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 Gallner. 4.5 - 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, 9780603083570. 8.6 - 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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