Monday, 18 November 2024

PART IX. THE MOOGAI, THE BOGEYMAN, THE SATYR "KRAMPUS"—AND GOVERNMENTS STEALING CHILDREN—IN THE FILM: 'THE MOOGAI, 21 JANUARY 2024 SUNDANCE FILM FESTIVAL, 86 MINUTES', DIRECTED BY JON BELL: A BLOG, 18 NOVEMBER 2024, BY CRAIG STEVEN JOSEPH LACEY.

§1.0 - Points 1.0–1.11: THIS BLOG'S CONTENTS:
1.1 - THIS BLOG'S TITLE:
1.2 - PART IX. THE MOOGAI, THE BOGEYMAN, THE SATYR "KRAMPUS"—AND GOVERNMENTS STEALING CHILDREN—IN THE FILM: 'THE MOOGAI, 21 JANUARY 2024 SUNDANCE FILM FESTIVAL, 86 MINUTES', DIRECTED BY JON BELL: A BLOG, 18 NOVEMBER 2024, BY CRAIG STEVEN JOSEPH LACEY /
1.3 - THIS BLOG'S LISTED SECTIONS AND NUMBERED POINTS:
1.4 - §2.0: Points 2.0–2.21: 
DISCLAIMER /
1.5 - §3.0: Points 3.0–3.2: DATES OF RESEARCH, WRITING AND PUBLICATION /
1.6 - §4.0: Points 4.0–4.25: THE MOOGAI: A FOLK-LORE OF AUSTRALIA /
1.7 - §5.0: Points 5.0–5.25: THE UNDER-PINNING FOLK-LORE OF THE THREE FILMS: THE MOOGAI, 21 JANUARY 2024, 86 MINUTES, THE BABADOOK, 17 JANUARY 2014, 94 MINUTES, AND THE BOOGEYMAN, 2 JUNE 2023, 99 MINUTES /
1.8 - §6.0: Points 6.0–6.29: THE FOLK-LORE OF THE SACK-MAN AND THE GOODLY PATRIARCH: SAINT NICHOLAS /
1.9 - §7.0: Points 7.0–7.36: COMPARING THE AUSTRALIAN HORROR FILMS TO GERMAN EXPRESSIONIST CINEMA /
1.10 - §8.0: Points 8.0–8.28: THE PERSECUTION OF CHRISTIANS AS TYPES OF CHANGELING OR VAMPIRE /
1.11 - §9.0: Points 9.1–9.23: FROM GOVERNMENTAL, CUSTODIAL POSSESSIONS TO SPIRITUAL POSSESSIONS / 
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§2.0 - THE DISCLAIMER—Refer directly beneath to points 2.0–2.21.
2.1 - All rights reserved © Craig Steven Joseph Lacey, 4 December 1976–, Australia. 2.2 - Changing the content or re-publishing this blog is strictly prohibited. 2.3 - This blog is protected by the: 2.4 - Privacy Act 1988 of Australia, against unauthorized access to Craig Steven Joseph Lacey's Samsung Galaxy A05s, and Google account; 2.5 - Cybercrime Act 2001 of Australia, against computer fraud or internet fraud; 2.6  - Copyright Act 1968 of Australia, against intellectual property theft; 2.7 - Universal Copyright Convention, circa 1952; 2.8  - Berne Convention for the Protection of Literary and Artistic Works, 9 September 1886. 2.9 - Fines and/or prosecution will apply according to Australian and International law in reference to unauthorized access and use of this blog published through the Blogger app of Google.com and the author's storage device(s) with the data. 2.10 - A total of ten images have been used within this blog, at: 2.11 - point 4.20, a film-still from: The Moogai, circa 2024; 2.12 - point 4.25, a film-still from The Moogai, circa 2024; 2.13 - point 5.15, an illustration of a 'Banksia Man' from Snugglepot And Cuddlepie, circa 1990; 2.14 - point 6.16, a greeting card of the 1900s that reads: 'Gruß vom Krampus / Greetings from Krampus' from The Krampus Devils website: <http://www.krampus-certi.cz/historie.html>; 2.15 - point 6.20 the theatrical release poster for the film: It Chapter One, 5 September 2017 Telephone Communication Limited Chinese Theatre California, 135 minutes, directed by Andy Muschietti; 2.16 - point 7.6 a film still of the character of the babadook as it crosses over from the two-dimensional world of the children's pop-up book to the real world of the film; 2.17 - point 7.8, a film-still of moogai's hands gesturing to take the baby Jacob; 2.18 - point 7.16, the theatrical release film poster for: M, 11 May 1931, 111 minutes, directed by Fritz Lang; production company: Nero-Film A.G.; 2.19 - point 7.29, a film still of a chicken fœtus broken from the shell and in a bowel; 2.20 - point 9.12, the film's theatrical release poster in which Precious Ann's eyes appear all-white. 2.21 - Strictly not for sale, now or in the future.
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§3.0 - DATES OF RESEARCH, WRITING AND PUBLICATION—Refer directly beneath to the points 3.0–3.3.
3.1 - This blog was started, 01.11.2024, and completed 18.11.2024, as researched and composed only by Craig Steven Joseph Lacey at Brisbane City, Queensland, Australia, 4000. 3.2 - Word count: 7,407 and characters count: 45,277. 3.3 - Last up-dated: 21:02, 19.11.2024, Australian Eastern Standard Time.
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§4.0 - THE MOOGAI: A FOLK-LORE OF AUSTRALIA—Refer directly beneath at points 4.1 to 4.25.
4.1 - This blog discusses the Australian film: 4.2 - The Moogai, 21 January 2024 Sundance Film Festival, (31 October 2024 Australia), 86 minutes, directed by Jon Bell; the production companies: Causeway Films and No Coincidence Media; 4.3 - with references and commentaries extended to a number of similar films and written texts, some of which are found to represent the symbolic characterisation of "the child-eater", an essentially gothic figure—notably prevalent throughout world-wide cultures—and that is in representation regarding general Australian and black Australian Aboriginal cultures as evidenced by this film. 4.4 - The filming locations of: The Moogai, 21 January 2024, 86 minutes, according to an internet source, include: 4.5 - Western Sydney; 4.6 - Leichhardt; 4.7 - Randwick; 4.8 - Marrickville; 4.9 - Moore Park; 4.10 - Botany Bay; 4.11 - Waverley. 4.12 - There are few visual indicators of these cities' localities within the film—for example, there are none of the standard land-marks, such as: the Sydney Opera House and Harbour Bridge, or Sydney's North shore beaches, or Parramatta Park's River Walk, etc. 4.13 - Such psychological / horror genre films can involve a narration of the 'dissociative fugue', where wanderings happen similar to sleep walking, in which case nothing much is recognisable—further compare the Australian phrase: "to have gone walk-about", that alludes to temporarily leaving, or completely disappearing, and the North American military-based acronym: 'AWOL: absent without official leave', that has become a noun: ''awol'. 4.14 - This film contains aspects of the British Victorian night-marish fugue, such as narrated by:  4.15 - The Yellow Wallpaper, circa 1892, by Charlotte Perkins Gilman; re-published in: The Yellow Wall-Paper And Selected Writings, 3 March 2020, Penguin Classics, 400 pages, ISBN: 9780143134794; 4.16 - but there are none of the British Victorian-era preoccupations of "the damsel in distress". 4.17 - Instead women are portrayed as confronting the monster of their night-mares—the monster that has crossed-over from the dream world to the so-called real world of every-day suburbia, where women know how to fight. 4.18 - In many respects this film avoids the tourist icons of the Australian landscape to reveal "the back-yard" as being a literal and figurative place, a locus amœnus, that symbolizes a private space, such as "the family closet", that is opened up as a sort of shared commons—the bourgeois obsession with the limits of the family home are thrown-off for a shared reality of experience against the hardships among the ghosts of the past connected to the dictatorship of the British-Australian monarchy / government. 4.19 - Out in Parramatta's / Sydney's back-yard, Ruth, acted by Tessa Rose, Sarah, acted by Shari Sebbens, Chloe, acted by Jahdeana Mary, and the infant son, Jacob, are shown to confront the moogai's unwanted presence upon the land and its threats to permanently take away the new-born son. 4.20 - Refer directly beneath to a film-still of Ruth, Sarah and her children "out in the back-yard", with the Iron-bark Eucalyptus tree, girt by many photographs of the moogai's victims.
4.21 - First portrayed during the initial mise-en-scene of the bush-land of Parramatta's outer western suburbs, the moogai is seen as attached to the dark interior of the earth, viz. within a cave, yet its legacy is greater than any attachment to the land, as it later attaches itself to Ruth's daughter, Sarah and her new-born son, who live at the city—seemingly, its mission is to perpetuate the antiquated doctrines of 'The Stolen Generation', an odious sort of tax. 4.22 - To defeat the moogai, Sarah must connect with her biological mother's lore and draw strength from her black Australian Aboriginal culture, at a site marked by an Iron-bark Eucalyptus, around which Ruth creates two concentric circles of fire to reinforce their stand against the tyranny the moogai symbolizes. 4.23 - Refer directly beneath at the film-still that depicts Ruth, Sarah, Chloe and the baby Jacob, behind rings of fire.
4.24 - Further the film represents the socio-cultural concerns of contemporary Australian society, with moments of Australian English usage and the Australian accent; moments of distinctly Australian and Indigenous history and culture; scenes of the Australian bush-land at the outer edges of the city distinguished by the stoic, Iron-bark Eucalyptus trees, amid the tall grass and "scrub", viz. dense thickets; lastly, but not least, a system of education, hospitalization and policing ("government") that most Australian people must work-around or risk imprisonment. 4.25 - Considering a monster lurks in many Australians' pasts and households, or "out in the back-yard" of Australia, comparatively the government's regulations are found to be out of place with such experiences, such that it is to culture and religion the people must turn for strength of identity and purpose.
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§5.0 - THE UNDER-PINNING FOLK-LORE OF THE THREE FILMS: THE MOOGAI, 21 JANUARY 2024, 86 MINUTES, THE BABADOOK, 17 JANUARY 2014, 94 MINUTES, AND THE BOOGEYMAN, 2 JUNE 2023, 99 MINUTES—Refer directly beneath to points 5.1 to 5.25.
