PART III. CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE EUPHEMISM "CHANGELING", CIRCUS ENTERTAINMENTS, THE MISCHLING, FASCISM, A TECHNOLOGICAL FUTURE AND CHRISTOPHOBIA.

§1.0 - Points 1.0–1.12: THIS BLOG'S CONTENTS:

1.1 - THIS BLOG'S TITLE:

1.2 - PART III. CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE EUPHEMISM "CHANGELING", CIRCUS ENTERTAINMENTS, THE MISCHLING, FASCISM, A TECHNOLOGICAL FUTURE AND CHRISTOPHOBIA /

1.3 - THIS BLOG'S LISTED SECTIONS AND NUMBERED POINTS:

1.4 - §2.0: Points 2.0–2.12: DISCLAIMER /

1.5 - §3.0: Points 3.0–3.4: DATES OF RESEARCH, WRITING AND PUBLICATION /

1.6 - §4.0: Points 4.0–4.33: THE CHANGE-LING, DAR-LING AND IDIOT /

1.7 - §5.0: Points 5.0–5.16: ACCURSED HUMOUR /

1.8 - §6.0: Points 6.0–6.13: SALTIMBANCO /

1.9 - §7.0: Points 7.0–7.14: FREE SPIRITS /

1.10 - §8.0: Points 8.0–8.11: A MATTER OF RELIGIOUS INTOLERANCE: FASCISM /

1.11 - §9.0: Points 9.0–9.7: A BRAVE NEW WORLD /

1.12 - §10.0: Points 10.0–10.11: AN

ASSOCIATED CHRISTOPHOBIA //

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§2.0 - THE DISCLAIMER—Refer directly beneath to the points 2.0–2.13.

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 - One film-still is used from: Lost In Translation, 29 August 2003, 102 minutes, at point 4.25. 2.11 - A photograph of the art-work: Acrobat And Young Harlequin / Acrobate Et Jeune Arlequin, circa 1905, by Pablo Picasso, 191.1 centimeters x 108.6 centimeters, oil on canvas, BF382, Barnes Collection, at point 6.5. 2.12 - A photograph of the theatrical release poster of the film: Den 12. mann / The 12th Man, 25 December 2017, 135 minutes, directed by Harald Zwart, production companies: Nordisk Film Production, AS Zwart Arbeid at point 8.6. 2.13 - A photograph: 11:02:05, 27 April 2015, by Petar Milošević, of a Byzantine-styled mosaic from the Old Testament titled: The Sacrifice Of Isaac at the Basilica of San Vitale, built 547 A.D., Ravenna, Italy, an UNESCO World heritage site.

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§3.0 - DATES OF RESEARCH, WRITING AND PUBLICATION—Refer directly beneath to the points 3.0–3.4.

3.1 - This blog was first published on-line at 09.05.2023 and was revised 28.08.2024. 3.2 - The blog has been researched, composed and published exclusively by Craig Steven Joseph Lacey at Brisbane City, Queensland, Australia, 4000. 3.3 - Word count: 5,658 and characters count: 34,226. 3.4 - Last up-dated: 04:12, 31.08.2024, Australian Eastern Standard Time.

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§4.0 - THE CHANGE-LING, DAR-LING AND IDIOT—Refer directly beneath to the points 4.0 to 4.33.

4.1 - The noun: 'changeling' is derived from the affixation of the suffix: '-ling' to 'change', whereby the suffix: '-ling' attaches the signification of a quality of being: 'small'; 'miniature'; 'immature'. 4.2 - At one level the adjective: 'small' confers the significance of the noun stem: 'change' as modified by the suffix: '-ling', to make the inference: "if change is involved, regarding the person referred to as a changeling, the change will be small or quaint." 4.3 - On this point, comparison is made to the example of the noun: 'darling', in which the noun stem: 'dar' is emphasized as: 'precious'; 'cherished'; 'delicate'; 'exquisite'; and the evoked smallness refers to that greatness of potential and promise—possibly as in terms of a messianic prophecy—that from small things, such as exemplified by a new-born, big things will later yield when he or she grows-up and offers the boons of metaphorical blossoms and fruit. 4.4 - Further 'smallness' is referenced not only in terms of physical size, but mentality, that is, to a smallness of mentality, such as represented by the fictional, small people: the Lilliputians of Lilliput—shown in the Television Series: 4.5 - 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, as based on: 4.6 - 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. 4.7 - The Lilliputians are a people of a height of no greater than 16 centimetres and further are terrifically small-minded due to their focus on cavill or trivial matters, such as to render petty matters exaggeratedly as historically significant, that is, when the truth is, such matters are really petty. 4.8 - In the case of: 'darling', to which comparison can be made to 'changeling' by way of a shared linguistic structure, the noun: 'darling' is able to express affection phonetically, in which the '-ling' suffix rounds-out the intonation through the dipthong: 'ing', to attach to the: 'dar', a variant of: 'dear', that has the conveyance of loving sentiment. 4.9 - Such usage is defined as a "term of endearment", as is the case in reference to a number of words with the '-ling' suffix, but which, in a number of contexts take on a patronizing signification: the subject of the term 'darling' is imposed by the relation of being: 'sweet', 'cute', 'fluffy', 'infantile', by the locutor upon its referent. 4.10 - That is, the changeling as the darling "cannot be taken seriously" or, in any way, consequentially, such that it is as if the whole world has become a nursery administered by wet-nurses and mother-gooses. 4.11 - Any possibility of the person held to be threatening—note, the change-ling of the dreaded change is always considered threatening—is nullified by the implied significance of affection that the suffix: '-ling' carries, because essentially the: '-ling' evokes an imaginary effect of miniaturisation, indicative of immaturity, and a regression is realised. 4.12 - An 'idiot' or 'simpleton' are generally treated as an 'ignoramus', a noun from the Latin: 'ignōrō'—that refers to: “I do not know; I am unacquainted with; I am ignorant of"—and the noun is from a farcical play titled: 4.13 - Ignoramus, circa 1615, by George Ruggle—republished by ‎Georg Olms Verlag A.G., a facsimile edition, 1 December 1987, English, Latin Language, ‎215 pages, ISBN-10 ‎3487078538, ISBN-13 ‎978-3487078533—who based it on the earlier Italian comedy: 4.14 - La Trappolaria, circa 1596, by Giambattista della Porta—refer to: the republication 5 August 2011, Nabu Press, Italian Language, ‎410 pages, ISBN-10 ‎1174517131, ISBN-13 ‎978-1174517136—who in turn borrowed from: 4.15 - Pseudolus, circa 191 B.C. by Plautus, for the Roman Megalesian Festival: a celebration of the Greek Magna Mater, Cybele; 4.16 - Refer to: The Pseudolus of Plautus (Classic Reprint) by Titus Maccius Plautus, republished: 16 February 2018, Forgotten Books, English Language, ‎190 pages, ISBN-10 1333906439, ISBN-13 ‎978-1333906436. 4.16 - Idiocacy refers to a state of ignorance, specifically in reference to the changeling; due to immaturity such as caused by disability: the changeling does not know who he or she is, for example, due to brain damage or deformity at birth causing for a familial rejection, when such knowledge is kept hidden by relatives and others. 4.17 - As the idiot, "the dunce", the so-called "odd-one-out", the changeling is not so much representative of ignorance in the context of ignorance being a state of mind and feeling attributed to an infant, or older child or youth—who are partially expected to display naïvety and undeveloped or inexperienced performances at tasks—but is, as "the but of all jokes", never to be inducted; refused the knowledge of that which every-one else knows, that is, "the shibboleth" is with-held, and thereby the changeling is kept a foolish child by way of social exclusion. 4.18 - The other signification of the suffix: '-ling' in reference to: 'changeling' is of an 'idiot' or 'simpleton' in the patronizing sense that is comparable to a beloved pet as a type of "dumb animal". 4.19 - The allusions of 'dumb' in the phrase 'dumb animal' is a pun on 'dum' or 'dummy' because the quality of being mute is often presumed as indicative of an animal-type idiocacy—as a state of being ignorant of the true state of affairs around him or herself, because muteness confers a depoliticized state of non-representation and silence can refer to non-involvement—though later censorship can occur, such as in reference to some-one's own words being taken away from them, and such censorship is often applied to some-one because the person who has spoken out is deemed an idiot or fool, more to the point as a matter based on racism, as in a case of applying disguised racism. 4.20 - In some cultures the idiot was not taught how to speak or read and write, because, at the very least, speech and writing is acknowledged as representative of some-one's self and the idiot was considered void of such abilities. 4.21 - Compare the gestures of body language to the spoken or written word, per this example of a comparison between Marcel Marceau's "Bip the Clown" and Marcus Tullius Cicero, the legendary master orator of rhetoric whose use of language helped define the noble pagans of Rome. 4.22 - Not to totally discredit "Bip the Clown" and his equivalents, there is a certain mastery to the pantomime clown, but it is performed mostly in the contexts requiring bridging communication and cultural differences, such as celebrated in the film: 4.23 - Lost In Translation, 29 August 2003, 102 minutes, premiered at Telluride Film Festival, directed by Sofia Coppola, production company: American Zoetrope and Elemental Films, 4.24 - in which, Bob Harris, acted by Bill Murray, is perennially the clown who entertains inasmuch attempts to inter-relate, that is, through facial expressions and gestures, rather than anything he says. 4.25 - Refer directly beneath to a film-still from: Lost In Translation, 29 August 2003, 102 minutes, in which Bob Harris stands out in an elevator full of Japanese business men.  

