Sunday, 6 August 2017

FILM REVIEW: KNOW1ING, More Implicit Whiteness from Alex Proyas

Alex Proyas' 2009 film Knowing, styled as KNOW1NG, is a film for Alt Right autistes. It is not in the same league as his earlier work of genius, Dark City, either in terms of profundity or artistry, but it is certainly watchable. It appeals to the type of conspiracy theorist who sees patterns in any given date, time or random sequence of numbers. That said, some numbers are indeed targeted because of given mythical significance, like the magic six million, for example. In this case, the sequence of numbers refers to the dates, locations and death tolls of great disasters, hence the figure 1 in the titular gerund. 





The story is pretty straightforward apocalyptic fare, both in terms of the world physically coming to an end and a quasi-religious discourse to the film. A group of schoolchildren put various things in a time capsule back in 1959 and it is dug up in the present day of 2009 when the film was released. One child, possessed by an unknown intelligence, wrote out a series of numbers for the time capsule, which turned out to represent the aforementioned disasters. The last numbers represent the ultimate disaster: armageddon. Yet two children are spared by angel-like extra-terrestrials, who take them away to safety on another planet. That's the plot out of the way, so why is this an implicitly White film?



Let us take the very first scenes: the schoolchildren of 1959 and 2009, who are left in parallel scenes at the time capsule's burial and exhumation to be compared and contrasted. It is a tale of homogeneity versus multiracialism, White America versus the New World Order. The artistry behind the scene of the playground of 1959 is shot in reminiscence of Bruegel the Elder (below), to remind one of the European continuum that will later be broken.



Not just the faces have changed, but the behaviour too, for as anyone with even a modicum of intelligence knows, race and behaviour are inextricably linked, as with the various species of animals, because the rules of science do not simply stop at humans. The class of 1959 are a well-disciplined cohesive group of creative White children; the class of 2009 are a braying individualist mob grabbing at the envelopes the class of 1959 put into the time capsule. 




This latter scene of the children foreshadows the scene later in the film, where the news of the Earth's imminent destruction has given rise to multiracial mob rioting and looting. Amid all the chaos, the camera focuses in on a single White couple in an iconic image, the man comforting and protecting the woman in embrace, reaffirming European gender norms and the noble European character trait of calmness stoicism in the face of disaster. It is set to the second movement of Beethoven's seventh symphony, an iconic piece of European music heavily featured in John Boorman's Zardoz. It also shows how easily multiracial societies break down in moments of stress. Lawlessness arises the moment the opportunity arises when disparate peoples are thrown together into an artificially constructed society.




It is important to remember at this point that Alex Proyas did not write the script for this particular film, and therefore we are concerned here not really with the script itself, but with the interpretation of the script and decision making for the artistic realisation of the film. It is in these things that Proyas' Eurocentrism is displayed. Thus, the Biblical character names and themes, particularly from Ezekiel 1 and Genesis 1, 2 & 6, intertwined with 'real-life' accounts of alien encounters with 'men in black', are matters for the scriptwriters. What is aesthetically interesting for us is that the men in black cum angels from the Book of Ezekiel are white-haired Nordics in appearance. In other words, those of the highest order, highest intellect and closest to the Biblical God are the most Hyperborean.




Equally, the children chosen to escape the Apocalypse and repopulate the alien planet cum Garden of Eden (complete with tree) at the film's climax are both White. One might see this as a simple case of in-group prefence, but objectively speaking, the best race for building a coherent civilization is that of the Europid. The men of science, of intellect and calm reason, in the America of the film are all White, which is realistic, but realism is no defence against the false consciousness of cultural Marxists and ethnic Others with a chip on their shoulder, as Proyas would find out last year in the wake of the furore over his casting for Gods of Egypt.


 
 Indeed, it looks as though Alex Proyas may have been rumbled. Certainly, the Jollywood moguls will be keeping an eye on his decision making from now on, and it may be that we have seen the last of Proyas' implicit whiteness in his films. Yet we should not be discouraged by this. With recent technological advances and its commonplace affordability, film is now accessible to all and something we should be getting more involved in. Certainly, I and others with experience of film making are currently involved in a project, which I hope will be the first of many. Watch this space. 

In the meantime, you who read this site can help by disseminating information about pro-White culture that already exists. I write articles like this hopefully to entertain, but chiefly to show you how the magic works in a cultural text. It is like a watchmaker taking off the face and showing you the mechanism. You who are reading this can help budding artists who wish to further our culture through a simple act of sharing articles such as this on your social media. Please do so.

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