5.1 - The film: The Moogai, 21 January 2024, 86 minutes, directed by Jon Bell, involves a similar thematic subject of "the bogeyman" as another Australian film but which is set at Adelaide, South Australia, ten years earlier: 5.2 - The Babadook, 17 January 2014 Sundance Film Festival, (22 May 2014 Australia), 94 minutes, written and directed by Jennifer Kent; production companies: Screen Australia, Causeway Films, South Australian Film Corporation, Smoking Gun Productions and Entertainment One. 5.3 - The thematic subject for both Australian horror genre films is to an extent the already extensively narrated: "monster under the bed", or the monster in the basement or the monster lurking in the cave that has become the monster under the bed or in the closet. 5.4 - More specifically, the 'babadook' is supposedly an invented word by the film's director Jennifer Kent, improvised from the Serbo-Croatian language for 'bogeyman', viz. 'babaroga'. 5.5 - The 'moogai' is said to be a noun of the black Australian Aboriginal Bundjalung language, that refers to a 'ghost' as a type of man / beast which crosses over from the spirit world to chase after children in the fulfilment of a type of curse. 5.6 - Comparing the moogai to the babadook, the under-pinning figure that  emerges is that of 'the bogeyman', a noun which derives from the global folk-lores of the 'scare-crow' or 'sack man'. 5.7 - Being Australian, the first association to a monster of black Australian Aboriginal folk-lore, is the 'Bunyip', though the bunyip is a creature considered to be of the billabong or water-hole, not a cave—the bunyip is a chimera of sorts, but disconnected to the history of the bogeyman's kid-napping and child killing or eating as shared by the moogai too. 5.8 - The 'Yowie' may be a closer Australian match to the moogai, as an humanoid spirit that is known to roam the earth and eat humans, and that is comparable to 'wild men', as of Jonathan Swift's characters: 'yahoo': 'a brute in human form', from the text: 5.9 - Gulliver's Travels, Or Travels In to Several Remote Nations Of The World; In Four Parts; By Lemuel Gulliver, First A Surgeon, And Then A Captain Of Several Ships, circa 1726 by Jonathan Swift; re-published Gulliver's Travels, circa 1997, 360 pages, Puffin Books, ISBN 9781442039513—and adapted for film: 5.10 - Gulliver's Travels, premiered in the United States Of America, NBC, 4–5 February 1996, 186 minutes, directed by Charles Sturridge, production companies: Jim Henson Productions and Hallmark Entertainment; 5.11 - texts that arguably portray Australia before the British claimed it as theirs, though this is an arguable point rather than consensual, historical fact. 5.12 - The yowie or yahoo are possibly similar to the wild-men, such as the 'Squatch' of Hood Mountain Park, Oregon, as already discussed in my blog thoughtsdisjectamembra: 'Part VII Changeling Chased By Satyr', 22 September 2024'5.13 - There are further allusions to the 'green man', a pagan symbol associated with satyrs, though in Australia the equivalent is most probably the 'Banksia Man', who has been popularized by May Gibbs' bush babies series, such as: 5.14 - The Complete Adventures Of Snugglepot And Cuddlepie, circa 1940, Sydney: Angus & Robertson; re-published as: Snugglepot And Cuddlepie, circa 1990, North Ryde, New South Wales: Collins /Angus & Robertson, 228 pages, ISBN 0207167303, 9780207167300. 5.15 - Refer directly beneath to an illustration of a Banksia man from: Snugglepot And Cuddlepie, circa 1990.
5.16 - To further follow the etymological analysis of the noun: 'bogeyman', the scare-crow's symbolism of a 'bug-bear', that is a dummy or mannequin used to scare away predators from a place, is considered to continue the relevance of a bug-bear, though the moogai scares away children who dwell about a place, not predators. 5.17 - The tendency is to perceive the bogeyman as a thing such as an object, not dissimilar to the scare-crow, but as a ghost it is somewhere between a person and thing: as that inanimate object possessed of a spirit, a medium or conduit through which the doll may become possessed and animated. 5.18 - The noun: 'bogeyman' derives from the phrase: 'black man / Der Schwarze Mann', in which case 'black' refers not to the colour of a man's skin, but to the places where he resides, viz. in caves, the closet or under the bed. 5.19 - Der Schwarze Mann / The Black Man is the title of a game popular throughout Europe from the 16th century onwards; colloquially known as: 'Who is afraid of the black man?', it is a game in which a number of participants must avoid being captured by "the black man", viz. the personification of 'The Black Death' of mid 14th century Europe, that is, the bubonic plague, and The Grim Reaper—refer to: "The Disappearance Of The Plague: Social And Cultural Consequences In Europe Around 1700" by Achim Landwehr in: editors Wolfgang Benz and Georg Iggers, Journal Of History, Zeitschrift Für Geschichtswissenschaft, circa 2006, Metropol Verlag, Berlin Volume 54, ISSN 0044-2828, page 761. 5.20 - Broadly interpreted the game's principal chase is entertained by the above mentioned films: the moogai chases Ruth, Sarah, Chloe and baby Jacob at the urban apartment and bush-land, and the babadook relentlessly pursues Amelia and Samuel in their Victorian-style home with its up-stairs and basement. 5.21 - However, each of the films' monsters are of a white appearance. 5.22 - The third film commented upon in this section of the blog is of New Orleans, Louisiana, with its eponymous subject of the bogeyman: 5.23 - The Boogeyman, 2 June 2023, 99 minutes, directed by Rob Savage; production companies: 20th Century Studios, 21 Laps Entertainment, NeoReel, TSG Entertainment; 5.24 - in which the spirit of the bogeyman is represented as a shadow, without any distinct ethnic traits, such as to attribute the creature to a specific race. 5.25 - Here the semiotics of darkness is associated to an absence of sight and ignorance that can be preyed upon by "predators"; typically envisaged as dæmons according to the Judeo-Christian cultures which narrate of limbo, hell or sheol as places of darkness and shadowy ghosts, viz. shades.
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§6.0 - THE FOLK-LORE OF THE SACK-MAN AND THE GOODLY PATRIARCH: SAINT NICHOLAS—Refer directly beneath to points 6.1 to 6.29.
6.1 - The 'sack-man' is known in Dutch as: 'Zwarte Piet' / Indonesian: 'Pit Hitam', viz. 'Black Pete', said to be the servant of Saint Nicholas, such as portrayed in the Dutch Christmas book: 6.2 - Sint Nikolaas En Zijn Knecht, circa 1850, Amsterdam: Gerardus Theodorus Bom and re-published circa 1907, by Jan Schenkman. 6.3 - 'Black Pete' is described as a black Moor as based on the legend: Saint Nicholas tamed dæmons to help in his Christmas tasks—refer to: The Cult Of Saint Nicholas And Its Customs In The West: A Cultural-Geographical-Ethnographic Study / Research on Folklore, Issues 9-12, circa 1931, by Karl Meissen, Düsseldorf. 6.4 - According to the Spanish and Latin American cultures: 'Coco / Cucuy / Cuco / Cuca / El-Cucuí' is the ghostly monster which may "spirit away" viz. kid-nap disobedient children, to eat, as it is a child-eater. 6.5 - More specifically, 'Coco' is a reference to the 'skull', which recalls the similar Mexican and South American figure of 'Calaca', that literally translated as 'skeleton', which is further associated with the macabre "danse of the dead" and is part of the festivities of the Catholic tradition, All Soul's Day, 2 November, such as celebrated by the film: 6.6 - The Book Of Life, 17 October 2014 the United States Of America, 95 minutes, directed by Jorge R. Gutierrez. 6.7 - There are similarities between the film mentioned directly above and the film directly beneath: 6.8 - Coco, 20 October 2017 Morelia, 105 minutes, directed by Lee Unkrich; production company: Pixar Animation Studios. 6.9 - The figures of Coco or Calaca are more definitively of The Grim Reaper, the personification of death, such as of the Four Horsemen of the Apocalypse of the Christian New Testament: Chapter 6 of The Book Of Revelation. 6.10 - Regarding the film: The Moogai, 21 January 2024, 86 minutes, the figure of the sack-man as the bogeyman—the moogai—who is a child-eater differs from The Grim Reaper, for a focus upon children or disobedient children as its victims; on which point it is more comparable to the French 'Père Fouettard / Father Whipper / Old Man Whipper', a companion of Santa Claus the festive spirit of Saint Nicholas, the Christmas gift-bringer. 6.11 - The dark companion of Santa Claus is prevalent throughout many cultures, such as at Germany: 'Knecht Ruprecht'; at Austria and Bavaria: 'Krampus'; at Slovenia: 'Parkelj'; Croatia and Hungary: 'Friuli'; at Palatinate and Pennsylvania: 'Belsnickel'; at Augsburg: 'Buzebergt'; at Switzerland: 'Schmutzli'; at the Czech Republic, Saint Nicholas or svatý Mikuláš is accompanied by the čert (the Devil) and anděl (the Angel). 6.12 - This "dark companion" of Santa Claus delivers bags of presents, 5 December, but in the empty bags takes the naughty children to the place of no return, 6 December, the Feast of Saint Nicholas. 6.13 - Such figures feature less in the contemporary cinematic representations of the traditions of Christian festivities that focus on children, such as: Martinmas 11 November, Christmas 25 December, The Feast Of The Holy Innocents 28 December and New Year's Day 1 January—with the one exception being the recent film: 6.14 - Terrifier 3, 19 September 2024 Fantastic Fest, 125 minutes, directed by Damien Leone; production companies: Dark Age Cinema, Bloody Disgusting, The Coven and Fuzz on the Lens Productions; 6.15 - though the figure of 'Art the Clown' is an hybrid of the Christmas satyr, such as Krampus / Knecht Ruprecht, and the clown of the commedia dell'arte, 'Brighella'. 6.16 - Refer directly beneath to a greeting card of the 1900s that reads: 'Gruß vom Krampus / Greetings from Krampus' from The Krampus Devils website:
<http://www.krampus-certi.cz/historie.html>, in which the figure of Krampus resembles a satyr with an obvious cannibalistic motive due to the extension of his tongue, but the child could be destined to enslavement with the shackles on the floor, and it is the boy being sacked by the child-eater to suggest the boy has been badly behaved, not the girl.
6.17 - The permutation of the clown figure is a modern twist to the representation of the sack-man, such as epitomized by the film: 6.18 - It Chapter One, 5 September 2017 Telephone Communication Limited Chinese Theatre California, 135 minutes, directed by Andy Muschietti—based on the text by celebrated author of the macabre, Stephen King:  6.19 - IT, 15 September 1986, by Stephen King, Viking, United States Of America, 1,138 pages, ISBN: 0-670-81302-8. 6.20 - Refer directly beneath to the film's theatrical release poster in which a clown stares from a storm drain with the play things of a boy, a red balloon and a paper boat: either lures or remnants of earlier victims.
6.21 - The figure of the child-eater, while derivative of the Christian cultures based on Christmas festivities, is found throughout Eastern Asian countries, such as: 6.22 - at Northern India the 'Bori Baba', that translates as "Father Sack", carries a sack in which he places children he captures;  6.23 - at Ghana the Madam Koi Koi / Lady Koi Koi / Madam Moke, a Nigerian urban legend, is a vengeful ghost who haunts dormitories, hall-ways and toilets at boarding-schools during night-time to enforce sleep among the children; 6.24 - regarding which is based the Netflicks  television two part film: 6.25 - The Origin: Madam Koi-Koi, Part One 31 October 2023 and Part Two 7 November 2023, Nigeria, directed by Jay Franklyn Jituboh. 6.26 - At Turkey, 'Harkıt' refers to 'sack man' known as "Öcü, Böcü" or "Torbalı" who carries misbehaved children away to eat or sell. 6.27 - During the dictatorship of Papa Doc Duvalier, 22 October 1957 – 21 April 1971, the Haitian secret police were referred to by the name: 'Tontons Macoutes / Uncle Gunnysack' due to their disappearing of Papa Doc Duvalier's political opponents—refer to: "The Roots Of Haitian Vodou" in: The Haitian Vodou Handbook: Protocols For Riding With The Lwa, circa 2007, by Kenaz Filan, Rochester, Vermont: Destiny Books, ISBN 978-1-59477-995-4, page 21. 6.28 - There may be no exact correlative, cultural equivalent, but there is the character of "The Oogie-Boogie Man" in the animated film by the producer Tim Burton, that retains the macabre association of Krampus to Christmas:  6.29 - The Nightmare Before Christmas, 9 October 1993 New York Film Festival, 76 minutes, directed by Henry Seligk; production companies: Touchstone Pictures and Skellington Production.
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§7.0 - COMPARING THE AUSTRALIAN HORROR FILMS TO GERMAN EXPRESSIONIST CINEMA—Refer directly beneath to points 7.1 to 7.36.