4.26 - The performative of acting is possibly most celebrated by silent films, regarding which a later spoof film: Silent Movie, 17 June 1976, 87 minutes, directed by Mel Brooks, production company: Crossbow Productions; 4.27 - involves allusions to the great silent actors: Charlie Chapman or Buster Keaton and Marcel Marceau. 4.28 - The "language" of the pantomime is of a mostly spectacular theatre for children—there can be accompanying percussion music and sound effects—with the other mode of visual performance being, the masque, that was traditionally created for the so-called peasantry who were comparable to adult-children: masques approached adult themes of morality and mortality but in the delimited sense, as an understanding realized through the visual modalities in which there is often an absence of reflexive thinking concerned that opts for "the here and now", within the immediacy of the moment. 4.29 - The keeping of some-one in silence is comparable to the keeping of "the human pet", who is retained within a symbolic / imaginary state of merger with the world, as though there were no such things as war and other people who might decide to kill and cook him to eat, when there are such things as war and cannibals. 4.30 - Perhaps, they are not subjects fit for the nursery world, of which society, in its permissible forms, cannot really discuss either? 4.31 - Arguably, such infantilised states keep the child / adult child in fœtal, unborn states; regarding which an American film of the 1970s examines:  4.32 - Embryo, 21 May 1976, the United States Of America, 104 minutes, directed by Ralph Nelson; production companies: Plura Service Company and Sandy Howard Productions, 4.33 - that delves in to the dangerous thinking involved in the treatment of humans as akin to humanoid robots, who supposedly only have ersatz emotions, or do not really have a soul, that is, because science is based upon the objectification of the studied subject—such that the scientist's involvement is really only about indulging a fantasy of becoming greater than that which is studied; recreated; controlled.

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§5.0 - ACCURSED HUMOUR—Refer directly beneath to the points 5.0 to 5.16.

5.1 - Arguably, being labeled a changeling or idiot is, in essence, the effect of a curse, either implicitly or explicitly made by the consensus of the majority of the group ("cult") or people ("the hoi polloi"). 5.2 - The changeling appears to be connected with that age-old rite of the year-king, or to the human sacrifice, by whose ruin a type of catharsis takes place that seems to assuage the angst of the masses. 5.3 - As the year-king, the cruel jest is made by the fact that, similar to the fable of: 5.4 - "The Emperor's New Clothes", first published with "The Little Mermaid" at Copenhagen, Denmark, by C.A. Reitzel, 07 April 1837, as the third and final installment of Hans Christian Andersen's Fairy Tales Told for Children; 5.5 - republished in: The Complete Fairy Tales And Stories, circa 1983, by Hans Christian Andersen, xxiv, 1101 pages; 23 centimeters, ISBN 0385189516; 5.6 - despite the king / emperor being in the privileged position of a monarch, he is nonetheless susceptible and vulnerable to others' opinions to the extent he is sort-of voted off, and that is, not voted off stage as such, but terminated. 5.7 - That is, the year-king is made subject to the tyranny of the people, and the king's will or determination on matters is found to be mired by the various human foibles which afflict every-one, when under the conditions of absolute monarchism, circumstances are contrived by the staff of his court to make every effort that his committing an error is censored from the public's knowledge. 5.8 - Further, some absolute monarchs have insisted their mistake is, in fact, accurate, given that the monarch can be represented as God here on earth; hence, the erroneous one, the jester or clown is found in contrast, beside the monarch, in texts such as the celebrated: 5.9 - King Lear, circa 2008, 156 minutes, the filmed version of the Royal Shakespeare Company's theatrical production, directed by Trevor Nunn, screened on television, based on the play: 5.10 - The Tragedy Of King Lear, circa 1606, written by William Shakespeare, re-published: King Lear, The Arden Shakespeare, Third series, circa 1997, R.A. Foakes, editor, Bloomsbury Publishing. ISBN 9781903436-592, 5.11 - in which the Fool uses a diminutive, child-like language against the old King's own bombastic apoplexy, yet the Fool is arguably more sane than the king: 5.12 - 'Tis a naughty night to swim in. Now, a little fire in a wild field were like an old lecher’s heart—a small spark, all the rest on ’s body...', from: King Lear, Act 3, Scene 4, 111–114. 5.13 - Because all persons commit some sort of error at some point in their life, to commit a folly such as of a small kind is celebrated as characteristically human by the jester or clown, and rather than be made the focus of chastisement, humour in celebration of folly and a shared sense of hopelessness in expecting the fool to change, are realized in such entertainments of the idiot or fool. 5.14 - Love in general is as an affect that is the opposite to the purposive and functional, which is often what engenders a sense of the absurd: a lovable fool is precisely who is loveable: for example, a baby who stumbles in his or her first attempts, deemed a lovable fool at walking, is that same loveable fool who is favoured over an admirable hero who performs tasks perfectly. 5.15 - This last point is one of irony extended to the further point that often tragedy is required rather than comedy, such as to ensure the reality of the folly involved that often involves a curse no less, within the tragic contexts is "properly registered" by the audience, albeit that farce is inevitably caused by the organization of the tragic consequences, the tight-rope of drama of any kind is walked along the thin line of the tragi-comic. 5.16 - Yet, regarding the under-lying curse—that often goes without saying, left merely inferred by the darker entities of life (ghosts, ghouls, vampires, witches, etc.) rather than by an antagonizing people—to state exactly what that curse is now, it is pharmakós / Greek: φαρμακός, viz. scape-goating, that involves a social order which elects one of their own group to take the blame for everyone else, and in his execution a satisfaction is served to quell the suspicions that might otherwise embroil them as co-compliciters and guilty perpetrators. 

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§6.0 – SALTIMBANCO—Refer directly beneath to the points 6.0 to 6.14.

6.1 - In further reference to the changeling, along with clowns they are the so-called "circus freaks"—the motley crew—who present a show of light, comical entertainment in the fleeting festivity of their: marginality; exceptionalism; difference. 6.2 - This celebration is done as dalliance, fun, intoxication, such as: exemplified by "the saltimbanco" of Italy and France, painted by the celebrated modernist visual artist, Pablo Picasso: refer to the art-work directly beneath: 6.3 - Acrobat and Young Harlequin / Acrobate et jeune Arlequin, circa 1905 by Pablo Picasso, 191.1 centimeters x 108.6 centimeters, oil on canvas, BF382, Barnes Collection; Artists Rights Society, © 2023 Estate of Pablo Picasso, New York. 6.4 - The 'saltimbanco' is a noun literally used to refer to “a leap (or somersault) on the bench", that is, as a reference to buskers or street performers, but the signification also refers to a fraud, con or quack, viz. pseudo-doctor.

