Blade Runner: Indepth Esoteric Analysis

May 15, 2012 5 Comments

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

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A Clockwork Orange (1971) – Film Analysis

August 20, 2011 5 Comments

Film Poster. Note the pyramidal structure, mirroring the structure of society, with the perceptive eye of the elite at the top.

By: Jay

A Clockwork Orange is another installment in the Kubrick canon, and ranks as yet another crucial film rife with deep social and psychological meanings.  The film is adapted from the famous novel that places Alex DeLarge in a dystopian future where society has degenerated into a trashy, concrete mess.  Gangs of thugs titled “droogs” run rampant, and Alex himself is a young gang leader.  The film will raise the question of the use of mass pyschological warfare and control techniques from behaviorist psychology as a means for creating a populace controlled by a scientific elite.

Kubrick considered his film a piece of social satire that would question the notion of totalitarian regimes brainwashing the public into an android state. If the subject could be conditioned through a kind of shock therapy, the loss of willpower would ensue and the “droog” of the future – the future man, would be a controlled slave.   However, my analysis differs from what you see in the typical approaches to reviews of clockwork.  I think Kubrick presents another angle – a Nietzschian/elitist angle that the totalitarian scheme is, in fact, the norm.

In the opening milk-bar scene with the mannequins, the bar is full of sexual imagery.  The film continues this motif throughout, combining sex with violence as the social norm.  Alex’s parents are completely docile and impotent, having no idea of the actual state of world affairs.  Strangely, Alex has an affinity for Beethoven, despite his predominate brutishness, which often plays over scenes of violence or sex, including rape.

Alex and his “droogs” engage in “ultra-violence,” and end up raping the wife of a liberal activist who opposes the state’s draconian control measures.  Later, Alex attempts to rape a wealthy woman who lives in a country estate and is caught.  What we see here is a prophetic view of the future of man’s world.  A globalized, 1984-style slum, where a few elites and intelligentsia live outside the urban areas.

The intelligentsia like the writer and the behaviorist therapist seeking to cure Alex have a faulty view of human nature, and this is the key.  The film is full of sexual (and other bodily function elements) images which display the fact that most men are led about by their bodily desires, and contribute nothing to society.  The liberal activists and therapists continually try to make Alex a “productive” member of society and seek to influence him with religion and other salves.   However, the crucial point of the film is that Alex remains Alex.  Read more of this post

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Lemony Snicket’s Film – Esoteric Analysis

October 5, 2010 18 Comments

Film Poster

By: Jay 

Lemony Snicket’s: A Series of Unfortunate Events represents a deeper attempt at “hidden in plain view” revealing of occult secrets, than anything you might find in the more popular Harry Potter series. Harry Potter is an overt kind of participation in witchcraft, but Lemony Snicket’s is something else. It presents, in fact, a much more realistic and subtle allegory for the modern intelligence panopticon-inspired control system. Harry Potter focuses on superstition, while Lemony Snicket’s focuses on the actual workings of the cryptocracy. 

Admittedly, I have not read the book series, but I have seen the film several times and read in depth analyses of both, and it’s pretty obvious what the message is, if you have eyes to see. The most prominent symbol in the film is the eye, and particularly the symbolism of the eye as the All-seeing Eye. The eye here is not so much an Egyptian or religious symbol, but rather in the sense of the panopticon of control by secret societies. The eye is the means by which the populace is watched, as well as by which information enters the mind.  In the film, the Baudelaire children, having been orphaned by their apparently dead parents.  From the beginning of the DVD, we see this imagery, as the kids are attached to the marionette strings of Count Olaf, the antagonist/evil genius. 

Count Olaf holds the Baudelaire children on a marionette string with panopticon All-seeing Eyes

There is endless speculation and pyschonautery concerning the meaning of the eye among the conspiraciologists, but we need not jump to the extreme for understanding its real esoteric significance. Yes, there is the evil eye and yes, there are All-seeing Eyes that had to do with Egypt, but when you consider the modern relevance of this symbol, it has much more to do with technological surveillance of all areas of life and thus a constructed control grid than it does necessarily with ancient Egyptian deities. Indeed, the symbol itself is just a symbol of divine providence or omniscience. What the referent for “divine” here, or whose “eye” is meant is entirely up for grabs. It could refer to intelligence agencies, such as the old MI-5 Logo or the proposed DARPA logo (which is probably the most likely reference), or perhaps to Satan. Count Olaf, as well will see, will have “devilish” and God-like characteristics. Read more of this post

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Aeon Flux (2005) – Brief Analysis

July 20, 2010 2 Comments

Note the All-Seeing-Eye

By: Jay
I recently re-watched Aeon Flux (2005). In the film adaptation, which departs from its older MTV predecessor, we see a dystopian Brave New World-type scenario where the human population has fallen back into rule by an elite dynasty of scientists, headed by Trevor Goodchild. Goodchild rules a large walled city where outside, the earth has been re-wilded. This brings to mind the infamous 1992 UN document. The reason for the prison city is the myth that outside the city, viral death reigns. The reason for this is that in 2011, a virus was released that killed 99% of the earth’s population, and supposedly Goodchild’s predecessor discovered the cure. As it turns out, the Goodchild regime is based on cloning, and eventually we find out he is a good guy. We are presented with the revolutionaries, made up of Aeon and her elite “Monicans,” battling the Goodchild regime. However, Goodchild and Aeon eventually team up and are fighting for a secret common cause, unbeknownst to the Monicans or the big brother police state.  

What is thus presented is a blurred vision of good and evil, where both sides are really working for common goals, but take different paths to get there. In the end all was justified. But that is not how human morals work; we don’t autonomously do whatever we want and choose good or evil, based on an ends-justifies-the-means approach. The meaning then, appears to be that the new Aeon, or new age, will only emerge after a period of mass death, transhumanism and cloning (“flux”), all of which are fine, in the long run.

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GoldenEye – Esoteric Analysis

April 9, 2010 6 Comments

By: Jay

Reviewing some older 80s and 90s films, I decided to delve into the Bond films. I started with the later ones and will work my way back to the earlier. All the films contain heavy doses of predictive programming. The 1995 Bond film is fascinating in this regard, including even occultic elements, as well as Tesla-type technology. You probably played the first person shooter. I did.

In the opening dancy-Bond girl sequence, we are shown several eyeballs and communist symbols, as the plot will have Bond snooping out a Russian Tesla-ish device that incapacitates all electrical equipment with a massive electromagnetic pulse. The eyes are there to alert you to the cryptocracy/shadow government that runs things – the overarching entity that funded both communism and fascism via international banking cartels.

The eye is shown behind various statues of Lenin, Stalin and the revolutionary goddess, lady reason.  The statues are seen falling, to be sure, but if you note the frame at 1:24, you will see the image of Janus – the two-faced god of doorways and duality, particular to Roman mythology.

You might think I am stretching my reading a bit, but the film’s crime syndicate in this installment is known as the Janus Crime Syndicate. Although the sequence ends with a girl destroying the hammer and sickle, the all-seeing eye glares in the background signifying, in fact, that the apparent world polarity of that time – communist Russia and the Anglo-Amerikan establishment were in fact under the same watchful gaze. When Soviet-style communism was no longer needed, the bankers could dispense with it. Thus the Janus imagery – it’s two faces of the same false god. The false duality of the false left/right paradigm. Read more of this post

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Alex Jones’ Analysis of the Occult Film, Watchmen (4 Pts.)

April 7, 2010 1 Comment

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