7.1 - As with most contemporary horror genre films, audiences partake in films with narratives that offer predictable, often clichéd denouements. 7.2 - Arguably, it is the quality of the strangeness of the horrific as a gothic expressionist style that compels a curiosity at the screen's unveiling of the dark secrets of a family or community or nation. 7.3 - The gothic style of film derives from film's early beginnings in German Expressionist cinema, from the late 1910s to early 1920s, in which the spectre of our own mortality is mirrored back to us from the cinematic screen, often in all its morbid fascination with the spectacle of death—death is, after all, the strangest thing. 7.4 - Death is not entertained as a moral play, though injustice may be inferred as comparable to the film noir's conceit of the detective's search for justice amid a world sub-dued by darkness and often madness, and the expressionist cinema has provided a modality that could communicate something of Golgotha, the world of death. 7.5 - I continue to ask how much is fiction really, regarding such narratives that have been stylised to almost a caricature—a point that the film: The Babadook, 17 January 2014, 94 minutes, seems to demonstrate, because the children's book's gothic illustrations of the babadook is witnessed to cross-over from the book's world to the real-world, albeit with a card-board cut-out vestige of appearance. 7.6 - Refer directly beneath at the film still of the character of the babadook as it crosses over from the two-dimensional world of the children's pop-up book to the real world of the film.
7.7 - If the modality of the cartoon permits truth-telling, perhaps the animated films mentioned in this blog may provide something of an answer, but as discussed in a future blog? 7.8 - In reference to this film by Jon Bell and similar films, truth-telling can only be done partially, viz. through "part truths". 7.9 - The moogai similar to the babadook is represented as lurking at the edges of the camera's frame or at door-ways or down hall-ways and resists a complete revelation of its form—for example, its long, dirty hands are shown near the baby Jacob, or its face or eyes stare out from the darkness pars pro toto. 7.10 - Refer directly beneath to the film-still of moogai's hands gesturing to take the baby.
7.11  - Not until both Australian films' climax is the monster revealed in its whole form: regarding the moogai, it is a freakish sight as it appears two-faced with one face at the back of its head, used as it walks on all fours, with another face that is distinguished by a large grimace, almost a rictus grin, as it faces its victims. 7.12 - The two-faced anatomy suggests it is a deceiver, but it further suggests a split personality not dissimilar to the character of Doctor Jekyll, Mister Hyde from the British Victorian novel: 7.13 - The Strange Case Of Dr Jekyll And Mr Hyde, 5 January 1886, by Robert Louis Stevenson, Longmans, Green & Co., Britain, First edition, 141 pages, ISBN 978-0-553-21277-8; 7.14 - that was made in to the German Expressionist filmic adaptation: 7.15 - Dr. Jekyll And Mr. Hyde, 28 March 1920 New York premiere, 79 minutes, directed by John S. Robertson; production company: Famous Players–Lasky / Artcraft Pictures; 7.16 - in which a dualism is shown to take effect of a man: one, appears as a man, the other, an animal. 7.17 - Such monsters are taken to be fantastic, gothic monstrosities, rather than the truth. 7.18 - Closer to the real monster and in reference to German Expressionist cinema, the film: 7.19 - M, 11 May 1931, 111 minutes, directed by Fritz Lang; production company: Nero-Film A.G.;
7.20 - offers the spectre of the serial killer, Hans Beckert, and it retains the factor of the killer targeting children, possibly as a re-versioning of the Krampus satyr, though there are some allusions to trolls through the music composed by Edvard Grieg viz. In The Hall Of The Mountain King, written for Henrik Ibsen's  play:  7.21 - Peer Gynt, 24 February 1876, re-published as 'Peer Gynt' And 'Brand', 15 August 2016, 1st edition, with a translation by Geoffrey Hill, Penguin, 400 pages, ISBN-10‎: 0141197587, ISBN-13‎: 978-0141197586. 7.22 - Undoubtedly, the anxiety of parents in losing their child to a killer is exploited by such films through the figure of the child-killer. 7.23 - The notion of such a man was unthought of in old Christendom, whereas in the Teutonic cultures, often filled with dread, blood-shed and tyranny, such forms of cultural expression spread their influence to Western Europe—Germany's The Weimar Republic after the first world war is said to have been tinctured by modernity's post-industrial machine, as imbuing a strange sort of mechanical systemization of the person and society, that is, when Orientalism had transformed much of Western Europe already. 7.24 - Regarding the notion of man as a machine, the über-mensch, it ought to be remembered cinema is an effect of technologies: architecture / interior design, cameras, projection, screen, audio, etc.: such that create artistic expression, yet to what extent is cinema expressive; to what extent propaganda? 7.25 - As the early silent films indicate, the cinematic experience is primarily a visual one that explores voyeurism—the power of sight to identify the mysteries lurking at the bottom of the pit—and yet vision is thwart with dupes of illusion, mirages in which the power to see gives way to a seduction of seeing only what one wishes to see, rather than what is truly revealed. 7.26 - This observation draws from the psychology of perception: do the audience see the veil or the painting that has been painted on the veil? 7.27 - The filmic treatments which involve an under-stated, almost incidental set of special effects, specifically of the monster, that inter-weave with the daily, realistic aspects of the narrative, arguably meets the standard of the super-realist æsthetics of which I have argued in my series of blogs here at 'Thoughtsdisjectamembra', which exist in relation to these psychological, super-natural thriller genre films, that are therefore reminiscent of the Italian film genre of 'giallo'. 7.28 - The special effects are restrained in both films, which is far from being a symptom of a low-budget, but contributes to the films' art-house expression—particularly with a "cluey" focus upon the indexical, viz. long hands, an old man's face, growls, fœtuses, cock-roach infestations, etc. 7.29 - The under-pinning psychology maintains that anxiety only involves a partial or clouded sight: the thing is known in parts, and known in reference to its association with other things. 7.30 - The scene of Sarah, who while preparing a meal, breaks open a number of eggs to discover chicken fœtuses within: one fœtus being shown to twitch and respond to Sarah's prodding for its signs of life, refer to the post-natal anxieties of mother-hood and the fears of leaving a child behind—arguably, permutations of the thing that is the moogai. 7.31 - Refer directly beneath at a film still of a chicken fœtus broken from the shell and in a bowel.
7.32 - Another comparable moment of anxiety is of Amelia Vanek, acted by Edie Davis, tearing away wall-paper from behind the fridge to expose a hole through which cock-roaches crawl in ever increasing numbers—Amelia is immediately after the scene interviewed by child protection officers to verify her fear of parental incompetence, though Amelia unconsciously associates the death of her husband with the birth of Samuel, acted by Noah Wiseman, who is analogous to the cockroach emerging from her own guilt-ridden uterus. 7.33 - These are the fugue states in which the thing behind which everything is enacted, emerges as an accumulation of effects, most of an incidental quality, such that no serious complaint can be petitioned in relation to it, and it is left to perniciously play upon one's doubt and eventually sanity. 7.34 - The circumstantial evidence must be relied upon as proof, rather than any great moment of revelatory confession or moment in flagrante delicto—but Amelia burns the children's book without which the police can offer no investigation; and Sarah turns to Ruth's teachings of the spiritual in an Australian society of bureaucratic indifference as she is accused of alcoholism by a teacher and forced in to hospital by her physician. 7.35 - The on-going inference of such films suggests that the spiritual realm is only thinly disguised from the real world: the super-natural and horror narratives speak of the mythic and eternal amid every-day, suburban life as it exists as 'urban legend'. 7.36 - Historical and meta-narrational elements inter-weave in the films to create an almost 'magical realist' piece of cinema of the psychological / horror film genre, in which the moogai might further be considered a metaphor of the recurring pattern in families' lives to involve the impending loss of a child, or at least, the second child, or of the imposition of an ordeal that a parent must pass to remain a parent.
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§8.0 - REGARDING THE HISTORY OF THE AUSTRALIAN BLACK ABORIGINES' STOLEN GENERATIONS, THE CHANGELING FOLK-LORE AND GOTHIC HUN CULTURES—Refer directly beneath to points 8.1 to 8.28.
8.1 - In reference to the film: The Moogai 21 January 2024, 86 minutes, the socio-historical setting is of that involving 'The Stolen Generations', a title used to refer to children deemed to be "half-caste" among black Australian Aboriginal families, who were removed to institutions throughout Australia for "re-education" in to British Australian society, such as identified by the report:  8.2 - the: Bringing Them Home Report, subtitled: A Report Of The National Inquiry Into The Separation Of Aboriginal And Torres Strait Islander Children From Their Families, Circa 1997, a 700-page document. 8.3 - There were an estimated hundred thousand children removed from the custody of their parents on the basis of racial segregation, conducted during the periods circa 1905, circa 1967, and further, in some places of Australia, circa 1970. 8.4 - While at the start of the film: The Moogai, 21 January 2024, 86 minutes, two police officers are portrayed as chasing the half-caste children, they are both shown to be scared away by the animal sounds and foreboding presence of the moogai in a dark cave near to where the children live. 8.5 - It seems the monster of the moogai over-takes the monstrosity of the British-Australian officers, who typically hunted the children down and treated them as animals, such as portrayed by the film: 8.7 - Rabbit-Proof Fence, 4 February 2002, 93 minutes, directed by Phillip Noyce, production companies: Rumbalara Films, Olsen Levy and Showtime Australia. 8.8 - A chase made by the police for the half-caste children is narrated throughout the entire film by Philip Noyce, whereas in this film by Jon Bell, the chase is initiated, only to fall away as a supposed hiding place is revealed: the cave of the moogai. 8.9 - The inference is, that the police officers who conducted such chases, frightened the children with the folk-lore of the moogai as an alternative ending to the one the children might receive under institutional care—though this is a point hardly emphasized by the film. 8.10 - The correlation of the moogai's mythos such as to the aforementioned sack-man is suggested, given its wild man / yowie environment and similar motive to capture children to carry them to a place of no return or to eat. 8.11 - Because the sack-man or yahoo have existed for centuries, at least as folk-lore tales, as discussed above, the suggestion is the practice of governments to steal children has been on-going for centuries world-wide—that is, while using such folk-lorish propaganda as the child-eater. 8.12 - The governments base their rationale upon an essentially racist ideology in which miscegenated children, said to be of 'mixed blood', who are sometimes referred to as a 'mongrel', are deemed wild or "out of control", because similar to the breeding of dogs, mongrels occur outside the controlled environment defined by its breeding programs. 8.13 - Many Australian black Aboriginal children are referred to as a 'quadroon' or 'quarteron', nouns which represent the notion of a 'quarter-caste', in which the referred person is, for example, one-quarter African / Aboriginal combined with three-quarters European ancestry.  8.14 - Similar classifications are the 'octoroon' for one-eighth black (the Latin root 'octo-' translates as 'eight') and 'quintroon' for one-sixteenth black. 8.15 - The German Nazi ideological term: 'mischling', a noun that refers to a child of mixed ethnicity, is deemed a half-caste who may hold the seeds of unwanted change, particularly in the setting of the extremely controlled societies governed by fascists, viz. the Nazi / Neo-Nazi—though Communism can be found to be fascistic, even during contemporary times, such as exemplified by North Korea with its cult of personality, based on the patriarch: Kim Jong-Un. 8.16 - Further, there are indications that the half-caste or mischling refers to 'the changeling', regarding which I have argued here in this blog-site: 'Thoughtsdisjectamembra', that I have been labeled and persecuted over throughout my child-hood at Australia and other countries—yet not ever in the contexts of being a 'half-caste' or 'mischling': those terms being obviously racist are substituted for 'changeling' to establish a term of 'disguised racism'. 8.17 - Whether approached through a racist ideology or superstition, the Gothic Hun and Berber cultures are indicated as less concerned with the mitigation of the harsh realities of life to promulgate child-hood than the Christian cultures—and further that the superstitions of folk-lore are shared by child and adult alike; a perception less shared by Christians who follow the teachings of Jesus Christ. 8.18 - Nonetheless, from a general perspective, it would be a dire vision, sickening to its audiences, were a film to reveal a world in which the children suffer greater than the adults; mostly due to the fact children are vulnerable and often have less of a capacity to make decisions to change their own circumstances than adults. 8.19 - If there is a "Krampus" for the children, there is inferred some sort of cannibalistic monster for the adults—presumably, a cannibal of the women who, similar to children, are less physically strong than the men, provide easy targets—though arguably, world-wide, popular cultures represent cannibalism as a genderless phenomena, such as reflected by the films of the so-called "cannibal boom" of the 1970s and 1980s of the horror sub-genre: 'cannibal film', that involves a zombie-type "free-for-all". 8.20 - In the film: The Moogai, 21 January 2024, 86 minutes, the women with the children are left by the men to fend for themselves, but within such circumstances Sarah is forced to embrace her black Australian Aboriginal culture that she had previously denied—she uses a ceremonial paint to render herself invisible to attack the moogai that is witless against her strikes. 8.21 - In keeping with the earlier Germanic cultural comparison to Expressionist cinema, Sarah's capacity to become invisible alludes to the Germanic, Gothic Hun-based cultures, such as represented by the celebrated composer Richard Wagner's opera: 8.22 - Der Ring Des Nibelungen / English: The Ring Of The Nibelung, 22 September 1869; 8.23 - in which the helmut, the 'Tarnhelm / stealth helmet' renders its wearer invisible. 8.24 - This series of operas by Richard Wagner has obviously influenced the better known work of the author J.R.R. Tolkien, viz. his celebrated fantasy genre trilogy: 8.25 - The Lord Of The Rings, 20 October 1955, Allen & Unwin, first single-volume edition 1,077 pages; re-published circa 1988, 1st Edition by Unwin Hyman Limited, London, with the Index and Appendices, 1,193 pages, ISBN: 9780044403050; 8.26 - in which the character, the princess of the Rohan, Éowyn, adopts the man's name 'Dernhelm' (the Old English equivalent of 'Tarnhelm') in order she participate in the battle of Helm's Deep, when she slays the great enemy, the Witch-King of Angmar. 8.27 - The Song Of The Nibelungs, an epic poem of the early 13th century, written in Middle High German, arguably the basis of both Richard Wagner's and J.R.R. Tolkien's texts, mentioned above, portrays a heroine, Kriemheld, slaying the treacherous Hagen, and despite her murder over her killing of the hero, is a part of a precedent in the texts which portray women as something akin to great warriors. 8.28 - The later scenes of Sarah with her biological mother, Ruth, and children inside the rings of fire around the Iron-bark Eucalyptus tree may further reinforce the allusions to the Teutonic texts discussed here with their focus upon a ring of power.
