Close Encounters of the Third kind – Esoteric Analysis

Film poster with pyramidal image of road leading to the light at the top.

Film poster with pyramidal image of road leading to the light at the top.

By: Jay

Spielberg is in several senses, a master.  His 80s films constitute part of the very essence of what it was to grow up as a child of the 80s like myself.  Those of you who did have a keen sense for that 80s “feel” – a decade when it seemed simpler.  Reagan was a good guy leading the free West against a godless empire of commies and atheists, while yuppies could found businesses, and Jacko burned his curls at Pepsi-funded mega-concerts.  In the midst of this milder pop culture was a series of Spielberg and Lucas films, from Star Wars to Indiana Jones to Back to the Future that made the 80s even more enjoyable.  I recently did an analysis of Raiders of the Lost Ark, noting the esoteric elements found within, and this time we are going to look at that late 70s (1977) gateway to the 80s that was Close Encounters of the Third Kind.

One crucial element I’ve noticed in both E.T. and Close Encounters is a deeper esoteric theme that has been overlooked in all the analyses I’ve seen so far: the nature of symbols, language and communication.  This will become clearer as we progress.  As the film begins, we are shown mysterious ships that appear in the desert, the French scientist and the cartographer interview an old Mongolian man who says of the UFOs that “the sun came out and sang.”  There was a direct connection between the entities and music or sound, and they are directly connected with the sun.   Simultaneously, across the globe in India Hindu pilgrims and yogis had gathered to sing to the entities during the daylight, “Ah yah, Ah yah ye.”  This is close to the Tetragrammaton, the sacred Name of God in Scripture: Spielberg may be making a direct connection to the entities and the biblical notion of God as Lord Zbaoth, Lord of Hosts. In this instance, however, the “hosts” appear to be closer to the gods, possibly as demons or angelic.  Note also that over the old man is the Star of David, a symbol that would be very familiar to Spielberg.

Simulacrum.

Simulacrum.

When the “aliens” arrive at Barry’s house, what happens is more in line with supernatural phenomena surrounding the multitudinous accounts of possession.  Strange occurences like electrical disturbances and electronics going haywire mark their arrival, and it’s worth noting that the police cars, airplane and trucks go haywire, running in circles.  Immediately following the Barry scene, we are shown Roy and his son doing fractions over the family train set.  Roy, we notice, has this fascination with models and miniature versions of things.  In symbology or semiotics (which is key to unlocking Close Encounters and E.T.), the connection of a smaller image, icon or model with the thing itself is simulacra.

"33"

“33″

In semiotics, particularly in Plato’s Sophist, simulacrum is intended to fool the viewer into thinking the copy is the real thing.  The copy takes on a life of its own, yet viewed in scale it would clearly appear that the copy is not real.  This is a perfect analogy for the nature of film itself, as well as the role of the director.  The writer and/or film director is creating a simulacra of the real world with models and pictures, piecing and placing them together in a certain way, just as Roy does with the model train and city he has built. One may think of the simulated beings in Blade Runner or the simulated world of The Matrix here. Spielberg has mastered this art of simulation, and is presenting a simulated reality world – that of UFO-invaded America that is intended to produce a certain effect in the population.  Can this be taken to a larger scale, to which Spielberg and the director himself is a “toy” of the larger, galactic forces or entities of the cosmos?  Are we a Greek scale of being, being “played” and “directed” by the celestial hierarchy? Read more of this post

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

Media Foci Irrelevant: Implantable Microchips and Directed Energy Weapons

Old school airborne laser.

By: Jay

Many of the modern debates we see in politics and on television revolving around social issues are themselves irrelevant.  What Obama is doing is nothing but pure theater, and the absurd tales of bin Laden’s “assassination” are scripted events that only serve to show the guillibility of the masses.   Zbigniew Brzinski’s Between Two Ages was written in 1976 and mentions weather modification and the technotronic era that would arise, at that time still largely a staple of science fiction speculations.  He writes:

“In addition, it may be possible–and tempting–to exploit for strategic-political purposes the fruits of research on the brain and on human behavior.  Gordon J. F. MacDonald, a geophysicist specializing in problems of warfare, has written that timed artificially excited electronic strokes could lead to a pattern of oscillations that produce relatively high power levels over certain regions of the earth…. In this way, one could develop a system that would seriously impair the brain performance of very large populations in selected regions over an extended period…. No matter how deeply disturbing the thought of using the environment to manipulate behavior for national advantages to some, the technology permitting such use will very probably develop within the next few decades.” -pg. 57

And in the footnote,

“As one specialist noted, ‘By the year 2018, technology will make available to the leaders of the major nations, a variety of techniques for conducting secret warfare, of which only a bare minimum of the security forces need be appraised.  One nation may attack a competitor covertly by bacteriological means, thoroughly weakening the population (though with a minimum of fatalities) before taking over with its own armed forces.  Alternatively, techniques of weather modification could be employed to produce prolonged periods of drought or storm….(Gordon J. F. MacDonald, “Space,” in Toward the year 2018, p.34). “

The Department of Defense has on its own website the former Secretary of Defense, William Cohen, speaking candidly about these matters back in 1997:

“But as we’ve learned in the intelligence community, we had something called — and we have James Woolsey here to perhaps even address this question about phantom moles. The mere fear that there is a mole within an agency can set off a chain reaction and a hunt for that particular mole which can paralyze the agency for weeks and months and years even, in a search. The same thing is true about just the false scare of a threat of using some kind of a chemical weapon or a biological one. There are some reports, for example, that some countries have been trying to construct something like an Ebola Virus, and that would be a very dangerous phenomenon, to say the least. Alvin Toeffler has written about this in terms of some scientists in their laboratories trying to devise certain types of pathogens that would be ethnic specific so that they could just eliminate certain ethnic groups and races; and others are designing some sort of engineering, some sort of insects that can destroy specific crops. Others are engaging even in an eco- type of terrorism whereby they can alter the climate, set off earthquakes, volcanoes remotely through the use of electromagnetic waves.” (Source)

