A great success in theaters recently, John Wick Chapter 2 continues the
story of the artistic world of John Wick murderers, underground
organizations and deliciously action packed plot. While most of you enjoy
what seems to be a trilogy of high grossing movies for little more than its
artistic excellence and entertainment, there is a deeper message that
beautifully escapes the consciousness of most viewers, and the creation
leftist Hollywood.
As Matrix, this film series seeks to subtly insinuate cultural memes in the
population in a way that can organically take years or decades to foment
fully. In the case of the matrix, the company was endowed with the notion
pills "blue" and "red" and all corresponding depths of the meaning of these
terms. This film of a trilogy that began in the late 90s is now considered
the recent revival catalyst of the company in Orwellian control system that
surrounds us.
However, while the Matrix trilogy is set to a bit depressing and insidious
atmosphere that we in society decaying around us wake up painfully, John
Wick presents a wacky alternative world where almost all controls are
dropped and people are free to live their own. Essentially, one could say
that the Matrix trilogy identifies an ugly problem, while John Wick trilogy
presents a possible solution.
A thorough analysis of the John Wick series can easily cover any literary
thesis numbering hundreds of pages, and no respectable writer ROK,
including me, and never subject our readers a value to such anguish (or
hedonism, depending on the player). So without further ado, here is a brief
and condensed analysis of how the film series John Wick shamelessly convey
the concepts of K-selection and masculinity.
Selective K protagonist
John Wick, played by Keanu Reeves, is not presented as a pretty boy & #
8216; roided to the Jersey Shore caricature that serves the sexual and
emotional interests of women on all fours while the wind blows in her
golden blond hair. No, the directors present to us a good-sized man, fit, a
little on the leaner side, with half a face of limited expressions Asian,
sport full facial hair.
It is devilishly clever at nothing to do with violence and nothing else,
and has a passion for classic muscle cars. John Wick is not a game boy, and
administrators did not fail to show that neither is he a man who attracts a
large female sexual careful - not because it is unattractive for them, but
because each female character he encounters by chance in the play movies
loud and clear that he is not interested in catering to their sexual whims
or needs, and its continuation would be a futile effort.
He is a man of "focus, commitment and sheer will," which puts its goals
before everything else. It is not interested in emotions spiking women to
con in bed, and it is certainly not interested in dancing around like a
monkey selective r to capture the attention of everyone.
Even the choice of Keanu Reeves as an actor, a man with a complicated
personal life in the real world and a man with an extra dose of genetic
K-selection of its Asian roots, speaks volumes about the direction of this
series films of the surrender. The director yells at us very succinctly:
John Wick is not a sexy hero. It is money that backed gorilla fuck you if
you get her way.
There are no significant state
The world of John Wick is located in a parallel universe where it seems the
only thing missing is an overbearing, bureaucratic state. Assassins freely
roam the streets and carry out contracts with impunity. The law is not
enforced by any authority of the State, and behavioral codes are just a
gentlemen's agreement, the violation of which sometimes results in
retaliation by the faulted.
In fact, the only police officer we see is Jimmy, the timid and incompetent
non-contributor who shudders at the very sight Wick. My view is that
directors seek to portray a world that is cleverly unfolds the victim
mentality and fetid Slave Morality of our modern West on the head, hugs
instead of individual choices and consequences, and an overall master
Morality .
In the first film, it seems that the Russian family Tarasov essentially
control important parts of the economy of the city, without consequences
with authorities, while Winston and murderers Continental harbor openly. In
the second film, we see that the Italian family D'Antonio holds significant
power in society and working again with full immunity from the law. Even
the currency in both films is concentrated around gold coins issued by
Continental, which is difficult to interpret in any way near direct and
blatant affront to our true fiat currencies of the world.
On a side note, it is interesting to note that the story line has chosen
the Russians and Italians - both white crop known to be very traditional
and patriarchal - as a subtle insult to the poor and helpless image of
Anglo modern Western man. The city of New York is symbolic jewel of Western
civilization, and "corruption" by the powerful forces of masculinity, small
government, and the Master is an intelligent and sneaky Snipe Morality in
our modern Western society.
Violence is the way men
Without elaborating too much, I think this point is clear to anyone who has
seen even as specials for movies. The film series is clearly the kind of
action and violence is delightfully dispersed throughout the fabric of its
plotlines.
What is interesting to note is that the violence is portrayed horribly, but
artistically and, dare I say, beautifully. We almost feel that
administrators want us NOD our heads in agreement by the end of the movie
and say "yes, violence appears as a pleasant way to clean and deal with
your problems."
The nature of man is violent. Morality is indifferent to the existence of
violence and moral issues revolve around the use or misuse of violence, not
the existence of the violence itself. This point hints directly on the beta
faces that pacifists derived their moral quinoa.