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§9.0 - FROM GOVERNMENTAL, CUSTODIAL POSSESSIONS TO SPIRITUAL POSSESSIONS—Refer directly beneath to points 9.1 to 9.23.
9.1 - Further the film: The Moogai, 21 January 2024, 86 minutes, embraces metaphysical aspects of the art-house horror genre film—similar to its predecessor: The Babadook, 17 January 2014, 94 minutes—the spirit of the moogai itself, unearthed at a critical time in the life of a young family, during the birth of a second child, when two children may be considered two too much, compares to a prosperity that may be permitted to some families, but not other families, such as Sarah's family of "half-castes". 9.2 - With the notions of the development of the family, accumulation and abundance, questions of ownership may be asked: not necessarily in the legal context regulated by government, but in the metaphysical and spiritual contexts as possession or re-possession or abandonment. 9.3 - Possession is comparable to a cultural imperialism in which, as in the case of Sarah, no identification exists to her own black Australian Aboriginal culture, rather Sarah is deracinated or enmeshed in the system of society, even as a successful lawyer. 9.4 - It is inferred, Sarah is found to experience a limit in having two too many children, due to her racial heritage, and the 'biological reality' of a new-born out-weighs any other factor, particularly when the new-born is a son, at least according to the patriarchal order that continues to dominate Australian society. 9.5 - The analogy is, if the moogai still exerts its haunting vexations and eventual child-eating, then the government—which is at some level always inferred to know about this "skeleton in the closet" (even when it denies it)—and is involved in a similar sort of hindrance upon the family that has "two too much", such as Sarah's is inferred to. 9.6 - The British-Australian government, that enforced the removal of half-caste children from their homes, still exerts a power to stymie the success of such children, the so-called mischlings or changelings. 9.7 - The power imposed is impossible to pin-point in any substantive way, because it is diffused and pervasive, and should it be given a face it is metaphorical or spiritual, as the moogai, regarding which no-one really would take seriously to act against. 9.8 - Possession emerges as a subject in the film: The Moogai, 21 January 2024, 86 minutes, in which children are represented as possessed by the all-white vacancy of colour in their eyes, in which the all white eyes may allude to the effects of opium that roll back the eyes and cause a possessed-like state of mind. 9.9 - The statute: Aboriginals Protection And Restriction Of The Sale Of Opium Act 1897 of Queensland, indicates that opium was mèted out to Queensland's black aborigines, such that the association of the all-white eyes to the rolled-back eyes caused by the throes of opium use is highly probable; in which case the black Aboriginal Australians became possessed by the British Australian imperialistic ideology that alienates them and the symptoms point to a government that allowed opium to poison the black Australian Aborigines' families until the statute of circa 1897, when addiction had already become entrenched (and possibly still is). 9.10 - The symbolism of the moogai as the monster of opium addiction could be interpreted, but there are no further indicators of opium addiction in the film to indicate that line of analysis accurate—though the trauma of opium addiction as part of the tyranny of the British Australian government in such matters is taken to inform the all-white eyes of the possessed characters. 9.11 - The possession of the dead aunt as a girl, Precious Ann, acted by Agnes, and the baby boy, Jacob, are further likely allusions to blindness, viz. that children under the state ward's care may have been left to go blind—this was done to Christian orphans or "changelings" throughout Britain and Ireland. 9.12 - Refer to the film's theatrical release poster in which Precious Ann's eyes appear all-white.
9.13 - Further, the metaphor of possession by a spirit could be interpreted as enslavement: the tyrannical spirit invades its host to compel the host to do its bidding—the reverence of the British monarchy and its order upon Australia could be interpreted along such lines. 9.14 - There is "little to hold on to" under the weight of such tyranny, though a recent Australian film, the art-house, supernatural, thriller genre film: 9.15 - Talk To Me, 30 October 2022 Adelaide, 95 minutes, directed by Danny Philippou and Michael Philippou; production companies: Screen Australia, South Australian Film Corporation et al.; 9.16 - provides a literal and metaphysical / spiritual symbol as a relic, a statue of a hand, upon which some-one grasps to enter a period of mediation with the spiritual world, that is, by becoming possessed. 9.17 - The fears of superstition of the unknown can exclude new experiences and people, in which case the people encased in fear become enclosed in their own world, comparable to a ghost or clichéd figure of tragic description, such as the Victorian-esque Charles Dickens's character of "Miss Havisham" from the novel: 9.18 - Great Expectations, 18 August 1997, Doubleday, 608 pages, ISBN-10‎: 0385487215, ISBN-13‎: 978-0385487214. 9.19 - Arguably, becoming the cultural stereotype of the existing order demonstrates an unconscious compliance to such an order, but the mentioned Australian films appear to resist such compliance, or appear to express a cultural space in which defiance can be negotiated. 9.20 - To an extent stereotypes and predictable cycles of narratives define human life: there must be some cultural space permitted to express culture regionally defined and not as the clichèd cultural other of an hegemonic cultural centre. 9.21 - The film by black Australian Aboriginal artist Tracey Moffatt: 9.22 - beDevil, 28 October 1993, 90 minutes; produced by Anthony Buckley and Carol Hughes; 9.23 - while embraces the folk-lore of hauntings, avoids stereotypes or treats the cliché with a style of strangeness, such as that which defines the aforementioned German Expressionist cinema, though not necessarily in the gothically macabre; it rather contains elements of the kitsch as an ironically ersatz glamour that only thinly covers the tragedy pervading the lives of many Australians.
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Saturday, 28 September 2024

PART VIII. A BRIEF COMMENTARY ON SIX FURTHER TEXTS, INVOLVING: CHANGELINGS, DOLLS, WITCHES, CULTS AND THE CHINESE COMMUNIST PARTY—BY CRAIG STEVEN JOSEPH LACEY, 28 SEPTEMBER 2024.

§1.0 - Points 1.0–1.12: THIS BLOG'S CONTENTS:
1.1 - THIS BLOG'S TITLE:
1.2 - PART VIII. A BRIEF COMMENTARY ON SIX FURTHER TEXTS, INVOLVING: CHANGELINGS, DOLLS, WITCHES, CULTS AND THE CHINESE COMMUNIST PARTY—BY CRAIG STEVEN JOSEPH LACEY, 28 SEPTEMBER 2024 /
1.3 - THIS BLOG'S LISTED SECTIONS AND NUMBERED POINTS:
1.4 - §2.0: Points 2.0–2.11: 
DISCLAIMER /
1.5 - §3.0: Points 3.0–3.5: DATES OF RESEARCH, WRITING AND PUBLICATION /
1.6 - §4.0: Points 4.0–4.7: PROBLEMS WITH THE QUEENSLAND GOVERNMENT /
1.7 - §5.0: Points 5.0–5.10: TEXT 1: THE JAPANESE FILM: CURE / キュア / KYUA, 27 DECEMBER 1997, 112 MINUTES, WRITTEN AND DIRECTED BY KIYOSHI KUROSAWA /
1.8 - §6.0: Points 6.0–6.10:  TEXT 2: THE IRISH FILM: ODDITY, 8 MARCH 2024, 98 MINUTES, WRITTEN AND DIRECTED BY DAMIAN MCCARTHY /
1.9 - §7.0: Points 7.0 –7.4:  TEXT 3: THE CHANGELING, 13 JUNE 2017, BY VICTOR LAVALLE /
1.10 - §8.0: Points 8.0–8.4: TEXT 4: THE IRISH SHORT: CHANGELING, 15 OCTOBER 2021, 28 MINUTES, DIRECTED BY MARIE CLARE CUSHINAN AND RYAN O'NEILL /
1.11 - §9.0: Points 9.0–9.14: TEXT 5: ARI ASTER'S FILM: HEREDITARY, 21 JANUARY 2018, 127 MINUTES /
1.12 - §10.0: Points 10.0–10.4: TEXT 6: THE FILM: LONGLEGS, 12 JULY 2024, 101 MINUTES, WRITTEN AND DIRECTED BY OSGOOD PERKINS / 
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§2.0 - THE DISCLAIMER—Refer directly beneath to points 2.0–2.11.
2.1 - All rights reserved © Craig Steven Joseph Lacey, 4 December 1976–, Australia. 2.2 - Changing the content or re-publishing this blog is strictly prohibited. 2.3 - This blog is protected by the: 2.4 - Privacy Act 1988 of Australia, against unauthorized access to Craig Steven Joseph Lacey's Samsung Galaxy A05s, and Google account; 2.5 - Cybercrime Act 2001 of Australia, against computer fraud or internet fraud; 2.6 - Copyright Act 1968 of Australia, against intellectual property theft; 2.7 - Universal Copyright Convention, circa 1952; 2.8 - Berne Convention for the Protection of Literary and Artistic Works, 9 September 1886. 2.9 - Fines and/or prosecution will apply according to Australian and International law in reference to unauthorized access and use of this blog published through the Blogger app of Google.com and the author's storage device(s) with the data. 2.10 - A total of nine images have been used within this blog: 2.11 - At point 5.3 the official theatrical release poster for the film: Cure / キュア / Kyua, 27 December 1997, 112 minutes; 2.12 - at point 5.7 a film-still from Cure, of a converted stable used as a clinic; 2.13 - at point 5.8 a film-still of a portrait of a man with erased facial features, as seen in one of the clinic's plastic-wrapped rooms; 2.14 - at point 6.2 the theatrical film release poster of the film: Oddity, 8 March 2024, 98 minutes; 2.15 - at point 6.7 a film-still from: Oddity, that shows the stable, that is on the grounds of Bantry House County Cork, being renovated for home living by the evil psychiatrist; 2.16 - at point 6.8 a recent photograph of the stable and Bantry House, down-loaded from The Roaring Water Journal website, accessed 17:00, 29.09.2024, URL: <https://roaringwaterjournal.com/2016/06/12/capturing-the-view-belvederes-in-west-cork/bantry-house-1/>; 2.17 - at point 8.3 the theatrical release poster for the Irish short film: Changeling, 15 October 2021, 28 minutes; 2.18 - at point 9.11 the theatrical film release poster for Hereditary, 21 January 2018, 127 minutes; 2.19 - at point 10.11 the film-still of Alicia Witt as the Satanic nurse revealed in her Gothic glory from the film: Longlegs, 12 July 2024, 101 minutes.
