Blade Runner: Indepth Esoteric Analysis

German Film Poster

Highest Levels of Illuminism Revealed

By: Jay

In Ridley Scott’s Blade Runner, we are presented with a prescient, dystopian future based on Phillip K. Dick’s novella, “Do Android’s Dream of Electric Sheep?” We will see that this film is full of not only accurate predictions of the future’s general landscape, but is also suffused with occult imagery and deep symbolic themes, as well as raising crucial moral and social issues.  As I will argue, the film operates on several levels: as the immediate story itself, the predictive future level with social critiques, the level of covert operations and mind control, and the deepest level, that of myths, archetypes, and alchemical occult initiatory transformation.  All these levels must be integrated to grasp the full import of the film as Ridley Scott conveys it.  The deepest level is what holds the other levels together in coherence and meaning.

As the film begins, the viewer is shown the 2020 landscape of Los Angeles, and then an eye viewing the landscape.  The eye represents the viewer, and just as I explained in my analysis of Eyes Wide Shut, the viewing of the film itself will constitute an initiatory experience.  The viewer is going to be shown the elite plan, yet the eyes of most will remain shut.  For the masses, there is no ability to make deeper level connections and associations between ideas, symbols and archetypes.  For the viewer who has eyes to see, they are seeing the future itself, as well as the worldview of the ruling class.  In fact, Blade Runner ranks with Eyes Wide Shut as one of the most explicit revelations of the method of the ruling oligarchs.  My interpretation of this is confirmed by the fact that the film doesn’t show us whose eye we see.  In fact, the reflection in the eye shows the scene the viewer just saw of the L.A. cityscape.

It is significant that we are presented with two shots of the eye and then the cut to the Tyrell corporation’s ziggurat/pyramid shape. Immediately we are presented with Egyptian symbology, as well as the notions of the so-called “Illuminati.” The all-seeing eye is flashed in between images of the exalted pyramid in order to initiate the viewer into who is running things.  This is the connection of imagery and meaning that most are not able to make. 

We are given hints as well that perhaps this is an ancient technology of dominance – the “technology of the gods.” In reality, the technology of the gods meme refers to the elite perspective of themselves and their “magickal” worldview: Any sufficiently advanced technology is indistinguishable from magic, as Arthur C. Clarke’s third law says.  The “god” is the one who controls the genetic engineering and artificial intelligence.  The cap of the pyramid is empty because the head of the system is secret.  It’s a shadow corporate government, where the eye floats above the pyramid itself.  The eye is thus above and transcends the externalization of the hierarchy on earth. 

Original DARPA “TIA” logo, echoing the Tyrell Corporation.

When the viewer approaches the pyramid in the open scene, it is engulfed in golden sunlight, conjuring up notions of Ra and Egypt.  The mysteries of Egypt center around the godlike philosopher king (Pharoah), as the material manifestation of Atum Ra, mirroring the spiritual hierarchy on the spiritual plane.  In this dystopian future, the Egyptian scheme is replaced by a corporate system.  The light is enlightening the viewer, taking him along for the ride in the flying car to the top of the pyramid.  In other words, for those that can see, you are about to see what they see. Read more of this post

The Semiotics of Bond: Ian Fleming’s Use of Propaganda

The iconic Connery in Dr. No.

I’m posting the introduction to my master’s thesis, for anyone interested.  Comments and criticisms welcomed.

 007 AS THE EMBODIMENT OF THE ANGLO-ESTABLISHMENT’S MYSTICAL IMPERIALISM

 

By: Jay

Ian Fleming’s James Bond is one of the most recognizable and successful characters in modern popular culture.  The novels have sold over 100 million copies, and the film franchise is the second most successful in history, having been recently displaced by the Harry Potter series.  For most readers and viewers, 007 is merely a Western pop icon. However, there is much more at work in the novels and films than appears on the surface.  In fact, there are deeper undercurrents, themes, symbols, and messages that operate as psychological warfare propaganda and an in-depth semiotic analysis of the novels and films yields an interpretation that confirms this thesis.  Much has been written on the subject of Ian Fleming’s James Bond. From Umberto Eco’s older essay “Narrative Structures in Fleming” to Christoph Linders’ modern collections The James Bond Phenomenon and Revisioning 007: James Bond and Casino Royale, there is a wealth of critical work on capitalist/consumerist, imperialist, gender, and racial analyses in the books and films.  In this wealth of criticism, key elements have been ignored that will here be explored.