6.5 - The changeling as a cultural concept draws upon the strange, freakish and comical acts of the circus, such as once, dwarves or disabled persons were deemed and consigned clownish roles through social pressures of stigmatization. 6.6 - Their physical difference was equated with a dictate that demanded standardized people perform standard tasks with-out risking any-thing unexpected, whereas the changelings' "irregularity" was deemed at the fringes of society, where anything might happen and possibly did happen upon "the unclassified class". 6.7 - The unusual or abnormal person often is further associated to "the creative" and that which is considered frivolous, that is, to a philistine social order with an obsession for safety and security, that can only ever be illusory because everyone dies—no-one is exempt from mortality—yet the creative person is some-one who typically leads a life beset by death and quite unjustly. 6.8 - Out-siderism as a sub-culture must be allowed to exist because cultural diversity is the sign of a sophisticated society in  which creativity is allowed to flourish, instead of stymied, when criminality takes over. 6.9 - The fascist governments which brandish such labels as degenerate are involved in a philistine type of desire to enforce utilitarianism, that is, when, as I have mentioned, love is often involved in loving the useless rather than useful. 6.10 - A dozen roses are not useful as such, but are symbolic of love. 6.11 - Further, paradoxical or irrational is the fact that we genuinely love what is not useful, and despise, mostly out of envy, that which is most useful. 6.12 - I will ask: "where, oh where do the changelings and misfits go?"—homelessness is a problem throughout most nations, and yet governments have money stored-up on the basis that whoever appears to demonstrate no initiative, is thereafter excluded from society as fringe-dwellers, without genuine levels of support, but really, often their work is misappropriated to rob them of a living. 6.13 - The modern, Canadian circus company of the 1990s and 2000s, such as Cirque de Soleil, offered an insight as to some of the theatrical prowess such "idiots" could accomplish. 6.14 - Is it not the case that some people are "left to rot", because some tyrants derive an evil satisfaction from it, though tout such ideology as "only the toughest survive" and other anti-social notions based on bizarre interpretations of evolution?

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§7.0 – FREE SPIRITS—Refer directly beneath to the points 7.0 to 7.13.

7.1 - There is a "dark-side" to such qualities of the changeling to which I have made reference in my blog posts since last year, that require further focused discussion. 7.2 - For those who have dismissed my arguments of the occurrence of children and some adults deemed "changelings", because of the implied immature or fantastical elements involved with the changeling, the facticity of the history of the 'mischling' might be considered verification of a correlative reality to the mystified discourse. 7.3 - Fantasy texts, while displaced and loosely metaphorical, will correlate with a true history, as an effect of: euhemerism—historical facts become legend and legend becomes myth. 7.4 - The truth will be both disguised and revealed by a figure or trope; hence, the appeals of such texts for their expression of what is thought to be inexpressible, that is, to establish some-thing of a "successful protest". 7.5 - There is a poetic truth to be found in such texts often escaping the layman's notice, but which can be discerned by "the dream-interpreters", viz. the therapists, priests, sisters, teachers, authors, artists, critics, etc., who must excavate the fragments of truth to re-construct what has really occurred, or is now occurring, at least as much as possible, because the power-centers will ensure that any trace of responsibility leading back to them is shut-down—for example, by causing the dream-interpreters to disagree with the argument made in this blog. 7.6 - The German Nazi noun: 'mischling', used to refer to an infant or adult with a mix of ethnicities, such as Aryan or Non-Aryan, is an euphemism for some-one determined as a pest, who is deemed liable for racial cleansing or a range of mistreatments and persecutions, because the inference is, the racial differences will beget an irreformable degeneracy: an inherent defectiveness that makes the person expendable. 7.7 - The changeling / mischling is an euphemism for mistreating that person with a range of moral disengagements and duty of care, because the racial difference is considered to signalize an idiocacy in which consciousness within the person in question is either kept subdued or unable to achieve certain adult levels of recognition, often by way of exclusion. 7.8 - The changeling / mischling is declared a vector of degeneracy who supposedly is justifiably deserving of malice. 7.9 - That is, schadenfreude: the enjoyment derived from sadism, derived in witnessing or causing some-one else's suffering through torture: there can only be unveiled the fear of the torturer resuming the position of the tortured—the fool has, as the 20th century can attest, and in almost realising a Hegelian discourse, be seen to become the master at any price. 7.10 - When power is bestowed upon the foolishly immoral person, who is himself terrorized by the fear of being the fool, a strangeness over-takes the world with paranoia and the styles of the Baroque or Rococo are seen wherever he is found, taken to reinforce that leader's own sense of grandeur and pomposity. 7.11 - Yet, with his councilors in cabinet mostly out to thwart him, his over-compensatory behaviour and hifalutin language are understandable enough; as he is human too: "human, all too human"—regarding which refer to: 7.12 - 'The Illogical Necessary: Among the things that can drive a thinker to despair is the knowledge that the illogical is necessary for man and that much good comes from it. It is so firmly lodged in the passions, in speech, in art, in religion, and generally in everything which endows life with value, that one cannot extricate it without doing irreparable harm to these beautiful things'—from: page 33,  §31: Human, All Too Human: A Book for Free Spirits / German: Menschliches, Allzumenschliches: Ein Buch Für Freie Geister, circa 1878, by the philosopher Friedrich Nietzsche; 7.13 - re-published: circa 1974, Dover Publications Incorporated, translated Helen Zimmeen, 474 pages, ISBN: 0486445666.

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§8.0 - A MATTER OF RELIGIOUS INTOLERANCE: FASCISM—Refer directly beneath to the points 8.0 to 8.11.

8.1 - The problem of racism has been already discussed to an extent in my blogs, regarding the racism of the white Asian, Aryans, against the white Europeans, Celts / Gauls, that involves the problem of recognizing the racism between two groups of ethnicities with similar white complexions. 8.2 - One of the few texts I have come across that portrays the differences of the Celts of Northern Europe to the Aryans is: 8.3 - the Norwegian film: Den 12. mann / The 12th Man, 25 December 2017,  135 minutes, directed by Harald Zwart, production companies: Nordisk Film Production, AS Zwart Arbeid; 8.4 - a Norwegian film that narrates of the historical events of 'Operation Martin' and the escape of Jan Baalsrud, as adapted from the text: 8.5 - Jan Baalsrud And Those Who Saved Him, circa 2001, by Tore Haug and Astrid Karlsen Scott, Gyldendal, 235 pages, ISBN 9788205297524. 8.6 - Refer directly beneath to the film poster for: Den 12. mann / The 12th Man, 25 December 2017,  135 minutes, directed by Harald Zwart. 

8.7 - Other-wise, most if not all texts confer the perception that the ideology of Adolf Hitler, that supposedly praised the Norðs and Celts, saw to the extermination of Northern Western European whites, that is, of a Protestant heritage, and perhaps not Jewish Catholic? 8.8 - Adolf Hitler and The Third Reich represented people of a white-appearance, but with a Semitic ethnicity, who persecuted the Jews also of a Semitic ethnicity: that is—and this is a point that is made and re-made but still dismissed—Adolf Hitler was himself a type of Jew, of Punnic / Aramaic ethnic descent, who advocated genocide of the Jews. 8.9 - A recorded history exists regarding the fact of genocide committed by the Jews upon the indigenous Canaanites—refer to the Old Testament: 8.10 - 'And the city and all that is within it shall be devoted to the Lord for destruction. Only Rahab the prostitute and all who are with her in her house shall live, because she hid the messengers whom we sent'—from: The Book Of Joshua 6:17, English Standard Version. 8.11 - The conquering of Jericho was symbolic of a Jewish approach to the taking of land by force from indigenous peoples, because such land represents to them: "The Promised Land": that is, arguably, a repeated pattern of behaviour.