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§3.0 - DATES OF RESEARCH, WRITING AND NEAR-PUBLICATION—Refer directly beneath to the points 3.0–3.5.
3.1 - This blog was started during 18.09.2024, in researching the associated cultures, such as the State of Oregon, the country of Japan (its city: Tokyo) and the country of Ireland—the changeling mythos originated from Ireland. 3.2 - Composition has been done 28.09.2024: research and composition only by Craig Steven Joseph Lacey at Brisbane City, Queensland, Australia, 4000. 3.3 - Word count: 3029 and characters 18,170. 3.4 - Not for sale, now or the future. 3.5 - Last up-dated: 20:00, 18.11.2024 Australian Eastern Standard Time.
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§ 4.0 - PROBLEMS WITH THE QUEENSLAND GOVERNMENT—Refer directly beneath to the points 4.0 to 4.7.
4.1 - Owing to my embroilment in matters leveraged by the Queensland Courts and the Queensland Police Service at myself—that was initially under the Anna Palaszczuk Labor government, now Steven Miles—I am unable to write a probative assessment of the cultural texts I have recently engaged with and which I feel are relevant to the changeling / witch mythos and the persecution of Christians or Gentiles—the subjects at the core of my writing. 4.2 - I am instead making here a comment en passant as to the listed six texts beneath, before my time is consumed by legal work and caring for disabilities. 4.3 - Being an Australian of Irish ancestry, I did focus on Australian cultural texts as the basis of my initial study, but as can be imagined, the police not only get involved, all sorts "crawl out of the wood-work", feeling accused or taunted by myself—egocentrists that they are—when giving an account of this repressed history is needed and involves a number of different cultures, of which I am almost native. 4.4 - To write critically in Australia on Australian texts is unsafe. 4.5 - I feel very restricted. 4.6 - There are some Australian cultural texts on the changeling, but I cannot write on them. 4.7 - Some of the commentaries on witches and cults touch upon nerves it seems, still, and because it does, still, perhaps it goes on, still?
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§5.0 - TEXT 1: THE JAPANESE FILM: CURE / キュア / KYUA, 27 DECEMBER 1997, 112 MINUTES, WRITTEN AND DIRECTED BY KIYOSHI KUROSAWA—Refer directly beneath to the points 5.0 to 5.10.
5.1 - Cure / キュア / Kyua, 27 December 1997, 112 minutes, a Japanese neo-noir based, psychological, horror-thriller film written and directed by Kiyoshi Kurosawa, with cinematography by Tokushô Kikumura; edited by Kan Suzuki, music by Gary Ashiya; production company: Daiei Film; distributed by Shochiku-Fuji Company; actors: Kōji Yakusho, Masato Hagiwara, Tsuyoshi Ujiki and Anna Nakagawa. 5.2 - The film was initially titled: 'Evangelist / 伝道師 / Dendoushi', but the film's title was changed in response to the Tokyo subway's "sarin attack" perpetrated by Aum Shinrikyo, killing 13 people, severely injuring 50 (some of whom later died), and causing temporary vision problems for nearly 1,000 others—a terrorist styled attack that occurred during the film's production—refer to the wiki article at: <https://en.m.wikipedia.org/wiki/Tokyo_subway_sarin_attack>. 5.3 - Refer directly beneath to the film theatrical release poster. 
5.4To avoid an association to a religious cult the film was re-titled: 'Cure', at the suggestion of one of the Daiei Film producers. 5.5 - For all the film's adept giallo stylizations, it offers a narrative based on the subject of the persecution of people, which misleadingly appear as serial killings. 5.6 - Hypnosis, hospitalization, fugue states of wandering and amnesia, are all central to the narrative—which are subjects I have discussed in my blogs here at: <thoughtsdisjectambra.blogspot.com>. 5.7 - Refer directly beneath to the film-still of a dilapidated wooden structure, stables, in which memory erasure is suggested to have occurred using the theories of the 18th-century physician: Franz Anton Mesmer, who published treatises on animal magnetism, known as mesmerism defined as: 'the method or power of gaining control over someone's personality or actions, as in hypnosis or suggestion; compare 'hypnosis'.
5.8 - Another film-still directly beneath portrays an erased portrait of a Japanese man.
5.10 - Franz Anton Mesmer, was the basis for the film: 5.9 - Black Magic, 19 August 1949, 105 minutes, directed by Gregory Ratoff and Orson Welles, production company: Edward Small Productions. 5.10 - In the film: Cure / キュア / Kyua, 27 December 1997, 112 minutes,  Franz Anton Mesmer's texts are shown in the hypnotist's apartment: suggested as a genuine science through which the attempt at systemized control of so-called changelings, otherwise known as religious converts: Jew ⟶ Christian (now: religious ⟶ irreligious / Satanic), such as through the use of memory erasure and enforced assimilation in to the established culture and politics of a tyrannical governance—such as involved in the Chinese Communist Party's "re-education" of Uyghurs, since circa 2017, noticeably within concentration camps.
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§6.0 - TEXT 2: THE IRISH FILM: ODDITY, 8 MARCH 2024, 98 MINUTES, WRITTEN AND DIRECTED BY DAMIAN MCCARTHY—Refer directly beneath to the points 6.0 to 6.10.
6.1 - Oddity, premiered 8 March 2024 at South by Southwest, 98 minutes, written and directed by Damian McCarthy; produced by Laura Tunstall, Mette-Marie Kongsved, Katie Holly and Evan Horan; cinematography: Colm Hogan; edited by Brian Philip Davis; music by Richard G. Mitchell; production companies: Keeper Pictures, Nowhere, Shudder; distributed by Wildcard Distribution; actors: Gwilym Lee, Carolyn Bracken, Tadhg Murphy, Caroline Menton, Jonathan French and Steve Wall. 6.2 - Refer directly beneath to the film's theatrical release poster.
6.3 - This film is of intrigue because of its use of a doll or mannequin and its focus on the role of a disabled woman, a blind woman, and twin, who has psychic abilities, comes to know that the murder of her twin sister was committed by the husband and she seeks out justice by appearing at his door-step with the mannequin. 6.4 - The husband is a psychiatrist who organizes with his hospital warden to murder his wife, and to have his affair with the hospital's pharmaceutical sales representative become his main relationship: his reasoning is, because his wife really loves him she should be murdered. 6.5 - An innocent in-mate of the psychiatric ward is framed for the murder, by the two men and female sales representative. 6.6 - The film's setting is at Bantry House, specifically the converted stable, and in the film the stable is shown as a building isolated within rural County Cork. 6.7 - Refer directly beneath to the film still of a complete camera shot of the stable: the tree foliage has been computer imaged in to the camera's shot.
6.7 - I researched the location and found a photograph of the stable on the grounds of the Bantry House estate—refer to the website: <https://www.bantryhouse.com/>. 6.8 - Refer directly beneath to a photograph, 12 June 2016, of the estate with the Bantry manor neighbouring the stable on the photograph's left and storage building, right, burnt down when I was living at the manor as a young boy—many Moors and Northern Africans lived wildly in the surrounding trees and I allowed many to live in the storage building that their leader, "John", disallowed, and it was him who burnt the store house in reaction; but after all the "hoo-ha", the burnt people were really the enemies he wanted dead.
6.9 - I lived for a brief time at Bantry House as a young boy, about 3–4 years old, when everyone wore Victorian styled attire, despite it being circa 1980, and later, my mother lived at the house, having insisted she wanted to stay, though it is my real father's family who own it—they are all dead now, having been killed. 6.10 - My mother's relatives ripped out the interiors of the manor, but I organised for new decor later—I cannot remember when exactly, owing to my on-going amnesia such as caused by a memory erasure clinic as sort of narrated about in the film: Cure / キュア / Kyua, 27 December 1997, 112 minutes.
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§7.0 - TEXT 3: THE CHANGELING, 13 JUNE 2017, BY VICTOR LAVALLE—Refer directly beneath to the points 7.0 to 7.4.
7.0 - I occasionally frequent the Australian book-store retailer Dymocks—as I used to do whenever I was at Sydney during my adolescent years—here at The Queen Street Mall, Brisbane, Queensland, Australia, 4000, and discovered a new text: 7.1 - The Changeling, 13 June 2017, by Victor Lavalle, 1st edition, United States Of America: Spiegel & Grau, hard-cover, 431 pages, ISBN: 9780812995947. 7.2 - A quite brief book summary is provided at The Guardian newspaper's website: <https://www.theguardian.com/books/2018/sep/01/the-changeling-victor-lavalle-review>. 7.3 - The book was noticed by myself during 2019 and a similar blog note as this was written 5 years ago but taken off of myself by Queensland police, I believe acting under some sort of concocted authority of John's. 7.4 - A television series has been created by Kelly Marcel for Apple TV+, that premiered, 8 September 2023, with the first three episodes—8 episodes in total—refer to the website for The Changeling television series: <https://tv.apple.com/us/show/the-changeling/umc.cmc.161vwm570k49vsn7xjtzvnwex>.
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§8.0 - TEXT 4: THE IRISH SHORT: CHANGELING, 15 OCTOBER 2021, 28 MINUTES, DIRECTED BY MARIE CLARE CUSHINAN AND RYAN O'NEILL—Refer directly beneath to the points 8.0 to 8.5.
8.1 -  Changeling, 15 October 2021 at the HorrOrigins Film Festival, 28 minutes, directed by Marie Clare Cushinan and Ryan O'Neill; written by Marie Clare Cushinan; actors: Marie Clare Cushinan, Michael Mormecha and Jake O'Kane; film's languages: Gaelic Irish and English. 8.2 - The film short examines rural Ireland during 1879, a time of famine and isolation, and the superstition of the changeling grips a young family. 8.3 - Refer directly beneath to the film's theatrical release poster that portrays the traditional hand gesture the Irish locals used to signalize, that a woman's child-birth and new-born involved a changeling.
8.5 - The history of the changeling goes well in to Ireland's history, such as discussed by the text: Gaelic Otherworld—John Gregorson Campbell's Superstitions Of The Highlands And The Islands Of Scotland And Witchcraft And Second Sight In The Highlands And Islands, 12 June 2009, Edited by Ronald Black, Indiana University, Digitized, 769 pages, ISBN 1841587338, 9781841587332.
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§9.0 - TEXT 5: ARI ASTER'S FILM: HEREDITARY, 21 JANUARY 2018, 127 MINUTES—Refer directly beneath to the points 9.0 to 9.14.
