Showing posts with label Creator. Show all posts
Showing posts with label Creator. Show all posts

Monday, April 7, 2014

“Noah” Promotes The Luciferian Gnostic Belief That The Creator Of This World Is Evil


Russell Crowe as Noah


In the new Hollywood blockbuster “Noah”, the Creator of this world is portrayed as an evil homicidal maniac that utterly hates humanity, and the Serpent is portrayed as the one holding the secret that will restore the “divine spark” to humanity.  Unfortunately, most Christians (even those that have reviewed this film negatively) have totally missed the Luciferian Gnostic themes that are being openly promoted by this film.  I have previously written about how “Noah” turns the fallen angels into good guys that actually help Noah build the Ark, but the occult themes in this movie go much deeper than that.  Director Darren Aronofsky has expertly woven elements of Luciferianism, Gnosticism and even from the Kabbalah throughout the film.  Over the years, hundreds of millions of people all over the world that watch this movie will be exposed to the Luciferian gospel without even realizing it.


There are many different strands of Gnosticism, but in the version that I call “Luciferian Gnosticism”, the Creator of this world is an evil being known as “the Demiurge” and the Serpent is a good being that possesses the secret knowledge (“gnosis”) that will help humanity rediscover the “divine spark” that already resides inside of them.  The following is how Wikipedia describes how the Gnostics tend to view God…


Gnosticism presents a distinction between the highest, unknowable God and the demiurgic “creator” of the material. Several systems of Gnostic thought present the Demiurge as antagonistic to the will of the Supreme Being: his act of creation occurs in unconscious semblance of the divine model, and thus is fundamentally flawed, or else is formed with the malevolent intention of entrapping aspects of the divine in materiality. Thus, in such systems, the Demiurge acts as a solution to (or, at least possibly, the problem or cause that gives rise to) the problem of evil.


In the most radical form of Christian Gnosticism, the Demiurge is the “jealous God” of the Old Testament.



And this is precisely how the God of the Bible is portrayed in “Noah” as Dr. Brian Mattson recently pointed out…


Except that when Gnostics speak about “The Creator” they are not talking about God. Oh, here in an affluent world living off the fruits of Christendom the term “Creator” generally denotes the true and living God. But here’s a little “Gnosticism 101” for you: the Creator of the material world is an ignorant, arrogant, jealous, exclusive, violent, low-level, bastard son of a low level deity. He’s responsible for creating the “unspiritual” world of flesh and matter, and he himself is so ignorant of the spiritual world he fancies himself the “only God” and demands absolute obedience. They generally call him “Yahweh.” Or other names, too (Ialdabaoth, for example).


This Creator tries to keep Adam and Eve from the true knowledge of the divine and, when they disobey, flies into a rage and boots them from the garden.


In other words, in case you’re losing the plot here: The serpent was right all along. This “god,” “The Creator,” whom they are worshiping is withholding something from them that the serpent will provide: divinity itself.



In “Noah”, essentially the Creator is the bad guy and the serpent is the good guy, just like in hardcore Gnosticism.


Another way that Gnosticism manifests itself in the film is that Adam and Eve are portrayed as bright, shiny, luminescent beings before the Fall.  It is only after the Fall that they take on flesh and bone.


This is also pure Gnosticism.  In the second century AD, Irenaeus of Lyon wrote the following regarding what one particular group of Gnostics believed…


“Adam and Eve formerly had light, luminous, and so to speak spiritual bodies, as they had been fashioned. But when they came here, the bodies became dark, fat, and idle.”



We can also find this doctrine in Kabbalism according to Dr. Mattson


It occurred to me that a mystical tradition more closely related to Judaism, called Kabbalah (which the singer Madonna made popular a decade ago or so), surely would have held a similar view, since it is essentially a form of Jewish Gnosticism. I dusted off (No, really: I had to dust it) my copy of Adolphe Franck’s 19th century work, The Kabbalah, and quickly confirmed my suspicions:


“Before they were beguiled by the subtleness of the serpent, Adam and Eve were not only exempt from the need of a body, but did not even have a body—that is to say, they were not of the earth.”