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9.0 - A BRAVE NEW WORLD—Refer directly beneath to the points 9.0 to 9.15.

9.1 - The Nazis supposedly were unable to find a racial definition for the noun: "Jew" to instead rely on the religious ancestry of the person under question, such as to determine whether the person was of "Aryan" or "non-Aryan" ethnicity. 9.2 - The implication is the Nazi racial agenda against the ethnic other was based on religious identifications and cultural practices, rather than ethnicity. 9.3 - Presumably the Nazi regime was immersed in technology and science that promised to offer a 'Brave New World', to refer to that celebrated text: 9.4 - Brave New World, circa 1932 by Aldous Huxley; re-published 1 January 1977, by ‎Bantam Classic, English Language, 272 pages, ISBN-10 ‎0812415213, ISBN-13 ‎978-0812415216. 9.5 - Or else, their religious practices have been kept secreted away, that is, even until now: a possible fact of which, in itself suggests that Aryans have, despite contemporary media and history sources, re-asserted or sustained power to ensure that such a fact is unknown within the regions under their "pantheistic" style of power. 9.6 - The documentary film: Triumph Over Violence, circa February 1968, 138 minutes, a Soviet film directed by Mikhail Romm; 9.7 - reveals the pre-eminence of fire among the Nazi, almost to emphasize a connection of the Aryan to the Indo-Arabic Parsi / Pharisee cultures through a shared exaltation of fire. 9.8 - This is a factor celebrated by the opera: 9.9 - Parsifal WWV 111., 26 July 1882, Bayreuth Festspielhaus, by the German composer Richard Wagner to suggest, that the Asian Middle Eastern cultures had a long time ago entered Germany and usurped the Celtic / Gaulic Christians, who the Nazi are confusingly identified with—that the Aryans / Vandals migrated to Germany and there certainly Westernized. 9.10 - There are further arguments of a Nazi regime steeped in Occult and Satanic practices, such as in reference to: 9.11 - Nazis: The Occult Conspiracy, circa 1998, 104 minutes, an American television-produced documentary film, first aired on the Discovery Channel, directed by Tracy Atkinson and Joan Baran, with the narration by Malcolm McDowell. 9.12 - The quality of texts on the matter of Nazi–Satanism is average to low to indicate power-centers prefer no significant investment to reveal the truth. 9.13 - The point of 9.1 is an hypothesis that has arisen regarding the examination of the changeling symbolism, in which an unconscious sociological mechanism of persecution becomes consciously applied within a fascistically organized society, such as Nazi Germany's: the systematic killing of people is, at least it is inferred, accepted among Aryans as a standard part of society, and the more recent film: 9.14 - Zone Of Interest, 105 minutes, directed by Jonathan Glazer, production companies: Film4, Access, Polish Film Institute, JW Films and Extreme Emotions; 9.15 - an extraordinary film that to an extent unveils life at the Auschwitz concentration camp, in operation circa May 1940 – circa January 1945, as narrated from the side of the Schutzstaffel and their families located within or near the complex, conveys this sense of normalcy in the mass executions of peoples, as found in relation to an abotoir.

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§10.0 - AN ASSOCIATED CHRISTOPHOBIA—Refer directly beneath to the points 10.0 to 10.11.

10.1 - One observation must be made, with the inferred rise to power of the Aryans, a great proliferation of folk-lore took place through-out Europe from the 17th century to the present. 10.2 - The folk-lore is indicative of a nebulous phantasmagoria of diffused beliefs, supposedly untraceable to a particular ethnic and cultural center, and the values mediated must be cited as mostly Christaphobic because the gift of the birth of a child is at crux the message of Jesus Christ's Nativity. 10.3 - Whereas the changeling / mischling represents the opposite of the doctrines of such Christianity, such as to indicate systems of belief indicated by the Tanakh, similar to the binding and killing of Isaac by Abraham, viz. of human sacrifice. 10.4 - Refer directly beneath to the photograph, 11:02:05, 27 April 2015, by Petar Milošević, of: a Byzantine styled mosaic from the Old Testament titled: The Sacrifice Of Isaac at the Basilica of San Vitale, built 547 A.D., Ravenna, Italy, an UNESCO World heritage site, in which the question of cannibalism must be raised due to the three presumably "Ostrogothic Christians" sitting at a table with plates before them and a dish of beef being offered to them instead of Isaac, who nearby is about to be slain by Abraham.

10.5 - Here in further reference to the mosaic of the Basilica of San Vitale, Ravenna, the Gothic allusions to cannibalism may have been a regional interpretation of the Old Testament scripture of Genesis introduced as a variance to allow for such practices after the fall of Byzantium, though cannibalism is believed to be at the heart of Christianity's apotheosis of the Crucifixion of Jesus Christ whose body is found in the bread of Eucharist rite. 10.6 - Refer to: 'When they arrived at the place God had designated, Abraham built the altar there and arranged the wood. He bound his son Isaac and placed him on the altar, atop the wood. / Then Abraham reached out his hand and took the knife to slaughter his son. / But the Angel of the Lord called to him from heaven and said: “Abraham, Abraham!” And he said: “Here I am.”—from: Genesis 22:9–11, English Standard Version. 10.7 - The test of Abraham's faith by the Jewish God such as in reference to Abraham's obedience to God's commands, may have connection to the "blud und boden / blood and soil" myth found more explicitly in reference to the Babylonian creation myth: lines 23–26 in Enuma Elish, 2nd millennium B.C., in which Kingu's blood / sacrifice gives rise to a later army of men—refer to: "The Ashur Version Of The Seven Tablets of Creation" by D.D. Luckenbill, in: The American Journal of Semitic Languages and Literatures, 01.10.1921, pages 12–35. 10.8 - In accordance to Christianity proper, there would be no changeling of mixed ethnicities as such, nor a child of deformity, that is, thought to be caused by a goblin's or troll's mischievous swapping—possibly a dæmon's in reference to Lutheranism—but according to true Christianity there would only be a child requiring acceptance, protection, guidance and love. 10.9 - It must be remembered that the Tanakh / Old Testament is used for context to the New Testament and the Jew is expected to convert to Christianity within such contexts by understanding the barbarisms associated with the so-called primordial ways. 10.10 - This matter of conversion is essentially what is feared in the Jew-Gentile / changeling child, who may further spread the change / conversion of Christianity among the Jews, such that Christophobia is perceived as associated to the changeling. 10.11 - To the great charitable institutions of Christianity, yet infiltrated and corrupted from within by Jewish Catholics, such as: The Sisters Of Mercy, 12 December 1831–, 192 years ago, who I witnessed as a boy suffer greatly for our religion—please make a prayer of gratitude and admiration for their holy service.

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PART II. CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE FILMS: 'WILLOW, CIRCA 1988', HARRY POTTER, 'THE OMEN, CIRCA 1976' AND 'MARK OF THE DEVIL, CIRCA 1970' AND FURTHER, COMMENTS ON THE PAINTING: 'EXAMINATION OF THE WITCH, CIRCA 1853'.