9.1 - Hereditary, 21 January 2018 premiered at Sundance film festival, 127 minutes; written and directed by Ari Aster; produced by Kevin Frakes, Lars Knudsen, Buddy Patrick; cinematography by Pawel Pogorzelski edited by Jennifer Lame and Lucian Johnston music by Colin Stetson; production companies: A24, PalmStar Media, Finch Entertainment, Windy Hill Pictures; distributed by A24; actors: Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd and Gabriel Byrne. 9.2 - I had watched this film previously, but owing to subsequent events, my arrest and being stripped of my property by police, circa 2019, I thought I will do no further work: and I did not until 3 years later, circa 2021, and my commentaries have led myself back around to write similar blogs, if not the same, as circa 2019—I am like a homing pigeon! 9.3 - Hereditary, 21 January 2018, 127 minutes, examines contemporary concerns in the family environment of what is real or unreal: matters have become that confusing. 9.4 - When the youngest daughter is killed in a driving accident by her older brother, that is, shortly after the death of the family's grand-mother, a curse erupts upon the remaining family members, incurred by a dæmonic spirit: Paimon, the King of the Eighth Circle of Hell. 9.5 - The family members and a few others form a cult of Paimon—not to be confused with the Japanese school-girl character Paimon—who "really exists" in reference to grimoires. 9.6 - The Satanic always intermingles the Christian and the Christian intermingles the Satanic. 9.7 - The desire to form a cult is not based on social conditioning it would seem, but is a matter of hereditary, engrained patterns of behaviour. 9.8 - Nor is it to do with a mystified concealment of the Chinese Communist Party's social means of regional destabilization, such as at the film's location of Summit County, Utah, the United States Of America—nor regarding its continued Phun / Han Chinese defined global domination, as it shores up its own stability at home in China where life is really cherry blossoms and lotus flowers. 9.9 - That reminds myself I must watch the recent film regarding Ted Bundy: 9.10 - No Man of God, 11 June 2021 premiered at Tribeca, 100 minutes, an American mystery film directed by Amber Sealey and written by C. Robert Cargill.  9.11 - Refer directly beneath to the film theatrical poster.
9.12 - The film's portrayals of decapitation are slightly reminiscent of the narrative of Salomé, such as celebrated by the film: 9.13Salomé, 31 December 1922, 74 minutes, an American silent drama film, directed by Charles Bryant and Alla Nazimova—based on the play: 9.14 - Salomé, 11 February 1896, by Oscar Wilde, ‎64 pages, ISBN-10: ‎0460041525 and ISBN-13: 978-0460041522.
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§10.0 - TEXT 6: THE FILM: LONGLEGS, 12 JULY 2024, 101 MINUTES, WRITTEN AND DIRECTED BY OSGOOD PERKINS—Refer directly beneath to the points 10.0 to 10.4.
10.1 - Longlegs, 12 July 2024, 101 minutes, written and directed by Osgood Perkins;
produced by Dan Kagan, Brian Kavanaugh-Jones, Nicolas Cage, Dave Caplan, Chris Ferguson; cinematography Andrés Arochi Tinajero; edited by Greg Ng and Graham Fortin; music by Zilgi; production companies C2 Motion Picture Group, Traffic, Range, Oddfellows and Saturn Films; distributed by Neon; actors: Maika Monroe, Blair Underwood, Alicia Witt and Nicolas Cage. 10.2 - Refer to the IMDb.com record for the film: <https://m.imdb.com/title/tt23468450/>. 10.3 - I wrote extensively on this film and I will be distracted from completing the existing notes due to the aforementioned Queensland government's interruptions: but I will mention here, the allusions to the Laerna Hydra are a symbol of Babylon and the Anti-Christ, as per the sea beast from Revelation, which with my earlier blogs' discussion of Phoenicia being the culture in which worship of Dagon is celebrated, the Phoenician language letters from LongLegs appear to verify these earlier observations. 10.4 - Refer directly beneath to the film still of Ruth Harker, the Mum and nurse, acted by Alicia Witt, who delivers the effigies of the birthday girls.
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Monday, 9 September 2024

PART VII. THE CHANGELING CHASED BY THE SATYR IN THE FILM: 'STRANGE DARLING, 22 SEPTEMBER 2022, 96 MINUTES, DIRECTED BY J.T. MOLLNER'—A BLOG, 09 SEPTEMBER 2024, BY CRAIG STEVEN JOSEPH LACEY.

§1.0 - Points 1.0–1.12: THIS BLOG'S CONTENTS:
1.1 - THIS BLOG'S TITLE:
1.2 - PART VII. THE CHANGELING CHASED BY THE SATYR IN THE FILM: 'STRANGE DARLING, 22 SEPTEMBER 2022, 96 MINUTES, DIRECTED BY J.T. MOLLNER'—A BLOG, 09 SEPTEMBER 2024, BY CRAIG STEVEN JOSEPH LACEY /
1.3 - THIS BLOG'S LISTED SECTIONS AND NUMBERED POINTS:
1.4 - §2.0: Points 2.0–2.11: 
DISCLAIMER /
1.5 - §3.0: Points 3.0–3.2: DATES OF RESEARCH, WRITING AND PUBLICATION /
1.6 - §4.0: Points 4.0–4.26: NO: "FINAL GIRL", BUT DEFINITELY: "THE ELECTRIC LADY" /
1.7 - §5.0: Points 5.0–5.21: THE DEVIL IS IN THE DETAIL /
1.8 - §6.0: Points 6.0–6.22: "HERE, KITTY, KITTY" /
1.9 - §7.0: Points 7.0 –7.15: THE HIPPIES, HILL PEOPLE, DOOMS-DAY PREPPERS /
1.10 - §8.0: Points 8.0–8.17: THE PERSECUTION OF CHRISTIANS AS TYPES OF CHANGELING OR VAMPIRE /
1.11 - §9.0: Points 9.0–9.14: THE SASQUATCH, THE SATYR /
1.12 - §10.0: Points 10.0–10.21: DREAMY MUSIC / 
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§2.0 - THE DISCLAIMER—Refer directly beneath to points 2.0–2.11.
2.1 - All rights reserved © Craig Steven Joseph Lacey, 4 December 1976–, Australia. 2.2 - Changing the content or re-publishing this blog is strictly prohibited. 2.3 - This blog is protected by the: 2.4 - Privacy Act 1988 of Australia, against unauthorized access to Craig Steven Joseph Lacey's Samsung Galaxy A05s, and Google account; 2.5 - Cybercrime Act 2001 of Australia, against computer fraud or internet fraud; 2.6 - Copyright Act 1968 of Australia, against intellectual property theft; 2.7 - Universal Copyright Convention, circa 1952; 2.8 - Berne Convention for the Protection of Literary and Artistic Works, 9 September 1886. 2.9 - Fines and/or prosecution will apply according to Australian and International law in reference to unauthorized access and use of this blog published through the Blogger app of Google.com and the author's storage device(s) with the data. 2.10 - A total of four images have been used within this blog. 2.11 - At directly beneath points: 4.9; 5.3; 6.12; and two film-stills from two different films, vertically collocated at 9.10. 2.12 - Strictly not for sale, now or in the future.
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§3.0 - DATES OF RESEARCH, WRITING AND PUBLICATION—Refer directly beneath to the points 3.0–3.3.
3.1 - This blog was started at 01.09.2024 and completed 09.09.2024, as researched and composed only by Craig Steven Joseph Lacey at Brisbane City, Queensland, Australia, 4000. 3.2 - Word count: 5,710 and characters count: 33,382. 3.3 - Last up-dated: 15:07, 19.09.2024, Australian Eastern Standard Time.
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§4.0 - NO "FINAL GIRL", BUT DEFINITELY "THE ELECTRIC LADY"—Refer directly beneath to points 4.0–4.26.
4.1 - In this blog I critique the film: 4.2 - Strange Darling, 22 September 2023, premiered at Fantastic Fest, 96 minutes, directed by J.T. Mollner; production companies: Miramax and Spooky Pictures. 4.3 - The premise of the film's narrative is a well-known one: a serial killer chases after a young woman following an initial hook-up and, to that extent, it is of the chase film genre: the essence of Americana's crime-based, serial killer sub-culture. 4.4 - The inference is, the film is the re-dramatization of the last days of an historically true, prolific serial killer of the Western regions of the United States Of America, inferred by this film to be The Dæmon, acted by Kyle Gallner4.5 - The genre format is not as straight-forward as that narrative; it is instead subverted: the young woman, referred to as The Lady, acted by Willa Fitzgerald, is no innocent, supposedly becomes the serial killer of which is discussed in the film's introduction that involves a voice-over and text rolling up the screen, such as to allude to the conventions of true crime television. 4.6 - Nonetheless, questions are left to raise in reference to this conclusion that the film leads audiences to make. 4.7 - A member of the audience questions the identity and motives of The Lady, such as to ask: "is she a prostitute and is that the premise upon which she organized a hook-up with The Dæmon?" 4.8 - Elements of the femme fatale are evident in reference to The Lady, particularly during the early scenes inside the vehicle of The Dæmon, that is parked in front of the blue neon lit sign of the motel, 'The Blue Angel', where the characters' forms are visible in silhouette, chiaroscuro style, suggestive of a dark, ominous air, and where The Lady's petite physicality and coquettish flirtation is held in contrast. 4.9 - Refer directly beneath to the film-still of The Lady and Dæmon in the scenes of flirtation lit by neon blue.
4.10 - That is, The Lady emerges from the darkness a l'enfant terrible—a child, such as of Nabokov's Lolita, almost pubescent, yet skilled at seduction. 4.11 - Refer directly beneath to the texts listed regarding Lolita: 4.12 - Lolita, 13 June 1962, the United States Of America, 152 minutes, directed by Stanley Kubrick, production companies: Seven Arts, Harris Kubrick Pictures, A.A. Productions, Ltd., Anya Pictures, Transworld Pictures. 4.13 - The film is based on the novel: 4.14 - Lolita, circa 1955, by Vladimir Nabokov; re-published 17 December 1992 First Edition, Everyman, London, with an introduction by Martin Amis, 376 pages, English Language, ISBN 9781857151336 and 185715133X. 4.15 - There is no indication as to whether The Lady is a prostitute, but her straight, bobbed, hot-pink coloured wig—that in the film's scenes of pools of different coloured lighting, blue then red, appears black and then an almost luminous cherry pink—emerges from her as that which signalizes her strangeness, as alluded to by the film's title: Strange Darling. 4.16 - The Lady is not found to comment on the business of monetary payment; she does comment that she is having fun and that is crucially in relation to the threat of imminent danger, as she comments: 4.17 - “Do you have any idea the risks a woman like me takes whenever she decides to have a little fun?” 4.18 - What The Lady refers to by the phrase: "a woman like me" is left without an exact answer. 4.19 - Going from observation The Lady is a type of coquette mixed with Annie Oakley, who, even while engaged in out-lining the rules of a "B.D.S.M. (Bondage, Discipline Sadism, Masochism) session", imprecates for the use of a childish name as the stop-word: "Snuffleupagus", the name of a character from the American children's television series: 4.20 - Sesame Street, 10 November 1969 –, 60 minutes, circa 1969 – circa 2015; 30 minutes, circa 2014 –; 54 seasons, 4701 episodes; created by Joan Ganz Cooney, Lloyd Morrisett, Jon Stone and Jim Henson; production company Sesame Workshop. 4.21 - The girl, referred to as The Lady, deploys her feminine wiles in a "game" that increasingly becomes dangerous: firstly, a cat-and-mouse game of flirtation; secondly, a game of "B.D.S.M." in which subdued violence occurs; thirdly, at the point where the frisson depends on the play of ascertaining whether The Dæmon is dangerous or not, involves malicious violence. 4.22 - The counter anticipation is, that the girl has over-estimated her sense of fun and foolishly tempted fate, but both expectations are reversed as she drugs The Dæmon with a large quantity of ketamine to then partake of an activity of scarring him with the initials: 'E.L.'—a matter of which is further unexplained by the narrative. 4.23 - Mystique elevates the otherwise seedy, debased ordeal that could be explained away in a few sentences, and for all her peculiarity, The Lady is indicated as knowing more than the audience, that is, despite her hysteria, such that something is alluded to as absent from the film's narrative. 4.24 - Her perspective as the film's protagonist, the basis of the narrative perspective, is hysterical and desperate, that is an impression emphasized by the non-chronological presentation of the film's six chapters, epilogue and post-credits disk jockey's voice-over, which follow the order as listed directly beneath:
1st - Chapter 3: “Can You Help Me? Please?";
2nd - Chapter 5: “Here, Kitty, Kitty...”;
3rd - Chapter 1: "Mister Snuffle”;
4th - Chapter 4: “The Mountain People”;
5th - Chapter 2: “Do You Like to Party?”;
6th - Chapter 6: “Who’s Gary Gilmore?”;
7th - Epilogue: "The Electric Lady".
