Wednesday, December 16, 2009
Hollywood's Satanic Agenda (17): Death Race
The 2008 remake Death Race is a clever piece of New World Order propaganda. The message here is identical to what we call the "New Age Patriot" line of thinking. A NAP is a person who knows about the 9-11 hoax, knows about the Fed, knows about corrupt government, climate fraud, chemtrails, and all that, but takes a decidedly New Age point of view, i.e., he believes that we are evolving toward "infinite consciousness" or godhood, Jesus was the sun god, we create our own reality, everything is an illusion, we live in the Matrix, et cetera.
The irony is that the NAPs believe they have woken up, but that awakening process has been managed and they have awoken into belief structure that will in fact aid in the formation of the New World order.
The central tenet of the New Age, whether or not anyone wants to admit it, is Gnosticism, either neo- or traditional depending on one's disposition. This is essentially a belief in transformation, be it spiritual, physical as with the transhumanists, or cultural. It is this transformation that forms the framework of hype surrounding the 2012 date; and as we have noted on several occasions, we here at NWOIB belief that the Dec 21, 2012 timeline is the end of a 13 year period establishing the NWO. So there is change coming, but it will be anything but positive for people.
At the start of the film we read:
2012-The United States economy collapses. Unemployment hits a record high. Crime rates spiral out of control. The prison system reaches breaking point. Private corporations now run all correctional facilities for profit.
Terminal Island Penitentiary streams a series of cage fights live on the Internet. Prisoners fight to the death, creating a ratings sensation. They are the new gladiators and Terminal Island is their Coliseum.
The gladiator/Coliseum analogy is not a casual one here; the gladiatorial motif is an expression of the transformation theme itself. In the Roman Empire, it was the gladiators who demonstrated the society's ideals of courage and discipline. They confronted death courageously and attained victory over it--even when dying. Mastery of the moment of death was a means of taking control of fate itself, a form of salvation. The gladiator attains self-salvation through his own virtues.
Our modern day gladiator is Jensen Ames, a former race car driver now working in a steel mill. This is his final day of work as the mill is shutting down. He receives his last pay, then goes home to his wife and child.
Later that same night, an intruder enters the home and kills his wife. He is later arrested and taken to prison.
His prisoner number is 77119. This is clearly an allusion to the 9-11 attacks and the 7-7 bombing. Both were "false flag" events engineered to give the governments more power paving the way for the NWO. Whoever chose this number for Ames is probably trying to communicate to the viewer that we, like Ames, have been "set up."
Inside the prison is the familiar back and white checker pattern on the floor; this is a major motif in Hollywood film representing the game of chess, or the struggle between light and dark. In a situation like this, where the characters are literally standing in for the game pieces, they become "pawns in the game." At the end of the film we'll find another reference to this being a game.
Also in the scene is a Christmas tree. This means that Jensen Ames in present somewhere near the big date: December 21, 2012. This is entirely apropos of the film's theme, not only the supposed transformative date, but also the winter solstice is a three day rebirthing event. The race is a three day event from which Ames will be reborn.
Recall that the film I Am Legend was a transformation film centering on the same date.
The warden of Terminal Island is Hennessey. She is the prison's demiurge. As the goddess, she all-powerful due to here position as the warden, all-knowing and everywhere due to technology. The prison is a panopticon, all areas monitored by camera and bugged. We recently covered how technology provides god-like attributes to a man or state in our Neo-Gnostic Nativity post.
The Gnostic demiurge, they believed, trapped our spirits in bodies on this material world, a prison. Warden Hennessey fulfills this role by having Ames's wife killed and having him set up as the killer so he will be brought to Terminal Island for her own self interests.
The Terminal Island Penitentiary represents the material world, or prison. As we have noted on various occasions, islands, or any isolated place, often symbolize the Gnostic material world. This being a "terminal" island, or final place, we get the connotation that no one ever leaves here. And indeed Jensen Ames has been given a life sentence--as have we in reality we are to unconsciously presume. There is an escape, however, as we shall see.