     The James Bond Phenomenon: A Critical Reader features Tony Bennett and Janet Woolacott’s article “The Moments of Bond,” which chronicles the rise of the franchise in terms of marketing and sales as well as the zeitgeist of Western Imperial capitalism and the sixties sexual revolution that propelled Bond to international fame.  Michael Denning’s “Licensed to Look” analyzes the consumerism that fueled Fleming and Bond and the mythical qualities Bond embodies that form a potent combination with the espionage genre.  Denning focuses on “eye” imagery and its utilization by film media as a particularly potent manipulative semiotic device.[1]  Linder offers an overview of criminology and the “global conspiracy” evolution the franchise exemplifies concurrent with the socio-political threats of the respective decades of Bond releases.  Particular attention is given to the Cold War and Bond “saving Britain’s image.”[2]

Cultural impact studies have been done with James Chapman’s License to Thrill and Edward Comentale’s Ian Fleming and James Bond: The Cultural Politics of 007.  Chapman gives an analysis of different elements and themes in choice Bond installments, including the literary setting (detective novels) for Fleming’s early stories, the fact that Bond was first published in Playboy, comparisons of the early films with Alfred Hitchcock’s works, and the oft-repeated attempt to resurrect British Imperialism.  Chapman moves on to consider the reason for the franchise’s success, making no definitive statement about whether “Bondmania” is the result of the zeitgeist or the development and advancement of the film industry, or both.  “Bondmania” was well in place by 1964, and from there, Bond would dominate the sixties and make his way to American theaters, ultimately to become an international icon.  Chapman continues with analysis of the propaganda for imperialism and of Bond as the preeminent Cold Warrior.  Attention is largely given to Bond in comparison with other action films and heroes, but little attention is given to the deeper, mythical elements.    Read more of this post

Secrets of Prometheus Revealed

Big Trouble in Little China (1986) – Esoteric Analysis

"Have ya paid yer dues?"
"Yeah, the check's in the mail!"

By: Jay

 Big Trouble in Little China is another one of those goofy 80s films that you’re presently assuring yourself has no deeper relevance. You’re smugly saying, “Oh come on Jay, seriously? Another 80s esoteric analysis of something completely silly, like BTILC?” Well, dear reader, let me assure you of your error, and further promise to deliver juicy esoteric tidbits to sate your hunger as you journey on. Consider the opening scene that Fox mandated be added (where Egg Shen recounts the adventures of Jack Burton).  The actor is Jerry Hardin who played “Deep Throat” early on in the X-Files. Interestingly, the ambiguous government agent played here is similar to Deep Throat. What is also interesting is the obelisk on the desk behind him, initiating the viewer into what will be an occult journey.

Egg Shen reveals that the tale ahead will be one of Chinese “sorcery and black magic.” As proof, Egg Shen offers typical 80s blue lightning, of the Force variety. According to IMDB, the Chinese script in the beginning title sequence reads, “Evil spirits make a big scene in little spiritual state,” meaning the film will feature the primeval ancient religious tradition of the higher aeons or gods incarnating themselves in lower, visible, solid forms. This is almost universal in ancient cultures, from Greece and Rome, to China, and lends credence to the view that polytheism and monotheism come from a single religious tradition, as described in Genesis 1-12.

Note also that Egg Shen conceives of the usage of good and evil magic by both sides. Magic, in this view, may be used by the dark side and the light side, in what the dualistic scheme of most world religions views as the ultimate template for all reality. Eastern religions in particular have this dualistic focus, with the binary opposition never being transcended in this life, apart from “enlightenment” that results in some kind of dissolution or absolving into “pure being,” “thusness” or “nirvana,” or some state of being beyond the present world, which is often identified as “evil” and the domain of the fallen spirits and demons. The problem with this type of worldview is that it is self-defeating and contradictory. It claims to seek transcendence of the material and of all binary opposition, but its answer is to seek it in absolute impersonality. Since particularity and form in this world are the sources of “evil,” all particulars must dissolve. The result is monism and collectivism, and the history of eastern cultures demonstrates this enslavement clearly. Read more of this post

HAIL COBRA!!!!