1.0: BLOG'S TITLE: PART II. CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE FILMS: 'WILLOW, CIRCA 1988', HARRY POTTER, 'THE OMEN, CIRCA 1976' AND 'MARK OF THE DEVIL, CIRCA 1970' AND FURTHER, COMMENTS ON THE PAINTING: 'EXAMINATION OF THE WITCH, CIRCA 1853' /

1.1: BLOG'S CONTENTS:
2.0–2.5: A BIRTH-MARK OMEN /
3.0–3.2: 'WILLOW: TELEVISION SERIES, CIRCA 2022' /
4.0–4.4: THE CHANGELING DYNAMIC /
5.0–5.2: MARK OF THE DEVIL /
6.0–6.1: STIGMATIZATION /
7.0–7.1: 'THE OMEN, CIRCA 1976' /
8.0–8.2: 'WITCHES TORTURED TILL THEY BLEED, CIRCA 1970' /
9.0–9.1: THE WITCH'S TEAT /
10.0: 'EXAMINATION OF A WITCH, CIRCA 1853' /
11.0–11.2: THE DWARF /
12.0–12.3: WHITE IS PURE OR CHILDISH / 
13.0–13.2: DISCLAIMER //.
☆☆☆
2.0 – A BIRTH-MARK OMEN: The American film: 'Willow, circa 1988', 126 minutes, directed by Ron Howard, involves a plot in which a self-obsessed Queen, the sorceress Bavmorda of Nockmaar, orders for the pregnant women of her realm to be imprisoned in order she guard against—per a prophecy—an infant being born with a birth-mark shaped as a rune, viz. a letter of the Celtic alphabet.
2.1 – Nonetheless, the infant is born and escapes the sorceress's wolf-type hench-men, to float in a ruddy raft down a river to a village of dwarves, where the eponymous character, a novice wizard and dwarf, takes the baby girl in, and becomes the unlikely hero: supposedly as a type of changeling, Willow emerges as a victorious wizard-dwarf to reverse perceptions of small or different persons being of meagre value.

Figure I. The theatrical release poster of the film, 'Willow, circa 1988' directed by Ron Howard; art work by John Alvin.

2.2 – The matter of a birth-mark or skin-based sign is further treated as a distinguishing point for the character of Harry Potter of The Harry Potter texts by J.K. Rowling; for example, in the first of the series of five books: 'Harry Potter And The Philosopher's Stone, 26 June 1997, by J.K. Rowling, (Bloomsbury, the United Kingdom; 223 pages; ISBN: 978-0-7475-3269-9), the protagonist as an infant is marked-out by a lightning bolt on his fore-head to signalize he is not only a different child, he is a child whose difference is a source of strength analogous to magical powers, that is, within such dream-like, allegorical contexts.

2.3 – The mark on Harry Potter's fore-head is not a birth-mark as such, but a symbolic scar left by the evil—unspoken of, Mephistopheles-type—Voldemort, after a legendary encounter in which Harry Potter, only an infant, vanquishes the fiend and becomes a wizard-infant; there-after the symbolic scar of the lightning bolt, in the Grecian, Zeus-based iconographic style, is treated as peculiar, if not reverentially.

2.4 – The self-obsessed family of Harry Potter nonetheless mistreat him, as if he is a changeling with that enigmatic scar, who can be abused because changelings are supposedly deemed the source of change for every-one, except that through the Harry Potter series his virtuous and sympathetic character shines through the ignorance to show some-one such as Harry Potter is worth valuing and treating respectfully.
2.5 – The theme of an infant marked with a sign is the variant of the omen, a central aspect of the changeling mythos: the ominous sign may be one of change for good or evil; change, or transformation, often demands behaving in ways which are unfamiliar and that can be up-setting for all involved.

Figure II. A still from the film, 'Harry Potter And The Philosopher's Stone, circa 2001', in which a young Harry Potter bears the lightning bolt scar.

3.0 – 'WILLOW: TELEVISION SERIES, CIRCA 2022': 'Willow, circa 1988' by Ron Howard is the direct inspiration for a recent television series of eight episodes which premiered on the net-work: Disney+, 30 November 2022.
3.1 – While the television series was supposedly cancelled, the stigmatized positions of persons suffering from disabilities or who occupy a cultural difference to the main-stream culture, remains a contemporary dream-scape to the realities of every-day life.
3.2 – The texts of Harry Potter, both books and films, further reveal the relevance of such mythos to contemporary Western World cultures.

4.0 – THE CHANGELING DYNAMIC: The "change-ling" is, as if a person could be reduced to an effect, said to be an effect of change: there is an "ex-change" of a healthy child by fairies or goblins for one of their queer children, whereby the æther-world's hidden forces confer to bring about change in people's lives; at the very least, through mixing around infants from families or causing disability in a child by violent abuse to impact upon a family.
4.1 – The impacts of the so-called æther-world involve recognizing the bona fide from the impostor; interpreting the signs which may, prima facie, appear correct, really refer to some-thing forgotten or unknown: but when an error occurs, blame is placed upon the impossible, trickster-type antics associated with the æther-world—or to use the author, J.R.R. Tolkien's phrase: "middle earth" as indicative of such Pan / Celtic symbolism—and accountability is lost in the mist of where reality meets dreams.
4.2 – In the folk-lore, change is acknowledged as occurring through a person: often the much-lauded new-born, who is symbolic of an unknown potential to transform the people's lives, such as Jesus Christ's Nativity is symbolic, viz. of the gift from God: the messiah, no less; but when the new-born or child or child-type adult bears the stain of the birth-mark, such persons are treated with austere distrust or persecutory antipathy.
4.3 – The uncertainty of change itself is shared by such fantastic beings as familiars, half-breeds, Siamese twins, ghosts, goblins, trolls, witches, sorcerers, et al.: except for the changeling who is often deemed a real person, viz. an infant or dwarf; perceived as embodying a connection to the forces of change, is approached as the catalyst for change of which cannot be totally controlled and as such can provoke frustration by the folk who expect change to be magically bestowed by particular people, when change occurs by changing one's own attitudes.
4.4 – Often at the psycho-sociological level, control is attempted to be taken back, by society causing the infant to carry the burden of change: as an unwanted change, it is the curse of impending doom, or as welcomed change, a frightening yet lively out-put of creativity and innovation; the impacts for the one labelled a changeling often involve estrangement, isolation and other mistreatments.

5.0 – MARK OF THE DEVIL: Specifically, the sign that portends of ruin is the so-called "mark of the devil", which is claimed to signalize a "transformed and transforming person", such as a changeling is described: often marked-out by deformity, that in many cultures is read as a sign of being cursed, or of being an accursed thing, a birth-mark, distinctive skin-lesion or physiological deformity / scar, that is divergent from "normal" appearances, are interpreted as portentous of some hitherto known strife—are really matters of medical ignorance or pseudo-medical myth.
5.1 – There may be an extant connection of the brand or tattoo, which can be used to show membership, that was used in slavery to identify a specific class of slave: the birth-mark seems to be pre-ordained, a matter of fate, not dissimilar to the drudgery of slaves, the birth-mark sign is something of an evolved adaption from such ancient and barbaric practices.
5.2 – The "mark of the devil" or "witch's mark / stigma diabolicum" is possibly a Judeo-Christian phrase, that derives from the 16th century, reaching the zenith, circa 1645, during the historic, European witch trials which continued in the regions / colonies of the so-called New World, viz. the Americas, the Dutch East and West Indies, and Australasia.

6.0 – STIGMATIZATION: Through such stigmatization, infants, children and some adults are subjected to grossly unjust mistreatments and often murder or sacrifice dressed as just execution.
6.1 – No film of the Western World canon would provide a narrative on the torturing or killing of children, whether the children were deemed condemned or part of some perverse eroticism; whereas within Eastern Asia there is less an ethical compunction due to fanciful perceptions, a child is similar to an adult, in which the child is simply a small adult, that is, when children are physically and psychologically vulnerable, lacking physiological maturity and life experience.

7.0 – 'THE OMEN, CIRCA 1976': Further, the child is said to be possessed, or a connector / channel to the dæmonic / Satanic, such as the cause célèbre, the supernatural-thriller genre, American film: 'The Omen, circa 1976', 111 minutes, directed by Richard Donner: the narrative in this context plays upon the mark of the devil, the mark of the beast '666', on a boy who is considered to present one of the signs of the Anti-Christ, whose plans are to take-over the Christian world.
7.1 – The Christian orthodoxy is confused by having to involve the reading of omens, or the seeking out of the Anti-Christ to exorcise, such as those identifying with the vampire, viz. 'Dracula, [circa 1897], circa 2002' by Bram Stoker, (edited by John Paul Riquelme, Bedford Saint Martin's, 608 pages, ISBN: 9780312237103; 0312237103), and mythos of the undead or zombies; the Christian doctrines become enmeshed in the folk-lore on the devil and his legion.