The public is still unaware even of weather warfare, much less other policy papers that have been written about microchipping the populace and inserting them into an actual matrix, including a microchip and/or brain implant. The document is public at FAS.org, and comes from the Air University of the Army War College.  This is a 2001 document, and even still the mainline public and academia will mock and deride anyone who mentions the existence of such things, while at the same time, other hands of the establishment announce these trends, while simultaneously selling it as a good idea.  It reads: Read more of this post

The Box (2009): Esoteric Analysis – Shadow Government Revealed

Film Poster. Cameron will be sacrificed to Mars.

“You are the experiment.”

By: Jay

As I often lay out here, fictional films can show you more about what is really going on that the fictional mainstream news outlets  The Box is one of the most striking examples.  The Box (2009) is Richard Kelly’s most recent film—Kelly of Donnie Darko and Southland Tales fame. All of Kelly’s films contain deep esoteric themes, and The Box is no different. In fact, it’s one of the most, well, “illuminist” films I’d seen since Eyes Wide Shut. The Box also contains hints and homages toward Kubrick, in fact. On the surface, the viewer is presented with a moral dilemma: It’s a film about compromising morals and suffering the consequences. On another level, it describes the elite worldview and control system with stunning detail—but not just the elite perspective—it also contains an even deeper, initiatory quasi-masonic level, as I will argue. The film was not a critical success, but I suspect its meaning went over the head of most.

The story takes place in 1976, where NASA Viking Mission camera engineer, “Arthur” (James Marsden) and his wife “Norma” (Cameron Diaz), have just purchased a large, new home. They are the typical middle class suburban family, pictured as overwhelming mediocre, in fact (on purpose). We then learn that a certain “Arlington Steward” (Frank Langella) has been resuscitated and released from the burn unit. Early one morning Arlington arrives in a black Lincoln, a “man in black,” and mysteriously drops a box off at Norma’s door, while Arthur heads off to NASA to privately construct a prosthetic foot for Norma, who is slightly crippled. Recall, of course, that in many purported “UFO” experiences the so-called “men in black” arrive on the scene, etc. Note that I am not advocating aliens and the assorted myths attached thereto. This will be relevant later in the analysis, however. Norma discovers the box has another box in it with a large red button on top, and Norma is astonied.

Meanwhile, Arthur finds out he has been rejected from acceptance as an astronaut, a longtime personal goal. Presumable funding for the new house and car would come from the astronaut position he was counting on. Norma teaches English at a local Catholic private school, and significantly, they are studying Jean-Paul Sartre’s play, “No Exit.” A certain miscreant in class has appeared who attempts to embarrass Norma by asking her to show the class her club foot. Norma acquiesces. This is relevant to those in the know concerning Sartre’s philosophy—Sartre proffered that as we mature, it becomes evident we are simply hiding behind various “masks” as a kind of cloak to escape the radical freedom we are condemned to.

Jean-Paul Sartre. Someone should have made him wear a mask.

For Sartre, Norma’s clubfoot is an imperfection she hides because it’s a reminder that her beautiful appearance which masks the clubfoot is a facade. It’s not real. Were Norma to embrace her defect, she would actually be free from the stigma such defects produce in our psyches. Indeed, for Sartre, we even hide behind such roles as “suburban middle class wife,” because there is a kind of ease in accepting this pre-programmed role handed on from the previous batch of middle class suburban forebears. Sartre calls this “being in itself,” and likens it to inanimate rocks. Those who become “free” realize that reality presents “radical freedom,” and when this is accepted, one becomes “being for itself”-being that is free and undetermined. This will be relevant for the later “initiatory” reveal.

"Table for two, dude."

Norma mentions to another student in class the famous Sartre quote that “hell is other people,” because it would be like others “knowing all your faults.” We also note that Arthur’s young son doesn’t believe in Santa when the subject comes up in the kitchen, because Arthur is a “scientist.” It is also relevant that this is Christmas time. This is relevant because we are supposed to understand that “scientism” is another mask, Sartre would contend. The “scientist” hides behind the mask of “rational inductionist,” and when presented with mystery or radical freedom, he timidly avoids the fearful conclusion by resting his faith in the imagined totality explanatory power of “science.” Arthur and Norma are about to encounter something they could never have imagined.

Shadowy shadow government figure no one is aware of, who watches as Watchers do.

The next day NASA gives a press conference for the upcoming Viking Mars Probe and curiously interjects statements about the expected discovery of “alien life” and “ancient alien civilizations.” In fact, this is precisely what Arthur C. Clarke and the NASA videos at the time were promoting. Isn’t it somewhat obvious that you will find what you’re looking for? It’s not very scientifically “neutral” to be so completely sold on the idea of alien life. Instead, we are being given a larger clue as to the meaning of where the film is going—the underlying new mythology that the supposed “science establishment” has predetermined we will “discover.” The new “discovery” will be that there is “life” elsewhere in the galaxy, thus exotheology. Exotheology is the planned new cosmology that replaces man’s origins and telos with aliens and apotheosis. However, The Box is going to give us a veiled clue as to who the “aliens” really are. During the press conference, one reporter asks why NASA is working closely with the NSA, which goes unanswered. Read more of this post

9/11 Blueprint for Truth

Richard Gage’s video presentation on the architectural facts surrounding the 9/11 attacks.

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