Skynet is Real: Alchemists, Exemplarism and Techgnosis (Update)

The sphinx which appeared in Wells' Time Machine. The sphinx is the cherub who guards and controls space and time.

By: Jay

UPDATE Below!

———————————————————————

At the end of H.G. Wells’ Outlines of History, he speaks about the “rise of the machines” and their ability to allay the toils of men, granting them more leisure for scientific products, art, and other harmonious progressive pursuits.  Education will become universal, and a better world will ensue.  Wells was, to be fair, spot on with many of his sci-fi predictions.  One can’t but notice that this article confirms his claims from The Time Machine concerning the devolution into “stunted pig-goblin creatures” to quote Alex Jones, likened to the Morlocks, while the elites will become like the Eloi.

However, the rise of the machines has been wilder than even Wells could have imagined, and will probably not be the universal utopia Outlines imagines, but something closer to the dystopia of The Time Machine.  In fact, we have reached the point where A.I. is nearing the ability of what we see in many science fiction films and novels, yet I agree with the affirmation of Douglas Hofstadter in Godel, Escher, Bach that we will not achieve self-awareness.   Even if this did occur, there is no certain test to determine the existence of “self-awareness,” and the modern scientists who argue to no end against the soul or mind must also take their dogma of the inability to “prove consciousness” and apply it to the golem.  On their basis, you could no more prove one than the other.   So the reductionists who think consciousness is merely matter have no problem identifying humans as “more complex” computers (like Daniel Dennett).  Nevermind that they are all guilty of the naturalistic fallacy.

In effect, this is a Prometheus situation, and is precisely the goal the occultists, alchemists and “scientists” have sought for millennia.  Don’t be fooled by the propaganda of the “new atheists” and sciencey labcoaters: the real secret is that the mysteries are real.  Granted, many of the “Illuminists” are of an atheistic and rationalist bent (and the actual Illuminati were Enlightenment rationalists), but there is a definite esotericism behind the creation of the golem.  Atheism itself can become a form superstition, as I’ve written many times on this blog.  I want to make clear, though, that I’m not anti-technology, nor am I saying I disagree with these goals.  Clearly the Enlightenment thinkers were right–in fact, some of them are central to the mathematics behind all this, as well as to religion and metaphysics and esoterism, such as Leibniz.  Newton, too, was an esotericist, and other examples can be given such as Nikola Tesla and Wolfgang Pauli. Read more of this post

Kierkegaard, Nietzsche and Dostoyevsky Versus the Enlightenment Mythos

"Ve proclaim ze death of ze Enlightenment!"

By: Jay

      In the course of what is now titled “Continental Philosophy,” three figures stand out as preeminent thinkers able to probe the innermost depths of the human psyche in a way previously unknown since perhaps Shakespeare: Soren Kierkegaard, Friedrich Nietzsche and Fyodor Dostoyevsky.   These three were more or less contemporaries, and all shared a similar fascinating interest—that of tearing down the ideological idols of their day, and in particular, the facade the individual post-Enlightenment “modern man” conceived himself to be.  While these men certainly had differing worldviews and would likely have debated such grand topics as the precise meaning of God and man’s relation to Him in the universe, they shared a similar distaste for hypocrisy, lies and falsehood, and made it partly their authorial iconoclastic goal to unmask such veils.