Walk, talk and dress like a man
Try to find an important character in the series of films that are not
impeccably dressed - whether casual or formal - and I'll take my hat off to
you. The world Wick is not subject to the same degeneration in the fields
of fashion and art is our world. Consequently, the presentation of a human
male becomes organic.
Wick itself to different antagonists, a tapered suit jacket and pants are
the bare minimum of what is expected. Heck, even the scores Wick dispatches
henchmen are seen wearing full suits with hoods. The message is clear: kill
in style, and die in style.
In addition, the film series does not appeal to the selfish whims of
underage boys in hoodies that boast how they "play day"; it appeals to our
deep time and often repressed sense of respect and fear towards men who
show exemplary qualities, civility and material success. There is good and
evil in the beauty, and the opinion of John Wick not be swayed no matter
how autistic screeches of the fashion community.
Women are inferior to men
One of the outstanding features of the film series is the position of women
in the hierarchy of both powers and competences. Yes, there are women
murderers, but that's just a taste nod to the concept of equal opportunity,
not equal outcomes.
In the first film, the assassin Perkins made a failed attempt to kill John,
even with the unfair advantage of breeching the rules of Continental. Not
only is she allowed to appear grossly incompetent as an assassin, but also
the passage of the almighty pussy does not water down the consequence of
his transgression as it would in the real world. Satisfactory scene Winston
terminating membership by literally gunning his death should send shivers
down the spine of all Mangina judges in the legal system that too often
sympathize with women.
In the second film, the character of Ruby Rose Ares is presented as a
formidable enemy that controls all of the small army of D'Antonio. However,
far from being a feminist wet dream Wonder Woman, Ares is depicted as a
woman incomplete as it is silent and a bit androgynous.
She laboriously for its lack of female sexual market value by
overcompensation with superb fighting skills and undying loyalty to his
superior, Santino D'Antonio. In the knife fight with John, she sets up a
short and fruitless competition, and quickly killed by the protagonist.
I can not help thinking that this scene was produced in direct contrast to
the long and difficult struggle with the experienced John Cassian male
assassin. Aside from women murderers, all the other female roles are
relegated to running jobs (accounts payable) or sexual entertainment
(nightclub Circle), which means their insignificance in the affairs of men.
K-selective music themes
Without embarking on a critical analysis of the musical content of this
series of films by obtaining technical unnecessarily with things like
pan-diatonic elements of the general melody, or how a particular crescendo
highlights such and such issues, let us explore quickly his two most
outstanding lyrical pieces, namely "foreign Kill" by Marilyn Manson
and "Plastic Heart" by Ciscandra Nostalghia.
Besides being great songs to play at a high average volume while your
driving your S550 Mustang GT, these songs, there are K-selective messages
quite subversive.
Kill foreigners:
The world doesn not need no opera, we need it for operation
We don t need a Bigga knife (a knife Bigga)
& # 8216; Because we have guns, we got guns, we got guns (we had guns)
We had guns, you run Betta (Betta is run, are running Betta, Betta is run)
We're killin foreigners, we're Killin foreign
We're killin foreigners, so we don t kill those we love ...
The notable theme here is the glorification of firearms. But a deeper
meaning that betrays the highly selective K-theme of this song is in the
words "we kill foreigners ... so we do not kill people we love." Take it
how you can, but I see reference to the group's preference and protection
of those around you, even at the cost of disposal of foreigners.
Heart plastic:
You are the shark
You pursue me like
Your last goodbye
Oh fallen angel
Of the night
Just take my heart
Simply tear out
This holy skin
It's fall
I put my body
On the bed
One day, one day
You know I see you again
I put my hand against your plastic heart
No, suicide is not the plan, get up
Even the stars are trapped inside, oh my
There is nothing to hide
There is nothing left to die
There's nothing to die ...
Now while I can not be a major literature from the University of Oxford, it
does not take a lot of literary sensibility to see that the female voice of
the song shamelessly subjected to abstract male presence, she sings.
Lines such as "take all my heart, just tear it" can not be mistaken for
anything other than total submission to a stronger and, dare I say, a bit
mysterious and damaged male persona. This is the ultimate call of the siren
to the alpha male by the identifier of the music of the woman as she
rejoices at the same time his loyalty and support women in "One day, one
day, you know I'll see you again" .
Why should you watch movies John Wick
A culture is defined not only by its customs and laws, but also by his art
and how his art appeals to his people. Civilization has never been defined
by an Orwellian society, legalistic, but the air of the general time of his
people when it comes to the abstract assessment of the world.
The film series John Wick is a powerful work of art in the cultural war.
There are notable between the tags of the true artistic excellence in a
society where vomits on a canvas is considered high, painting and women of
90lb beat Russian wrestlers is considered empowering. Everyone swallowed
the red pill should watch both films.
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