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Sunday, 16 December 2012

TV and Hollywood Subtle Hidden Persuaders: The Killing, The Final Destination

The Killing - Series 3


Both the television and Hollywood subtly manipulate - in a way reminiscent of the advertising industry with its "hidden persuaders" - what people think to establish a form of cultural Marxism ("political correctness" is nothing other than that) as the dominant ideology, the current orthodoxy.

Subtle, hidden persuasion used in fictional, visual stories is much more effective than direct attempts to persuade through argument. If you see the argument openly, you can also spot its faults by using reason, logic and evidence. But if you are not allowed to see the argument, you are more vulnerable to it via the power of imagery and emotionally-charged human tales.

So viewers are influenced by professional persuaders into buying an ideology or a world view as they would an advertised product or service.

These days we can watch so many shows, films and telefilms for free and in the comfort of our homes. We are lucky, yes, but just as we have to somewhat pay for all this luxury through enduring commercial breaks, similarly we also have to pay for it by being subjected to ideological and political brainwashing, more often than not without even realizing it.

I'll give two recent examples of British TV broadcasts, one of which involves a Hollywood film.

Since I mentioned "orthodoxy", a term often used in relation to religion and whose opposite is "heresy", and remembering that heretics were sometimes burnt at stakes, I'll start with the American movie, for reasons that will become clear.

The film in question is The Final Destination, the fourth in the series, made in 2009. I didn't watch the whole film, but I saw a scene in which a drunken guy, an obvious villain of the piece, calls a black man "nigger". At that point I knew, for having seen a similar thing umpteen times in Hollywood productions, that this chap was doomed. He couldn't say that word in a US film and survive unscathed: he had to die.

Sure enough, he did die. And how is also interesting. The character, Carter, caught fire in an accident involving his truck. The vehicle started moving while he was trying to burn a cross on a front lawn, and as he chased after it, his foot got caught in the chain, dragging him along the road with the truck and starting a fire through friction. So he was burnt alive, just as the heretic that he was, for having used a wrong word according to the Hollywood orthodoxy's diktats.

The important thing to consider here is that the term "racism" has become so broad and all-encompassing in its meaning, and is misapplied to so many irrelevant, inappropriate situations, that it now creates a real confusion in its usage.

Real, serious acts or demonstrations of racism - very rare, now, except those directed against whites - are put by this prevailing liberal (in both senses of abundant and leftist) use of the word in the same category as trivialities, like calling people names in a moment of irritation, so whoever commits the second kind of "offence" is treated with almost the same severity as who is a real racist.

A good instance of that is the case of former England football team's captain John Terry.

My second example from UK TV programs is the Danish detective drama The Killing, Series 3The Killing - Series 3. Here a huge corporation, the biggest in Denmark, shipping and oil giant Zeeland, is the villain. Its owner Robert Zeuthen is a man who has destroyed his family for being too absorbed in his multinational empire. His young daughter is kidnapped and her life is at risk, all because Zeuthen's personal assistant and Zeeland's top executive Niels Reinhardt, a real corporate man who worked all his life for the company and in the drama personifies it, is a paedophile who raped and killed a child whose father is exacting revenge.

In the end Zeuthen, after his daughter is rescued and safe, decides to retire from running the business in order to spend all his time with his now reunited family. The corporation is seen throughout the story as an enormous predator, swallowing the life of the owner's family and then almost eating up the flesh of his daughter, run by men who are corrupt at best and murderous paedophiles at worst.

In the final episode the company seems to be abandoned, like a sinking ship, by its owner who had already squandered lots of its resources in a vain pursuit of his daughter's kidnapper, signifying the unimportance of money and wealth.

His wife is a heroine of the drama, who is against the big multinational from start to finish.

Occupy Wall Street couldn't have got the message across better.

The moral of the story is, among other things, that the corporation ruined the family, and its dereliction restored it.

How many families, in real life, are actually helped, kept together and survive thanks to businesses like Zeeland is naturally conveniently omitted from the yarn, which could have made the hardest-core Marxist proud.

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