8.0 – 'WITCHES TORTURED TILL THEY BLEED, CIRCA 1970': In the Western World, texts have been written and published or filmed as based on the torture and killing of women, in reference to the witch trials: for example, the Austrian film: 'The Mark Of The Devil', other-wise titled: 'Hexen bis aufs Blut gequält / Witches Tortured Till They Bleed, circa 1970', 97 minutes, directed by Michael Armstrong, that is an attempt to portray the history of the corrupted Catholic church in a frenzy of hysteria involving the torture of women to elicit confessions of being that which they are not, viz. witches.
8.1 – Beneath the peculiar marketing and hysteria regarding this film, labelled as being of the sexploitation genre, the priest-commissioner of the veritable inquisition, viz. Lord Cumberland, acted by Herbert Lom, is that elusive Mephistopheles figure of which much discussion has been written in my blogs, such as in reference to: 'You Are Not My Mother, circa 2021' by Kate Dolan—as revealed in the narrative of the film of circa 1970, Lord Cumberland as Mephistopheles has a quick escape "out the back exit"—the true significance of his involvements remain shadow-like and elusive, rather than, prima facie, audiences accept him as truly representative of the Christian church, but an heretical re-versioning or bastardization.
8.2 – In the film 'Willow, circa 1988', the presence and role of a ruthless maternal figure, viz. a witch and often a queen, is obviated, rather than censored: but more to the point, is how either a victim-child / victim-disabled person or witch / sorceress, are placed in stigmatized positions, and further, how the manipulative patriarch is mostly absent of the show, and hench-men are instead present as a masculine force of mercenaries.

9.0 – THE WITCH'S TEAT: The sign of the "stigma diabolicum" as the witch's mark was the witch's teat, a third nipple that could be found on the woman's anatomy other than her breasts, viz. a supernumerary nipple, by which a familiar or devil / dæmon could suck blood for nourishment.
9.1 – In the observation of the familiar or devil in a bodily collusion with the witch, the figures are described as 'kambion': half-breeds such as human-hybrids and dwarf-type creatures not dissimilar to children or changelings dependent on the mother-figure as sucklings are still dependent on the mother-figure—which include the changeling, but the further point should be made, most changelings are orphans or waifs with-out parentage as such, are often fostered or left to the streets or leafy grounds to live on their nimble wits.

Figure III. A painting titled: 'Examination Of A Witch, circa 1853' by Tompkins H. Matteson of New York, the United States of America.

10.0 – 'EXAMINATION OF A WITCH, CIRCA 1853': To briefly mention, the painting 'Examination Of A Witch, circa 1853' by Tompkins H. Matteson, the presence of the perfidious man dressed as clergy is shown: in red stockings to signalize blood, he is depicted to watch on, at one remove, from the witch-hunt inquisition that could be interpreted as ethnic cleansing, that is, in the mid-19th century New York State of the United States of America.

11.0 – THE DWARF: The dwarf is, with the witch, the main figure or symbol of the changeling folk-lore: the dwarf's short stature places a comparison of the adult dwarf with a child or vice versa: the changeling infant is often portrayed as wise or old beyond his actual appearance to represent a freakish anomaly to the natural order; but the inference is, nature's so-called order is subject to a numinous or super-natural one, which is open to interpretation often favouring an unjust and racist culture.
11.1 – The involved person's deformity, biological variance or disease seems to herald of an ominous engagement from which, he who meets such a person (changeling) will wish he had not, or that is the alleged impression taken to instruct any who think of becoming involved with a changeling, that causes for ostracism and scape-goating mechanisms: the source of social injustice.
11.2 – More often than not, the aberration, the changeling, will be determined within the ranks of the hegemonic race, to be an example of miscegenation or in-breeding conducted by other races.  

12.0 – WHITE IS SICKLY OR CHILDISH: Particularly relevant is the baby's birth-mark of 'Willow, circa 1988', that under a lens of racial politics must be read as racism against persons of Germanic or Nordic, viz. Celtic origins, because runes derive from such ethnicities and cultures.

12.1 – The politics regarding the disabled, or different child or adult, amid the changeling mythos, often represents an ethnicity that is invisible: as discussed in my previous blog, the Celts have been mistaken for white Aryans, to establish the phenomena of an invisible, white race.

12.2 – Considering the semiotics of colour, white is often thought of as colourless or clear, that is, as a blankness of colour, that is invisible, such that the persecution does not exist, or if the white is perceptible, indicates sickliness, disability and the moribund state which the cultures of the Middle East, Africa and Asia, have equated with the necessity to eliminate, and in the case of the white Aryans, white identifies the eliminators, to establish an under-pinning symbolic configuration: eliminated-white / white-eliminators.

12.3 – White can further represent a purity, "milk", or childish innocence that is experienced as tempting the weathering effects of time, viz. all things must grow older—through envy the purity or pristineness of the delicacy of white is experienced as an invite to tincture; sully; infect; blemish; mar; because white is treated as perfect or "too good to be true", envy is triggered, but the important point is, the provocation of envy is one of paranoia rather than being of a true provocation and consequently it is the envious person who is responsible for his or her own persecutory hatred: he or she must own up to prevent the further injustice of scape-goating.

13.0 – DISCLAIMER: This blog post is the exclusive intellectual property of Craig Steven Joseph Lacey, 4 December 1976–; Google email: craigsjlacey@gmail.com; by way of law, no hacking, copying, editing or disseminating of it is permitted.
13.1 – Three photographs have been used within this blog: Figures 1 to 3; each of which is used within the editorial-educational rights's context.
13.2 – Craig Steven Joseph Lacey, 4 December 1976–, Australia; 17 April 2023, Brisbane, Queensland, Australia, 4000; Copyright 2023, Craig Steven Joseph Lacey.
☆☆☆

PART I. CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE FILMS: 'THE CHANGELING, CIRCA 1980' AND 'CHANGELING, CIRCA 2008'.

1.0: BLOG'S TITLE: PART I. CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE FILMS: 'THE CHANGELING, CIRCA 1980' AND 'CHANGELING, CIRCA 2008' /

1.1: BLOG'S CONTENTS:
2.0–2.4: A QUESTIONABLE WHITE IDENTITY /

3.0–3.1: GLOBAL CULTURES /

4.0–4.3: ON (SUPER-)REALISM /

5.0–5.5: PSYCHOLOGICAL REALISM /

6.0–6.6: ARGUMENTUM EX SILENTO /

7.0–7.6: DIFFERENT WHITE ETHNICITIES /

8.0–8.4: AKIN /

9.0–9.6: THE CHANGELING, CIRCA 1980 /

10.0–10.7: CHANGELING, CIRCA 2008 /

11.0–11.6: THE CHANGELING MYTHOS /

12.0–12.2: DISCLAIMER //.

☆☆☆

2.0 – A QUESTIONABLE WHITE IDENTITY: A year has passed since I wrote on my blogger-site 'thoughtsdisjectamembra': I have watched a number of intriguing films and written notes on a few, similar in the psychological-thriller / horror genre as that of the Irish film: 'You Are Not My Mother, circa 2021' by Kate Dolan; the basis of my five earlier blogs—films such as: 'Smile, circa 2022' by Parker Finn; 'Barbarian, circa 2022' by Zech Cregger; 'Pearl, circa 2022' by Ti West.

2.1 – I am mindful of the fact, the films I critique are focused on the English language and are of the Irish / American countries.