     Francis Bacon had made it his goal as an early Enlightenment luminary to tear down what he perceived to be idols in his Novum Organon—idols of the tribe, cave, marketplace and theater.  Idols of the tribe meant the destruction of abstracted social ideals foisted upon reality; idols of the cave referred to  myopic interpretations of reality according to a particular fancy of some individual academic; idols of the marketplace refers to the misappropriation of word and thing, assigning an undue identification between the two, assuming that out talking an opponent has then caused the reality of the topic under discussion to actually exist as such; and idols of the theater, where ideas are erected on a false presupposition of theology or metaphysical speculation, becoming ensconced in the public discourse.1 This tractate encompasses the impetus of the Enlightenment and its obsession with what Rene Guenon called the “reign of quantity.” Everything is measured and classified according to some quantitative stricture of man’s reason.  Scientific knowledge, or more specifically, scientism, becomes the dominant paradigm by which all things are measured, be it religion, politics, economics and the marketplace, all things are in potentia capable of rational formalization and, like a big algorithm, all of humanity’s ills simply await the solution of the academy and its laboratory calculators.  Read more of this post

The Epistemology of Dogmatic Sciencey Skepticism

"I am the hierophant of epistemic autocracy! Behold my labcoat and collective groupmind scientifically melded to all other scientists past-present-and future!"

Or, The Enlightenment rationalist laid bare

By: Jay

An interesting discussion/debate recently transpired.  A friend who is a scientific “skeptic” discussed his dubious demeanor in terms of there being advanced secret technology for two reasons.  First, such ”conspiracies” are doubtful because they are “theories” and come from persons who want to promote a certain worldview (namely a conspiratorial one).  Evidence is gathered, so the theory goes, that is interpreted in a certain fashion to back up the said theory.  Pause for a minute: doesn’t that sound a lot like the modus operandi of those who utilize the “scientific method” to “prove” a certain theory?  Why, yes it does!

Second, he made the argument that the process of scientific advancement is such that whatever advances occur, occur because “someone contemporary to said person would eventually discover the same thing.”  Scientific advancement and discovery happens (so this narrative goes) in a community of objective, non-biased “scientists” committed to the use of “reason” and the building up of human knowledge and progress.  Communities of scientists don white lab coats and thereupon, like Mormon underwear, become sacramentally endued with a sciencey force field that shields them from bias, groupthink, deception, forgery and other nasty human tendencies.

Let’s examine both of these arguments philosophically.  The business of philosophy is the questioning of assumptions and presuppositions, and all the sons of the Enlightenment gloat to no end about their forebears who exalted “reason” above and all “revelation.”  The operant assumption at work here is that there is a universally shared international discourse of egalitarian scientific rationale that men are nobly committed to.  The warrior souls have long battled religionists, only to wrest control of the university and the social arena from “God talk” and letting “science” have the free reign.  These enlightened ones are the true Promethean heroes who distilled the superstition of the middle ages and brought about the dawning of the new age of evolutionary progress into computers, cellphones and the Xbox.  Do you notice that this is starting to look like a religious mythology?  There is a narrative developing, you see, that encompasses past, present and future, and the fittest (namely, those who have sufficiently mastered this reductionist quantification of all reality) press on to inherit the future.

“But wait!” comes the cry from the army of lab coats, “you now reveal yourself as a Luddite!  Nietzscheanpostmodernisthorkheimeradornoist!  You are refuted by the very computer you type on!  Unenlightened fool! You’re no philosophe, you’re a philo-oaf!”  I say no such thing.  I reject the mythology of the Enlightenment just as much as what I believe to be the false mythology of the postmodernists, Marxists and existentialists. I still hold to the rationality of religious revelation and tradition, but that is another argument.  For now, we are examining whether it is “rational” to take our doubting to a deeper degree than the Enlightenment thinker above did.  He doubted his religious views of youth and so adopted what he saw as a freeing, “scientific” worldview.  This then inducted him (so he would think) into the glorious association of the communion of saints of “science” and lab-coated genii.  But wait–the foundation of all this is the “scientific method.”  This great building block of all modernity is now what grounds our many theories upon a certain and firm basis – trial and error, which then confirms our theories, or conversely falsifies them.  Read more of this post

“GoldenEye” EMP in the News

Golden All-Seeing Eye

By: Jay

Two years ago, I did a brief analysis of GoldenEye and mentioned the reality of EMP weapons.  This appeared February 22, 2012 in the Telegraph, mentioning the possibility of a ‘GoldenEye’ EMP weapon.

The Telegraph reads:

“A nuclear device detonated up to 500 miles above the earth’s surface could   generate an electro-magnetic pulse (EMP) with a “devastating”   effect on power supplies, telecommunications and other vital systems, the   Commons Defence Committee said.

