robyn☦️@RRR0BYN
So I have a (mostly) useless degree in film theory and my personal concentration was National cinema. Meaning the study of how a racial/ethnic group represents themselves, their history, present and future through the artistic medium of film.
You will find that every single race of people on earth represent reality differently through film. The essence of that difference is found in the people themselves and what makes them, them.
The racial spirit of a people is illustrated through their use of film making and visual storytelling in such a manner that a Bollywood film and a Korean film are so different in the manner of their storytelling, character development, camera techniques etc they might as well be from different planets.
My favourite example of this is how Irish cinema is known for its dark, often crude, tragic comedy which mirrors the spirit of the Irish and their history perfectly. French cinema also intertwines deep philosophical ideas with ordinary everyday life and often uses rebellious and bold storytelling/camera techniques. Very in alignment with the French spirit.
These distinct artistic differences give visual representation to the distinct differences between the racial spirit of people. What’s even more important though is that the artistic medium of film is in effect a form of collective dreaming.
One steps into the theatre, sits back in a comfy seat, the lights dim, the screen illuminates and we experience the film itself in a similar fashion as we would a dream. The cinema provided the enthralling and thrilling experience of a new reality where anything could be possible. Where we could be reminded of who we are and we could imagine who we might be but for the first time as a shared experience.
And what are dreams if not the deep internal world which inspires the creation and building of the external material world.
Most people think of movies as just entertainment but in reality it is so much more than that. It is programming, guided dreaming and identity creating on the societal scale.
What a people dream and feel about themselves internally they become in a sense. This is why these race swapped roles in historical dramas are not merely superficial and are in effect evil.
It takes a historical figure, their contribution to the spirit of their race and thus a national identity and transgresses upon it by corrupting the image as belonging to anyone, everyone and therefore no one.
It is stolen valour. It is the highest form of cultural erasure in art, it is history rewriting in pursuit of identity destruction. Not surprisingly it is something we exclusively see in roles which rightfully belong to whites.
It is the explicit propaganda arm of white replacement. It aims to make us forget who we are, induce a form of collective amnesia about our history and ultimately erase from all future memory the truth of our ancestors heroics and bravery.