2.2 – As an Australian with Goìdelic / Celtic ancestry, I am ethnically and culturally representative of the English language and Anglo-Saxon cultures.

2.3 – There is the further point to make: when here in Australia, British and American films dominate cinema, what else can be written on?

2.4 – In any case, such films show a questionable white identity that is arguably due to a cultural alterity which remains at the outer parameters of such films's ideological construction—ironically, as that which exists out-side the film as might another calibre of monster be found after one already has been revealed in the unfolding narrative of horror film.

3.0 – GLOBAL CULTURE: Through mubi, viz. <mubi.com>, the access of films from around the world with streaming on the Internet or renting digital copies, an insight is provided to different ways of perceiving the world.

3.1 – Yet still many Han Chinese and Indian films are kept away from "Western World" audiences and, as such, global cultures are a theory rather than reality.

4.0 – ON (SUPER-)REALISM: In my blogs on that artsy, horror-flick: 'You Are Not My Mother, circa 2021', I made the criticism the film is overly edited: not as an observation on Kate Dolan's direction, or the editor's competence, or the parochialism of contemporary, Irish film, but as an observation made as to the film's (super-)realism existing in the constraints of film-making, as much as the constraint definitive of the Celtic female of contemporary Ireland.

4.1 – That is, as if the film's editing sought to express the overly-edited consciousness of Char by the film being overly-edited.

4.2 – The argument can always be made: "oh, it's only a story, not a piece of journalistic reportage," when it is the case, the truth can be fore-grounded inasmuch that it can be said after-wards: "it is only a story."

4.3 – In my blogs I wrote that the film is representative of a super-realist æsthetic not only punning the ambiguity of the cinema verité style as fantastic, as when special effects or tricks of lighting emerge within the style as equally punned, realistic: truth is represented as based on perception: in such films the audience enters a point of view different from their own.

Figure I. A film still from 'You Are Not My Mother, circa 2021' of Char, acted by Hazel Doupe, in which the camera-shots of interiors become symbolic correlates to the constrained psychological interior of the protagonist.

5.0 – PSYCHOLOGICAL REALISM: The truth is, that the truth exists in such contexts of perspective, which in the telling of truth must be emphasized, because the broader contexts of history, religion and politics when referenced, reveal the effects of the lulling mind; that is, humans are said to only handle a small dose of reality before "the lullaby" is sought after either in romance or the highs of recreational drugs.

5.1 – Yet the realism of constraint, minimalism and foreclosure, which are factors of a dire state of existence—a veritable autism—evokes an absence of detail, a sparseness of style, to contribute to the super-realist æsthetic.

5.2 – Psychiatry with a problematic history of meting out medications for mental illness—such as the earlier discussed lithium salts—cannot contain a truth of reality that the discourses of mental illness claim to address.

5.3 – For example, there is an other-worldiness, a cultural alterity, that permeates the film which cannot be reduced to a diagnosis of autism with-out losing a perspective of the truth.

5.4 – There is the problem, psychiatry and psychotherapy offer discourses from which young women, such as Char, must retract to embrace some alternative, community-hewn, folk-inspired fantasy and ritual life, because such practices facilitate identity rather than anesthetization and programmed "gratuitous concurrence".

5.5 – Paradoxically, psychological realism pervades the super-realist film, because such films typically represent a single protagonist's experiences in an ironic, almost experimental way, since there are constraints made on the expression and representation of such people's lives, who live as the silent minority, are deemed not worthy of our attentions, engender a point of difference, in fact, intriguing for the fact a creativity and liveliness may be found.

6.0 – ARGUMENTUM EX SILENTO: In my interpretation of the film, the psychological focus must be placed upon the sins of the father, argumentum ex silento: an argument made on the fact obvious evidence is omitted, because the film is almost totally female.

6.1 – The particular omissions of the sins of the father as a pressure enforcing silence / censorship, is re-doubled with significance as the ex silento position falling upon the absent father or fleeting presence of the father-substitute, the adult brother.

6.2 – The family life is presented with-out a male causation as the reason for Angela's derailment, when it is known to be the cause for most troubled house-holds and, besides, it is not a point logically eliminated within the film's narrational structure, but is stifled to ever greater extents until the stifling moment of derealisation unfolds: Char is a witch who imolated her mother, an adult changeling: at which point the trace to the father as the culprit is all but extinguished, at least to the mind of Char.

6.3 – In 'You Are Not My Mother, circa 2021' by Kate Dolan, I find that the hidden door opens to only an extent: had "the investigators", viz. the film-makers, examined the matter thoroughly, another hidden door would have been found in that earlier secret room, such that now the horrors frighten at one point of remove from the dæmon, the mephistopheles, causing the strife.

6.4 – The dæmon will always be clever enough not to leave behind obvious traces of his meddlings, but they will nonetheless be evident because he is an illusionist who plays most of all with perceptions.

6.5 – Similar to the floating lozenge seen in the Hans Holbein the Younger's painting: 'The Ambassadors, circa 1553', (taken as a sign of the artist possibly having a day on the booze), when the art-work seen from the far right reveals the lozenge as a skull, the symbol of piracy and the painting vandal's interference is revealed to be a gesture of an attack on diplomacy.

6.6 – The threat of war-mongering, almost dæmonic, and racism is only foolishly dismissed—perhaps the celebrated psychoanalyst Jacques Lacan's 'The Four Fundamentals Of Psychoanalysis, Seminar IX, circa 1994, (SUNY Press, ISBN-10: 0791421841), could be criticized along such lines for doing exactly that, in reference to commenting on 'The Ambassadors, circa 1553?

7.0 – DIFFERENT WHITE ETHNICITIES: 'You Are Not My Mother, circa 2021' by Kate Dolan, Angela is shown to be an adult changeling, at least through the eyes of the adolescent Char, when it is indicated, beyond the assumptive or contrived world view of Char, that she has dæmonized and wronged Angela as an effect of Aaron's and Rita's manipulations.

7.1 – The hypothesis is: an undeclared, foreign tax is demanded upon the Irish family home, viz. "the macabre tax", in unthinkable terms, that tax of abducting children, who are any-way mistreated due to the superstition of being labelled changelings, whether deserving of their fate or not, irrespectively suffer a tragic fate.

7.2 – Such fate is argued to be a construct of a social order which racially vilifies: to involve Celtic folk being the recipients of racism, despite our being white-skinned and wrongly categorised with the white supremacists, who are often Aryans.

7.3 – The historical propaganda of the 20th century's world wars is largely to blame: in which a white supremacist man from Germany, some regions of France and even England, is mistakenly taken for the white, Celtic man, who is indicated as being usurped by the white Asian / Arabic-Indian man, viz. the Aryan; that is, the white, Protestant men and women of Celtic origins have disappeared.

7.4 – Another fascinating, low-budget film, that is Danish, viz. 'The 12th Man, circa 2017' by Harald Zwart, reveals the differences between the white Celts / Nords to the white, Aryan Nazi, within the war-time contexts, but it is an exceptional film and that fact of ethnic-political difference remains mostly obfuscated or permitted to be confused in mass media the world over.

7.5 – On which point, the further question begs an answer: if the Anglo-Saxons of the Allies won the wars, for what reason are the cultural differences from the Aryans not made clear?

7.6 – Then there is the example of this film: 'You Are Not My Mother, circa 2021' by Kate Dolan, in which Char's family's persecution is an imploded experience; a fact that is compensated by way of explanation in folk-lore tales.

8.0 – AKIN: There really are only indications of such truths to be examined amid cultures which often collude with the perception that: yes, the usual suspect can be justifiably blamed, when, as that intriguing, ironic and low-budget film: 'The Usual Suspects, circa 1995' by Bryan Singer, examines how the least suspected is revealed, in a reversal of perceptual paradigm, to be the very devil him-self: a revelatory moment denied to Aaron in 'You Are Not My Mother, circa 2021' by Kate Dolan.

