The Disfactor

The difference between the reality of Sweden's Thirty  Year 's War as presented by Holly Wood vs its historical reality is that its epistemology unlike its result was unclear. It represented a Europe at war with Europe due to blatant conflict between Catholicism and Protestantism during the modern period of world history.  The film's heroine King Christina begins her reign as a child. It's after her introduction that we re-encounter her as a young woman about to be betrothed. What we find is that she has become a no nonsense, confident and competent woman that is well respected by her peers and subordinates. As stated by Ruth Stephen writer of the article Christina " One of the wittiest and most learned women of her age, Christina is best remembered for her lavish sponsorship of the arts and her influence on European culture ." ( Christina, Britannica June 09, 2017 ). It's not until she questions the peasants about the effect of war upon the  peasant...

The greatest sin of Christianity has been its attempt to maintain "White Male" supremacy at all costs -- even the cost of its own integrity. Is it any wonder why large groups of nonwhite individuals would eventually turn away from God; once they discovered the belligerent flaws within White Christian traditionalism. Thus; how many white Christians or Christians of any race or gender that prescribe to the nonsense of these traditions can be called children of God; let alone sa ved. "How can you say you love me, whom you have not seen, when you do not love your brother who you have seen". How can you be saved and be a racist! In short, who or what do you love more - God or privilege based upon skin color. If, members of humanity turn away from being human and become Gibbon/Giborim through transhumanism it will be those who have been unwillingly disinvested of their humanity by those who claim to know God, but insist upon degrees of whiteness being a measure of humane...

Strangely, he looked at the sky. He tilted his head slightly upwards as if trying to catch either a glimpse or note of music. This had been his behavior for a week. At times, he could hear it; just barely. The notes were always barely out of reach. He could never place the tune. His only opinion of it was that it was unearthly, melancholy. It resembled something that John would have listened too; something from one of those old serials he watched when he was depressed. Whereas others had comfort food, John had comfort shows: The Outer Limits, One Step Beyond, Lost in Space. The music sounded like something that would be played on one of those shows. It always made him feel like he was some character in one of John's comfort shows, it made him feel like he was leaving this life, his fake life, and traveling to his real one. That this flesh – this man that he had been, this mediocre, unsubstantial creature known officially as Robert Talley or Bobby was nothing more than a shabby ...

The film's introductory elements are its: fast pace portrayed through its  frantic typists and roller skating mail clerks; its corporate  uniformity  as evidenced  through its  employees dress code, hair style and identical typewriters. Various technically correct, photographic shots taken of A.B's company states that the company is a conservative, fast paced handler of information. The film's potentially lesbian character is A.B the company's competent secretary who is a predecessor of Miss Jane from the Beverley Hillbillies. From waist to collar, A.B is an unquestioned representation of: male intellect, efficiency and level-headedness; from waist to shoe lace, A.B is all woman or is she?  A.B's gender is immediately put up for  audience  debate by Clinging Vine's writers and creators. The question of A.B's gender is further highlighted by how her subordinates interact with A.B within their  hierarchical  corporate  relati...

The 'Celluloid Closet', movies teach us what to think about the world, the movies opening line as voiced by academy award winner and costar of 'Some Like It Hot' Tony Curtis. This statement is akin to what psychology refers to as predictive programming.  What is mentioned when we are introduced to the sissy as created by Hollywood is that Hollywood's projection of homosexuality into the mind of American audiences could be said to create the pre-conscious and unconscious framework for society's interpretation of those identifying as other than heterosexual. However, within the various scences are unsubtle hints of how Hollywood viewed all those it considered other: the white male painted up to resemble an African slave, a young woman, possibly lesbian,  being passed about by demons, during a scene in which a young, white female virgin is assaulted by a villainous lesbian the camera is suddenly shifted towards an African mask.  It is during this time that the Cat...