Saturday, 25 March 2017
I am one of the guests on a series on classical music currently being produced by the Dutch Alt Right movement Erkenbrand. The series will serve as an introduction to classical music and address why it is important for ethnic Europeans. This episode looks at the history of classical music from its beginnings to baroque. There is a brief introduction in Dutch and then the rest is in English. We also listen to a few pieces typical of their eras and discuss them.
If anyone is interested in the poetry by Lord Alfred Douglas mentioned from 1:04:32 onwards, it is the collection of sonnets In Excelsis (1924), which had been out of print for decades until I published it in Mjolnir Magazine Issue III.
Sunday, 19 March 2017
Feminist novelist Naomi Alderman has been put on the longlist for this year's Orwell Book Prize for political writing, with her work of fiction The Power. I have not read the book and have no intention of doing so. The synopsis from the book's inside cover says it all:
'She throws her head back and pushes her chest forward and lets go a huge blast right into the centre of his body. The rivulets and streams of red scarring run across his chest and up around his throat. She'd put her hand on his heart and stopped him dead.'
Suddenly - tomorrow or the day after - girls find that with a flick of their fingers, they can inflict agonizing pain and even death. With this single twist, the four lives at the heart of Naomi Alderman's extraordinary, visceral novel are utterly transformed, and we look at the world in an entirely new light.
What if the power to hurt were in women's hands?
Sunday, 12 March 2017
Spoiler Alert: I hope you have all watched Dark City by now, as I discuss the film's big revelation in this article.
In the last article on Alex Proyas' 1998 film Dark City, we took a general look at its meaning and themes from an Alt Right perspective. In this article, I wish to focus in on that increasingly marginalised subject regarding the philosophy of art: aesthetics. Take any course in the arts and humanities at university level now and I would be astonished if any professor touches upon it - unless it is as part of deconstruction theory or post-structuralism, where all positive notions of Occidental cultural are torn down before students have even begun to appreciate what they really are. This has let to a complete detachment of form and style from content, where often arbitrary and deeply pretentious labels and descriptions are attached to museal artwork that has no content in and of itself, as I noted in my tour of the Saatchi Gallery.
Sunday, 5 March 2017
Spoiler alert: Do not read this review before watching the film, even though I have tried to keep the biggest plot twist out of the review.
For the past twenty years, there have been very few great films. What do I mean by great film? I mean any film that has that ability to transport its audience seamlessly into the internal logic of its secondary world of hyperreality, while simultaneously demanding of its audience fundamental questions about existence. In this, it will blend drama with philosophy, scenery with art, dialogue with music. This requires a great scriptwriter, great actors, a great crew and a great director to bring them all together. Metropolis has it; Gone with the Wind has it; Night of the Hunter has it; The Good, the Bad and the Ugly has it; so too does the 1998 Alex Proyas film Dark City. Why then have so few people heard of Dark City?
Friday, 24 February 2017
A while ago, I wrote an article on the original 1973 version of The Wicker Man and the film's implicit whiteness in its distinctly European aesthetics, themes and morality. I am now going to give the same treatment to Mike Oldfield's 1976 arrangement of and accompanying video to the English folk tune "Portsmouth", as it serves as a great lesson in symbolism and aesthetics and how they relate to audience reception.
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