8.1 – The phenomena of a straw-man may occur, but if the film: 'The Wicker Man, circa 1973' by Robin Hardy, has any-thing to indicate, it is part of an engrained set of rites in which some-one is discovered to be "the odd one out"; in which case, each and every-one is glad it is the demise of "the marked one" and that it is not one's own execution.

8.2 – Should the illusions of a stringent minimalism in the super-realist film, viz. 'You Are Not My Mother, circa 2021' by Kate Dolan, or the carnivalesque excesses of the weïrd and wonderful traditions of the horror film genre, such as 'The Wicker Man, circa 1973' by Robin Hardy, be seen-through, the indicators exhibit a persecution that is mostly unapologetically unjust and fouly corrupt.

Figure II. A film still from 'The Wicker Man, circa 1973' in which the carnival atmosphere provides for jests at the prospect of human sacrifice.
8.3 – It is a point now-a-days that is mostly accepted as a systemic matter, when white, Celtic Christians, viz. Irish, Scottish, Dutch, Danish, etc., are continuously blamed for the atrocities of white or Euro-appearance Asians.

8.4 – The inference is, the white children of Europe, North America, Australia and New Zealand, deserve being labelled as changelings, because they are akin to those other whites, the Aryans, who as Nazis persecuted every-one not the same as them.

9.0 – THE CHANGELING, CIRCA 1980: I ought to do this properly and go one step further to comment that the reason the Aryans are so easily mistaken for Celts is, that the earlier history of Christian Celts in Europe being subjected to genocide, from at least circa 1845, remains hidden: but further, can the white supremacism of the Aryans be taken prima facie, when Germany was known to be under the control of the Han or Mandarin?

9.1 – A gradual over-throw of power, as a rebellion secretly extolled, not for obvious political reasons, but for reasons of stigmatization: the abducting, displacing and labelling of white Christians as changelings, was supposedly done by Aryans: a paradigm changing fact of World history, no less 

9.2 – The film, 'The Changeling, circa 1980' by Peter Medak, that I only briefly mentioned in my previous blogs, mystifies the phenomena of Christian children being invalided by persecutors, often dressed as carers: the children were further mistreated for being disfigured to reveal an horrific history that was known to haunt many people's minds during the 1970s, regarding changelings or witches, may be a healed-over wound that is no longer sensitive, not even to touch.

9.3 – The inherited house of the deceased, disabled child, whose spirit crosses in to the reality of the domestic building, is metaphorically the phantom of the persecutors's minds, who more than likely murdered the child to misappropriate the house and move in.

9.4 – The matter could be one of group psychology: if every-one else is doing it, why should not I? the evils done by the beast that is the herd are supposedly cancelled by the anonymity of the lynch-mob; as is extensively discussed by Sigmund Freud in 'Group Psychology And The Analysis Of The Ego, circa 1921', ISBN-10: 9356374570—I will comment, Sigmund Freud's sociology rather than psycho-sexual theories, remains note-worthy to socio-cultural criticism.

9.5 – Many white Christians were distant cousins to the Aryans who, under the banner of family, committed violences and more serious crimes, which were often over-looked on the proviso family are entitled to commit such acts "within their own ranks".

9.6 – Peter Medak was discerning to make a film which played upon a people's guilt or perverse reminiscence: such tales of domestic hauntings became the staple of a booming, super-natural genre, in which children are ghosts, channelled spirits, became possessed, or provided "indications" of a limbo, or dark history of almost-forgotten tragedies, parallel to every-day living and history.

Figure III. The 'Changeling, circa 2008' film poster shows the actor Angelina Jolie as Christine Collins, whose head is depicted above the silhouetted form of her son: or is he an impostor, a changeling?

10.0 – CHANGELING, CIRCA 2008: Almost the sequel to the film of circa 1980, 'Changeling, circa 2008' by Clint Eastwood, is set during the late 1920s, based on the Wineville Chicken Coop murders of circa 1928, at Mira Loma, California, in more direct ways than 'You Are Not My Mother, circa 2021' is based on the murder of Bridget Cleary, Ireland: a point discussed at length in my last blog.

10.1 – The Wineville Chicken Coop murders of circa 1928, at Mira Loma, California, involve the killing of about three to twenty boys, in which the matters of silencing women, mothers of abducted children, is obviated as is the wicked role of a young man who captured and chopped-up boys, as if they were chicken.

10.2 – Yet the gender divide is not apportioned as neatly as the argument averred, the causation is to be found from the male sex; the women, victims who fight their own battles against a corrupt society, are devoid of culpability: the motives are indicated as occurring on the basis of racism.

10.3 – Louise Northcott, the mother of the 19-year old, Gordon Stewart Northcott, conspired in her son's murders of the children: regarding which, a variation of Alfred Hitchcock's 'Psycho, circa 1960' could be claimed as first observing the social pattern of a domineering mother and serial-killer son.

10.4 – The matter of mens rea is unexplained, but according to the available information sources, Gordon Stewart Northcott bought the land on which his farm stood, despite the fact of his youth and history of molestation and abuse within his own family.

10.5 – Gordon Stewart Northcott was not taking a "macabre tax" as such, to live on the land of the farm, nor was he answerable to an older, male figure; unless that older man was afforded censorship through media reports, books and film.

10.6 – The case was already mired by the Los Angeles police's activities to send mothers impostor, "changeling" boys, when, after a few years of being missing, the mother could no longer authenticate the child as he tried to fit in to a home that was better than an orphanage.

10.7 – There is the possibility that white Asians, who existed in California as Anglo-Saxons, were tasking particular men or families with the murder of Anglo-Saxon / American boys, a point of which the white Asian police of California conspired to usurp the original boys with an impostor, "ethnic other".

11.0 – THE CHANGELING MYTHOS: The film 'Changeling, circa 2008' is less concerned with supernatural genre stylizations than for being a drama of a film noir re-historization of the infamous serial killer, Wineville Chicken Coop murders of circa 1928, California.

11.1 – The folk-lore connections to the changeling seem to be absent in Clint Eastwood's film-noir crime-thriller, yet the the noun 'changeling' is imminent: used as the film's title, the irony is, how a fantastical myth provides no mythified narrative; it provides an historical drama in the film-noir style.

11.2 – Once again there are fragments of truth to be discerned amid a style: this time film noir, which in an exalted or reflexive style resists complete delineation, a cohesive picture; 'You Are Not My Mother, circa 2021' is high-end / super realist stylization in which the unpretentious style of realism is exalted over meaningfulness.

11.3 – Is the inference, Gordon Stewart Northcott was considered an adult changeling, who, in living to an adult age, was found to murder child changelings, that is, to foreground the link to the mother Louise Northcott, presumably then a "witch" who ordered the murders?

11.4 – Through Clint Eastwood's film the changeling mythos is only loosely attached to a reality that seems to exist beneath the surface of an earlier revealed reality.

11.5 – There is no problem of racial integration or cultural / ethnic territorialities at 1920s California—quite unbelievably—on which point, the usurpation of white boys for other "white" boys, may not necessarily have correlation to a myth, but a gradual usurpation; an invasion of attrition at the neighbourhood scale, conducted "just quietly" amid the lucrative Western World society of California.

11.6 – The media has been involved to sort of record it and mitigate it, as might propaganda be used, sensationally, as an extension of folk-lore: the truth always refers to a conspiracy which must be denied, mythified or brocaded in style.

12.0 – DISCLAIMER: This blog post is the exclusive intellectual property of Craig Steven Joseph Lacey, 4 December 1976–; Google email: craigsjlacey@gmail.com; by way of law, no hacking, copying, editing or disseminating of it is permitted.

12.1 – Three photographs have been used within this blog: Figures 1 to 3; each of which is used within the editorial-educational rights's context.

12.2 – Craig Steven Joseph Lacey, 4 December 1976–, Australia; 10 April 2023, Brisbane, Queensland, Australia, 4000; Copyright 2023, Craig Steven Joseph Lacey.

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