MAGIC AND THE OCCULT SCIENCES IN THE MOVIES?

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Vatic Note:   Who controls the movie/TV industry? Why are science fiction movies used to communicate and inform half truths to the public?  This article says its for the "glorification of magic and the occult" which has grown and practically taken over our globe.  Now I understand the Satanist who we quoted on an earlier blog, as being a believer and promoter of a "SATANIC New  World Order".

This was a very interesting read.  In understanding these concepts, I came to understand our enemy a little better.  When you have no soul,  then you have no spirit and nothing to hang onto in times of crisis.  So what do you turn too for comfort and solice?  Magic and the Occult.  Neither of which is natural to man, rather its been introduced to man to encourage him to leave behind that which really works which is Belief and incorporation of God into ones life.

Now that works,  I know that myself from my own experiences.  Those of us with a soul have the ability to control our internal environment and to create our reality, but those with no soul, must then call on demons by ritual so they may come and act on the callers behalf.  Which would you rather have access to?  That is why Satan is constantly trying to steal souls from those who have souls and believe in God.  Poor Satan.....!!!!!! LOL  

MAGIC AND THE OCCULT SCIENCES
http://secretsun.blogspot.com/2014/11/hallmarks-of-our-modern-myths-part-iii.html
By  by Christopher Loring Knowles ,  Secret Sun,  November 23, 2014

MAGIC AND THE OCCULT SCIENCES

Another aspect of these films is the glorification of magic and the occult sciences. This idea extends to the speculative forms of empirical science we see regularly in these myths. Indeed, Arthur C. Clarke once famously wrote that science in a sufficiently advanced form is indistinguishable from magic. 

Supernatural magic is the basis of most of modern myths. Star Trek and 2001: A Space Odyssey are ostensibly science fiction, but Star Trek regularly dealt with paranormal concepts like psychic phenomena (and warp drive as it's portrayed is arguably magical), and the Monoliths have no basis in science.

Neither do the powers of Solaris, which are similar in nature to those of the Monoliths. There is the barest shred of scientific rationalism ascribed to the happenings in Cocoon, The Matrix and Eternal Sunshine, but for all intents and purposes what is being depicted is magic.

Magic and the paranormal are taken for granted in the Dune and Star Wars stories, in the forms of ‘the Force’ and the ‘Weirding Ways’. These same powers are given to John Murdock in Dark City. Magicians are seen as the guardians of all that is good in The Lion King and the Harry Potter movies. 

The occult-minded Templars and Freemasons are depicted as the unsung heroes of  American democracy in National Treasure and the various Dan Brown block blockbusters. And every  wacked-out paranormal, occult, magical, supernatural and religious idea that ever existed has found its way into The X-Files at one point or another.

COLONIZATION

Implicit  in many of these stories is a colonialist agenda, particularly in the space operas.  As mentioned before, the mission of the USS Enterprise is essentially colonial. 

The goal is to absorb foreign planets into the socialist military dictatorship of the Federation, an obvious analog of Globalism. 
This is also the mission of the various space agencies in 2001, Mission to Mars, Red Planet and Solaris. 

However, colonization is often differentiated from conquest here. Most of these films do not present invasion and submission as virtuous or desirable. Military action is usually and perhaps disingenuously depicted as defensive when undertaken by the protagonists of these stories. 

In Star Trek, the peaceful means of the Federation are deliberately contrasted by alien races like the Borg and the Dominion. But at the same time the weltanschuang of the stories is one of liberty and virtue being under constant threat, a mindset neoconservatives (VN: and neolibs as much or more so than neoconservs)  have appropriated from the movies to justify their doctrine of endless, ‘preemptive’ war.

Star Trek and Independence Day also explicitly champion the idea of a neoliberal variety of Globalism.  

Star Trek presents the planet Earth as ruled by a single entity, and the creation of such is an unspoken subtext in Independence Day as well. Star Wars and Dune both present a universal ruling body, similar in many ways to the Federation in Star Trek.

Alien colonization, malign or otherwise, is also the main source of dramatic conflict in 2001, Cocoon, The X-Files, Independence Day, Dagon and Solaris. In the latter two films, the audience is made to identify with this alien colonization as a participant through the viewer’s natural identification with Paul Marsh and Chris Kelvin. 

Of course, this makes perfect sense in the context of the Modern Myths when one decodes what Dagon and Solaris actually represent.

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