will generate an egregore of victory and greatness. A film industry which will shame the sell-out, challenge the over-use of computers, and worship once more the eccentric artist who takes courageous risks.
But if left with no such possible option, you might you accept, like me, that cinema is effectively over for now as an art form. Only then, believe it or not, you may find yourself still enjoying the odd cult gem that sneaks through the iron wall of estrogeneous gimpyness and hubristic self-debasement. So take this nugget of final advice, and lower all expectations to the bottom tier dungeon of expecting to be intellectually and prejudicially insulted — only then will the contemporary ‘entertainment industry’ allow you the sapce for a rare pleasant surprise.