It warned that countries such as Iran – which is resisting international   pressure to end its nuclear programme – and even eventually some “non-state   actors” could acquire the technology to mount such an attack, in a   scenario akin to the plot of the 1995 James Bond film ‘GoldenEye’.”

Continued here.

While the “EMP” talk could be paranoia and psych warfare, it could also be real, as NASA and other outlets warn.  Pay close attention to what is said here: “Hollywood could be involved in this…”  (?)

The Avengers (1998) – Esoteric Analysis: Weather Warfare!

Note the exploding Big Ben, a standard Hollywood terrorized edifice. Will the twilight language eventually show Big Ben detonated like "V for Vendetta" also shows?

By: Jay

Update!  See below, in regard to “umbrella” (in relation as well to John Steed’s trademark umbrella).

———

It’s been a while since I did a really juicy tinfoil top hat write-up, and the 1998 film The Avengers is a just such a romp, in terms of filmwise conspiriana.  Upon first viewing, I noticed a few esoteric elements, and upon second viewing, I noticed quite a few more.  The film was a financial and critical flop, yet the plot is not as absurd as it seems, prima facia.  The cinematography and art direction are top-notch, but eventually it fizzles into standard late 90s apocalyptic CGI corn syrup eye candy.  I suspect a lot of people failed to understand that the original series and the remake are a parody of the 60s spy genre, and not to be taken too seriously.

However, as will be shown, the plot is anything but a parody, but instead a cloaking of some of the more unbelievable, yet real elements of conspiracy lore.  In fact, the film is notorious for “razzies,” but in all honesty, it isn’t that bad.The intro begins with different weather systems and what appears to be various energy wave patterns “beamed” at the ionosphere.  Then, following these images is a blood-red moon, looking somewhat like Mars.  This makes sense, since Mars is the god of war, and the film will be be about the very real subject of weaponized weather.  The blood moon is also a biblical apocalyptic image, and the moon governs the weather patterns of the tides, clueing the viewer into the tone to come.View the intro. here, with the blood/Mars/moon visible at 2:26.

Ralph Fiennes’ character John Steed is similar to James Bond: he is a cultured gentleman that works for British Intelligence.  In fact, he even hangs out in Boodle’s: the same club that Ian Fleming, the James Bond creator and author, favored.  The head of the Ministry of Defence apears to be a bumbling man named “Mother,” which hearkens to “M,” 007′s famed boss.  “M,” many believe based on Anthony Master’s biography, was at least in part derived from controversial British Agent and occultist, Maxwell Knight.  In The Avengers, “Mother” is a bumbling crippled man, who works as a front for “Father,” pictured as a manly woman operating as the real head of Secret Intelligence.  Judging by the timing of the film, this could possibly have reference to then head of MI5, Stella Rimington.

Rimington’s novels are said to be “insiders” espionage, and certainly this film is a presentation of a host of conspiriana that, in 1998, were only apparent to “insiders.”Uma Thurman’s character Emma Peel has worked secretly for a weather warfare program that has been hijacked by a double that appears to be her.  The head of the project is the eccentric former head of British Intelligence and black ops, Sir August de Wynter, a Scottish lord-type played by Connery, who lives a reclusive existence in his palace (And of course Connery played Bond, adding to the synchro-mystic associations).

"Say Moneypenny, would you like to reverence my obelisk?"

The name of the program is “Prospero,” which naturally calls to mind Shakespeare’s The Tempest, and Connery functions like the character Prospero as a kind of Masonic magician, using  instead his scientific prowess to create what is essentially a HAARP/weather warfare operation.  Keep in mind that although weather warfare was known to some military personnel, and although it had been written about by Zbigniew Brzezinski in 1973 in Between Two Ages, the public was utterly oblivious to such a thing in 1998.  The public is still oblivious to such a notion on the whole, yet much internet conspiracy lore speculates about HAARP and weather warfare.  As you can see, the VLF Group which is the basis for HAARP is undeniably real, and does more or less what de Wynter describes.

Brzezinski writes: Read more of this post

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