4.25 - There is a further meta-textual play upon the 'final girl' motif of the serial killer sub-genre: The Lady attains, not so much the status of a survivor, she becomes herself the notorious killer 'The Electric Lady'—a title not without allusions to the musician-shaman, Jimi Hendrix, though the film's sound-track is folksy, alternative rock, not funk. 4.26 - Rather than she be perceived as the final girl, noted as another anonymous fatality, a 'Jane Doe', The Lady herself kills, and her actions could be further interpreted as a demonstration of feminist activism: of the so-called 'final girl' who is finally pitted against such a male serial killer as The Dæmon is (supposed to be), vents her frustrations and eventually kills him.
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§5.0 - THE DEVIL IS IN THE DETAIL—Refer directly beneath to points 5.0–5.21.
5.1 - Significantly, The Lady kills people who she perceives are dæmons—as she explains to one of the police officers who go to the scene of the crime and he asks her: "why did you kill all of those people?", to which she says: "I see them as devils"—then shoots him. 5.2 - The police officer, who The Dæmon calls to the crime scene moments before he is murdered, is indicated as The Dæmon's colleague, such that if it is true, The Lady really sees the devil within particular people; they are the same as the horrific image shown. 5.3 - Refer directly beneath to the image of the devil lit up in red.
5.4 - The image of the devil is spliced in to the film no greater than a split second; a method of editing used twice, and the director's decision to show The Lady's vision in such a way is reminiscent of the splicing techniques which were part of a juggernaut of the 1980s zeitgeist, when criminal defenses were made on the basis the suspect had been subjected to subliminal mind-control processes and were themselves a victim of suggestibility by such dæmons. 5.5 - The allusion is quite arcane—though to mention and possibly wear out an old adage: "the devil is in the detail." 5.6 - One of the other contemporary examples of use of the splicing, subliminal technique is in the celebrated film: 5.7 - Fight Club, 10 September 1999, premiered at Venice, 139 minutes, directed by David Fincher, Production companies: Fox 2000 Pictures, Regency Enterprises and Linson Films; 5.8 - As based on the novel: 5.9 - Fight Club, 17 August 1996, by Chuck Palahniuk, W.W. Norton, 208 pages, ISBN: 0-393-03976-5; 5.10 - when the character of Tyler Durden, acted by Brad Pitt, as the protagonist, the narrator's alter-ego, commits audacious acts of anarchism such as splicing an image of a penis in to a children's film, then, in to the film of: Fight Club, 10 September 1999, 139 minutes, itself. 5.11 - Chuck Palahniuk is a resident of the filming location: Portland, Oregon, of the film: Strange Darling, 22 September 2023, 96 minutes,  and aspects of the sub-cultural discourses of that city and region are absorbed in to his novel to reveal a place of subcultures similar to this film of circa 2023. 5.12 - Again, to question the real from the imaginary, the subliminal refers to the unconscious, and arguably this film: Strange Darling, 22 September 2023, 96 minutes, takes the audience to the thresholds as symbolized by the road, motel and forest (near to Portland). 5.13 - Yet, The Lady's malady seems one of love and revenge, as she gesticulates and remarks on matters of romance in the motel room as The Dæmon lays semi-conscious on the bed. 5.14 - She switches on a nearby radio that plays: 5.15 - Love Hurts, circa July 1960—written and composed by the American lyricists, Boudleaux and Felice Bryant, first recorded by The Everly Brothers (the sound-track's version features Keith Carradine):
5.16 - A sample of the lyrics:
'Love hurts, love scars
Love wounds and marks any heart
Not tough or strong enough
To take a lot of pain, take a lot of pain
Love is like a cloud
Holds a lot of rain,
Love hurts
Ooh, ooh, love hurts'.
5.17 - The Lady lectures that: "yes, love hurts... You see?"—that is, hers seems to be a malady of love and revenge, but there are few indications that is the case (still it may not be ruled out as an explanation). 5.18 - During one scene in which the camera exposes her shaved pudenda, she robs his money, but it is an action that is incidental to her circumstances, as of her living in another world amid American society. 5.19 - One is required to properly gauge The Lady's advice when she claims she would prefer to die similarly to Gary Gilmore (born: Faye Robert Coffman), 4 December 1940 – 17 January 1977: an American criminal who garnered international attention for demanding the implementation of his death sentence for two murders he had admitted to committing at Utah. 5.20 - That is, hers is a plea for the mercy of death, yet what has taken her to such extremes? 5.21 - The admixture of chase, film noir, horror / super-natural and serial-killer exploitation genres in Strange Darling, 22 September 2023, 96 minutes, are predicated upon violence and death as necessary aspects of society, and possibly in that proto-Satanic context of which I have been discussing in my blogs, particularly because throughout there is no hint of the mafia's involvement—unless "Mephistopheles" is also the king-pin?
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§6.0 - "HERE, KITTY, KITTY"—Refer directly beneath to points 6.0–6.22.
6.1 - The Dæmon is shown not to rape The Lady, despite her being tied up to the bed at her request and her constant efforts to arouse then deny him satisfaction. 6.2 - He is later revealed to be a police officer who has not been involved in taking cocaine for years; a matter of which The Lady changes with the question: "do you like to party?" 6.3 - Yet, while The Dæmon is revealed as a police officer, he has demonstrated no standard police protocol by telephoning for police back-up when he starts his chase after The Lady. 6.4 - Further, the Dæmon is found at times to comment: "here, kitty, kitty," to suggest he is the cat: Tom, to her mouse: Jerry, to make allusion to such narratives as the cartoon series emblematic of Americana's chase: 6.5 - Tom And Jerry cartoons, circa 1940–, created by William Hanna and Joseph Barbera, that literally portrays a cat and mouse within a domestically set chase 6.6 - Or the more Native American cartoon series: 6.7 - Wile E. Coyote And The Road Runner cartoons, circa 1949–, from the Looney Tunes and Merrie Melodies series, created for Warner Bros circa 1948 by animation director Chuck Jones and writer Michael Maltese. 6.8 - The Dæmon's here-kitty-kitty commentary indicates he is enticed by the thrill of the hunting game underway, that is, to involve the thrill of killing and to an extent enacting his own revenge. 6.9 - The Dæmon is shown to carry a shot-gun in his arms as he takes matters in to his own hands by running The Lady off the road by firing at her a number of times. 6.10 - There is, then, the matter of his moniker: 'The Dæmon', a name that arouses suspicion as to his goodliness, because a dæmon is generally acknowledged to be evil, viz. a soldier of Satan. 6.11 - Through the film's fragmented, non-sequential narration, the chapters play upon the audience's presumption of culpability laying with The Dæmon, whose initial scenes show him strangling The Lady. 6.12 - A cropped, close camera shot of him in a tensed activity, indicative of strangulation, is a recurring image that is shown with the film's booming, base leitmotif that seems to declare him as the serial killer.
6.13 - The blatant use of the leitmotif meets all the cinematic expectations involved in identifying the serial killer and that use of the score is reminiscent of that most American vision of the serial killer found in the filmic re-make: 6.14 - Cape Fear, 15 November 1991, 128 minutes, directed by Martin Scorsese, production companies: Amblin Entertainment, Cappa Films and Tribeca Productions. 6.15 - To an extent both films reveal the perpetrator as "hiding in plain sight" for all to see, because, it is inferred, the American systems of law fail: Max Cady, acted by Robert DeNiro, uses the system to develop his legal knowledge, such that he knows when and where it can be transgressed, and The Dæmon is revealed as a police officer who is suggested to moonlight as a killer. 6.16 - The film's fragmented structure invites the audience's further speculation, that even when he is indicated as strangling a woman strapped to a bed, it may still be a matter of: post hoc ergo propter hoc. 6.17 - Arguably, when matters appear to reveal that the standard explanation of the male serial killer as responsible for the killings is incorrect, a deviation from the ritual emerges, similar to how the non-chronological sequence of the film deviates from the standard filmic ritual. 6.18 - Another film of comparison is: 6.19 - The House That Jack Built, 14 May 2018, premiered at Cannes, 155 minutes, by Lars von Trier, production companies: Zentropa, Film i Väst, Eurimages, Nordisk Film, Les films du losange. 6.20 - The initial scene of Lars von Trier's film involves a similarly titled "Lady", acted by Uma Thurman, who says to Jack, acted by Matt Dillon, while in his vehicle, that he resembles a serial killer, which is almost the same discussion and circumstance of the first scenes of: Strange Darling, 22 September 2023, 96 minutes. 6.21 - While in: The House That Jack Built, 14 May 2018, 155 minutes, the Lady ends up dead in the freezer, in Strange Darling, 22 September 2023, 96 minutes, The Lady kills the killer despite that she is hand-cuffed to the freezer. 6.22 - It would seem that The Lady of: Strange Darling, 22 September 2023, 96 minutes, is the one who gets the better of The Dæmon, only to die minutes later in what is a celebration of the bleakness of exploitation.
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§7.0 - THE HIPPIES, HILL PEOPLE,   DOOMS-DAY PREPPERS—Refer directly beneath to points 7.0–7.15.
7.1 - The scarification is the point of difference in the matters of The Dæmon's drugging and robbery, and the scar involves an act of branding with the use of the initials: "E.L." 7.2 - During such moments there are allusions to the film: 7.3 - The Girl With The Green Dragon Tattoo / Swedish: Män som hatar kvinnor, literally 'Men Who Hate Women, 27 February 2009, premiered at Sweden and Denmark, 153 minutes, directed by Niels Arden Oplev; 7.4 - in which the Nazi pig deserved his scarring from Lisbeth Salander, acted by Naomi Rapace, because he stole from her and raped her in exploitation of his role as her legal guardian. 7.5 - But the initials of "E.L." are enigmatic: slaves are known to be branded by their owners and The Lady may be involved in a reversal of the role men play in claiming particular types of young women and children as chattel. 7.6 - The question of the significance of the "E.L."—perhaps is best explained in reference to the definition of 'EL'? 7.7 - 'El' is a Semitic, Amoritic noun for: 'God' with 'Elohim' being plural for 'Gods'. 7.8 - 'El' may more specifically refer to the Phoenician / Han god: 'Dagon', a Saturnine, paternal figure in the pantheon of the Han's Gods, as noted among the cultures of Southern Turkey, Lebanon, and the Philistine cities of Ashdod, Ashkelon and Gaza. 7.9 - The prevalence of Turkish rugs in the film, such as at the motel and in the Hill People's home, reinforce the observation, such peoples are of the Southern East Turkish coast-line of Mersin, Adana and Hatay—and further note, the title of 'Adana' is a variant of 'Adagan', that is, 'A-Dagon', to again make reference to their central god. 7.10 - Also, the Hill People who feature in the film, Genevieve, and Frederick (acted by Ed Begley Junior) are of a sub-culture within the North West of the United States Of America connected to the Sumerian cultures of the Hafal, and whose Western World cultural expression has been mostly limited to the comical television series: 7.11 - The Beverly Hill-Billies, 26 September 1962 – 23 March 1971, 9 seasons, 274 episodes, production companies Filmways and CBS Television Network, created by Paul Henning. 7.12 - The elderly couple, Genevieve and Frederick, explain to The Lady they are hippies, then explain they are dooms-day preppers, which is of the survivalist movement associated with the so-called modernistic preparedness for war, but it is a movement rooted in eschatology. 7.13 - While Frederick further explains he is a past bikey, he is presumed to be of a convert to a Christian denomination, such as the Church of the Latter Day Saints, with its head-quarters at Utah near Oregon, because the couple are helpful, and as Christians tend to do, reach for the telephone regarding any possible criminal matter, in reference to which The Lady murders Frederick to stop his contacting police. 7.14 - Within the vision of the film, the land is post-apocalyptic it would seem: the dooms-day preppers have missed their apocalypse for retirement, that is, until being killed by the strange darling, whose actions indicate that they too were devils.