The warden makes a deal with Ames: she needs a driver to replace a dead racer named Frankenstein who was very popular with the fans and brought in a lot of revenue. Frankenstein had four wins, and only five are needed for a pardon. Hennessey offers Ames a pardon if he takes on Frankenstein's identity and competes. One more win and he's a free man.
Ames eventually agrees and he is given a crew and a car: an armored Ford Mustang with machine guns and a huge armor plate on the rear called the "tombstone."
At the start of the film we saw the original Frankenstein drop the tombstone armor as a weapon as he nearly won the race. However, his navigator had sabotaged the car at Hennessey's behest causing his death. This action of dropping the tombstone is a significant symbolic act in the film's final race.
The racers, we notice, are a multicultural sampling; there is a Chinese driver, African-American, Russian, an Arab, a country boy American, a Latino, and the hero Ames is British. This cultural mix is further alluding to the prison's role as a Gnostic microcosm of earth.
The race is divided into 3 stages, and, of course, these stages are symbolic. The 3 stages represent the 3 stages of alchemical transformation:
1) Black: the breaking down of consensus reality; the forming of the original substance of being.
2) White: higher consciousness; the arising of enlightenment.
3) Red: fire; the fusion of opposite realities.
Stage 1: Jensen Ames is given the mask and suit of the original Frankenstein. Ames has lost his identity and face and has assumed Frankenstein's.
Novelist Mary Shelly's Frankenstein tells the story of the creation of a golem, or inanimate matter brought to life. The term golem is Hebrew for "unformed substance." Ergo in stage 1, Ames is returning to the Prima Materia, or original substance.
Stage 2: enlightenment. It is before the second stage that Ames realizes that Pachenko killed his wife. Here he becomes enlightened to the fact that he was brought here by the warden to drive and that he is never going to get a pardon.
Pachenko is a curious character as he is in league with the warden. On his forehead is tattooed "777" and his prisoner number is 60066. 777 is typically identified as having Biblical significance with a positive connotation, and 666 with a negative one. Incidentally, his number tag is written as found in the Book of Revelation: six-hundred and sixty-six.
It is in stage 3 that Ames "drops the tombstone." This action really serves no purpose other than to fulfill a symbolic requirement. A tombstone is obviously a death marker, and here it is being jettisoned as a weapon. But doing this will eliminate the rear armor and put them at great risk.
This act surely takes a lot of courage: giving up this protection and facing mortality is that gladiatorial spirit mentioned at the start of this report. Although, it isn't actually as courageous as it first seems as we soon find that he is working in collusion with his pursuer, Machine Gun Joe. Joe warns Ames that he is about to fire his rockets.
Ames swerves and the rockets blow a big hole in the wall. Ames and Joe drive through it and escape.
As they escape, we see that Ames's crew has removed a bomb from under the car and sent it to the warden. After detonation, Coach turns to the camera and says, "I love this game."
This is known as breaking the fourth wall: a character directly addressing the audience. This is stage 3: fire; the fusion of realities. The fictional world of the film is here fused with the real world of the audience.
"Six months later" the camera fades in at the beach during sunset; we are led to believe that our heroes have found their way to paradise. But after a moment the camera pulls back and reveals that this was just an illusion. The reality is that it is just a beat up old sign.
This is very similar to the "real world" of the Matrix trilogy: it's dirty, the food is terrible, and it is full of hardships. But it's real, you're free, and things are what they seem to be.
So in the end we find our heroes in some sort of sunny, junkyard utopia in Mexico, father and daughter reunited. As Ames and Joe try to fix a car, Joe asks, "You say you want me to live the life of an honest man, huh?"
Ames: "Yup, you'd better get used to it."
They are honest men now doing honest work. An honest man is true man, or authentic man. This is man transformed, saved by his own virtues. Who would have thought that a dumb car movie with tons of violence would have such a profound hidden narrative?
at 5:42 PM