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§8.0 - THE PERSECUTION OF CHRISTIANS AS TYPES OF CHANGELING OR VAMPIRE—Refer directly beneath to points 8.0–8.17.
8.1 - In: Strange Darling, 22 September 2023, 96 minutes, the chase unfolds within the Mount Hood National Forest region near to the city of Portland, Oregon, the United States Of America, where the Christian pilgrims of the American East Coast of Plymouth migrated further, to again flee religious persecution. 8.2 - I argue that to an extent the chase and American road movie genres of texts derive from the history of Christians fleeing persecution. 8.3 - The days of the Christian pilgrims of the great American plains, living humbly and peacefully, such as represented by the television series: 8.4 - Little House On The Prairie, 11 September 1974 – 21 March 1983, 9 seasons, 204 and 4 special episodes, developed by Blanche Hanalis; Production companies: Ed Friendly Productions and N.B.C. Productions; 8.5 - based on: Little House On The Prairie, circa 1975, by Laura Ingalls Wilder, Puffin books, 221 pages, ISBN 0603083579, 97806030835708.6 - Once reflective of a Christian population within the United States Of America who identified with the Ingall family: is now of a culture attributed to the category of historic Americana. 8.7 - The Christian once was found to attempt to build a new home only to be chased and killed by Semites, whose intentions no longer so much involve globalization, but an almost total control across the globe. 8.8 - Arguably, the Christian is, if at all, permitted to exist similarly to a slave, within a very controlled existence, limited by access to knowledge and society, without upwards mobility, and often predated upon for our supposed naïvety and trust. 8.9 - As such the Christian appears as a child-type figure even when an adult, and there exists a perverse desire to corrupt such innocence, particularly in the trajectory of not only deracinating the Christian, but inducting him or her in to Satanic cults. 8.10 - From the Semitic perspective, the deracinated Christian is the change-ling—compare: strange dar-ling—brought to the realm of "the trogs", capable of facilitating change, such as conversions to Christianity—though the deracinated Christians pose no threat of this, the devils make sure of that. 8.11 - The Lady's behaviour reveals one of isolated socialization, to suggest she may have been part of a cult, and her action to bite the jugular vein in The Dæmon's neck further suggests it was a vampiric cult—a cult that mocks the Resurrection of Jesus Christ. 8.12 - Originally, the changeling was an allusion to the waif or orphaned Jew-Gentile child, swapped, then recognised for a defectiveness, was abandoned. 8.13 - Most Christian cultures cared for children as orphans, whereas other cultures took child slaves who were unaware of their state and conditions of neglect and disempowerment. 8.14 - The Christian allusions have all but fallen away, but the Semites who regulate matters per se, monitor such lost children and treat many as changelings whose capacity to become Christians, or converters to Christianity, must be vanquished by lives led in to Satanic cults, or the equivalent. 8.15 - The mythos of the lost child—a notion culturally entertained in reference to the child of a broken home—becoming a vampire of Americana's mythical landscape is narrated in the film: 8.16 - The Lost Boys, 31 July 1987, the United States Of America, 97 minutes, directed by Joel Schumacher, produced by Harvey Bernhard. 8.17 - The devil shown in the spliced image, would not meet the description of a vampire, though regarding this film there are various modifications to genres and folk-lore.
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§9.0 - THE SASQUATCH, THE SATYR—Refer directly beneath to points 9.0–9.14.
9.1 - 'Sasquatch': 'sásq’ets', viz. a “hairy man”, is American idiom, from Halkomelem, a language of the Salish indigenous peoples of the American and Canadian Pacific North-west, and the adjectival form, "squatchy", that Genevieve uses to describe the surrounding forest, is intended to indicate the forest is unsafe with such wild, hairy men running about in it. 9.2 - The Sasquatch are men made in to beasts, regarding which there are various histories and folklorish narratives from around the world, though many American texts account for them as trogs, cave-dwellers, or forest people, such as big-foot. 9.3 - On which point refer to the comical film, that treats the Sasquatch as a crypto-zoological oddity, a misfit for human society, rather than an ogre / orca or monster: 9.4 - Harry And The Hendersons, 5 June 1987, The United States Of America, 110 minutes, directed by William Dear, production companies: Universal Pictures and Amblin Entertainment. 9.5 - It ought to be mentioned, in: Strange Darling, 22 September 2023, 96 minutes, the Sasquatch do not even appear, but are only alluded to, such as is the case regarding films I have critiqued in my blogs, viz.: 9.6 - Suspiria, 1 February 1977, premiered at Italy, 99 minutes, directed by Dario Argento, production company Seda Spettacoli. 9.7 - In Suspiria, 1 February 1977, 99 minutes, the Forest people are kept hidden—of the Black Forest near Freiburg—though are still compared to the satyrs of Græco-Roman mythology, because men are shown to be chasing or moving, in this context, changelings or witches. 9.8 - Noticeably the cover art of the sound-track for the film: Strange Darling, 22 September 2023, 96 minutes, produced by Craig DeLeon, performed by 'Z Berg', includes a film-still of The Lady anxiously staring in to her rear-view mirror, trying to see where The Dæmon is, as he chases after her. 9.9 - The film-still appears to be a variation of the changeling in the back of a satyr's taxi, as exhibited by the film-still I discussed in my earlier blog on: Suspiria, 1 February 1977, 99 minutes. 9.10 - Refer directly beneath to the two images from the two films.
9.11 - During the film: Suspiria, 1 February 1977, 99 minutes, the satyr drives the taxi with the threat he may take the changeling or budding witch other than where she has requested—that is, she is at his mercy. 9.12 - Forty years later, while a changeling drives her own vehicle to demonstrate a degree of liberty, she has incurred his wrath as The Dæmon fires his shot-gun in to the back of her car to cause her to run off the road. 9.13 - An hypothesis to aver is, The Dæmon is a hairless Sasquatch, who has manœuvred his way back in to society, as though on the proviso he is a monitor and killer of regular life at Oregon, and one of his victims, a changeling, viz. The Lady, incidentally kills people—who she perceives are devils—in the frenzy of the chase, such that she becomes the serial killer mistaken for him. 9.14 - While The Lady kills devils, The Dæmon kills changelings: both are involved in a sub-culture of killing that is outside rationality and justice, and instead are entrenched in tyranny and persecution.
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§10.0 - DREAMY MUSIC—Refer directly beneath to points 10.0–10.21.
10.1 - The radio announcement is delivered at the very end of the film, in a manner reminiscent of 1960s Americana, viz. by a lounge styled disk-jockey: Art Pallone, voiced by Giovanni Ribisi, for the aired show: Shore to Spooky Shore AM, that is, to an audience other than the audience watching the film, but who nonetheless incidentally hear it playing after the film's credits—as indicated by the excerpt directly beneath: 
10.2 - 'I'm feeling nostalgic tonight, so before we have our first guest
I'd like to kick things off with a song
This delectable ditty from back in 1971 is like a diamond
Dust it off and it'll never lose its shine
Ginnie Pallone Mollner was the most popular singer in my house growing up
Bеt I'm not the only one...'. 
10.3 - The radio introduction is an expansion upon the framing device of the crime television styled introduction on the serial killer, in which the suspension of disbelief is mediated and realized to a greater extent than had such a device not been incorporated in to the text. 10.4 - Such framing devices are an almost ceremonial aspect of a ritual in the act of narration that pivots upon "the fact" of telling another person's narrative, such that the first order of narrator may blame the second for any truthfulness or fallacy it may contain, if he or she is required. 10.5 - Through such narrative techniques the truth may be told with an excuse that the narrative of the re-dramatization is really only an ironic form of entertainment, along with satire, in which the truth is only told because it is ironic nothing will be done about it, not even by law enforcement officers. 10.6 - There is a degree of complicity suggested in: Strange Darling, 22 September 2023, 96 minutes, by the female officer's action to immediately support The Lady's position as a victim at the crime scene, such that police corruption is a part of the "serial killer ritual", a consideration made more plausible if credence is made to the existence of Sasquatch. 10.7 - The system of justice that is meant to reveal the truth cannot; whereas art forms such as books, prose, poetry, plays, music or films can approach the truth through contrivances of artifice. 10.8 - With the film's reflexive references to two songs, which are bitter-sweet melodies, dissonance to their accompanying scenes of violence, or the film's ending, express a divided world. 10.9 - There are undoubtedly allusions to the cinematic and folk-loric topos of the Land of Americana, in which such surreal entities as a strange darling (changeling)  or vampire or Sasquatch or devil are deemed symbolic rather than real—the disconnection between the symbolic-imaginary and reality is arguably representative of the world's division, but where divisions are shown, connections are also inferred, because there can be no division without somewhere some sort of connection. 10.10 - A particular meta-textual connection I find, is in reference to David Lynch's use of Roy Orbison's popular song: 10.11 - In Dreams, 13 February 1963, Acuff-Rose Publications, Incorporated, 2:48 minutes duration, Label Monument, written and vocals by Roy Orbison, producer: Fred Foster; 10.13 - that is lip-synced by Ben, acted by Dean Stockwell, because the mafia man, Frank Booth, a character acted by Dennis Hopper, forces him to perform the song—with such lyrics as:
10.14 - "A candy-coloured clown they call the sandman
Tiptoes to my room every night
Just to sprinkle stardust and to whisper
Go to sleep, everything is alright...".
10.15 - This lip-syncing scene is from the film: 10.16 - Blue Velvet, 12 September 1986, premiered at the Toronto International Film Festival, 120 minutes, directed by David Lynch, produced by Fred Caruso. 10.17 - The real monster, the mafia man, Frank Booth, is shown to liken himself to "the sandman" who lives at the edges of the American Dream—at Americana Land—where he terrorizes its folk; where his "stardust" is of that substance that makes traumatic remembrance difficult, though he finds that it is yearned for in greater clarification among its sufferers. 10.18 - As is the case in the film: Strange Darling, 22 September 2023, 96 minutes, the song: Forget You, circa 1971, played by the disk-jockey, Art Pallone, that is a real song by Ginnie Pallone Mollner in the film's sound-track, the lyrics lament the fact that there is no remembering involved to forgetting, as indicated in the excerpt directly beneath:
10.19 - 'And I packed my bags and I made my bed
But I don't know why I ever left you
So I learned the words and memorized the tune
But I just can't remember to forget you
To forget you'.
10.20 - Memories and remembrance do not often involve the matter of choice, but are said to occur as dreams or visions of the past—though, there are increasing ways of stimulating memory, it remains an inner experience as much as an outer experience. 10.21 - It is clear that what is remembered, partially or wholly, are significant memories for recognising something about some-one—often the rememberer—such as the very elementary recognition of some-one's own identity and culture, and further, whether that some-one is being persecuted or not: arguably, a circumstance that continues to define the Christian experience.
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