And guess what?  Dr. Mattson also pointed out that Aronofsky’s very first feature film was all about the Kabbalah…


I discovered what Darren Aronofsky’s first feature film was: Pi. Want to know its subject matter? Do you? Are you sure?


Kabbalah.


If you think that’s a coincidence, you may want a loved one to schedule you a brain scan.



Wow.


When I first read that, I was absolutely stunned.


A movie that is openly promoting Gnosticism and Kabbalism has been pawned off to Christians as a “Biblical movie”, and millions of them are falling for it hook, line and sinker.


In Gnosticism, humanity has a dual nature.  The physical part comes from the evil Creator, but there is also a good part that comes from the “true God”.  According to Gnostic belief, the evil Creator is constantly trying to keep humanity from discovering the “divine spark” that supposedly resides within us all.  The following is a brief summary of how the Gnostics view humanity…


Human nature mirrors the duality found in the world: in part it was made by the false creator God and in part it consists of the light of the True God. Humankind contains a perishable physical and psychic component, as well as a spiritual component which is a fragment of the divine essence. This latter part is often symbolically referred to as the “divine spark”. The recognition of this dual nature of the world and of the human being has earned the Gnostic tradition the epithet of “dualist”.


Humans are generally ignorant of the divine spark resident within them. This ignorance is fostered in human nature by the influence of the false creator and his Archons, who together are intent upon keeping men and women ignorant of their true nature and destiny. Anything that causes us to remain attached to earthly things serves to keep us in enslavement to these lower cosmic rulers. Death releases the divine spark from its lowly prison, but if there has not been a substantial work of Gnosis undertaken by the soul prior to death, it becomes likely that the divine spark will be hurled back into, and then re-embodied within, the pangs and slavery of the physical world.


Not all humans are spiritual (pneumatics) and thus ready for Gnosis and liberation. Some are earthbound and materialistic beings (hyletics), who recognize only the physical reality. Others live largely in their psyche (psychics). Such people usually mistake the Demiurge for the True God and have little or no awareness of the spiritual world beyond matter and mind.



In Gnosticism, secret knowledge (“gnosis”) is the key to “liberation” and “enlightenment”.


And who provides that secret knowledge?


It comes from the Serpent.  He was trying to provide that secret knowledge about the divine spark to Adam and Eve in the Garden of Eden, and he has supposedly been doing that ever since.


In “Noah”, this secret knowledge is represented by the serpent skin that shows up throughout the film.  In the movie, this serpent skin was supposedly shed by the Serpent in the Garden of Eden.  Here is another excerpt from Dr. Brian Mattson’s recent article


The action opens when Lamech is about to bless his son, Noah. Lamech, rather strangely for a patriarch of a family that follows God, takes out a sacred relic, the skin of the serpent from the Garden of Eden. He wraps it around his arm, stretches out his hand to touch his son—except, just then, a band of marauders interrupts them and the ceremony isn’t completed. Lamech gets killed, and the “villain” of the film, Tubal-Cain, steals the snakeskin. Noah, in other words, doesn’t get whatever benefit the serpent’s skin was to bestow.



This movie is Luciferian to the core.


It is just another step in the massive ongoing propaganda campaign to convince the world that the Creator God of the Bible is evil, and that Lucifer (“the Light-bearer”) is good and is trying to bring “enlightenment” to humanity.


About the author: Michael T. Snyder is a former Washington D.C. attorney who now publishes The Truth. His new thriller entitled “The Beginning Of The End” is now available on Amazon.com.



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“Noah” Promotes The Luciferian Gnostic Belief That The Creator Of This World Is Evil

Saturday, March 29, 2014

Hamas-CAIR Pressured ABC to Cancel Show that Creator Says was “Pro-Arab, Pro-Tolerance”

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Hamas-CAIR Pressured ABC to Cancel Show that Creator Says was “Pro-Arab, Pro-Tolerance”

Friday, March 7, 2014

South Park creator Matt Stone on the ever-expanding boundaries of comedy

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South Park creator Matt Stone on the ever-expanding boundaries of comedy

Friday, November 8, 2013

Movie Review: ‘The Wind Rises,’ Miyazaki’s Film About a Warplane Creator


Studio Ghibli/Walt Disney Pictures


A bubble that will not last: Hayao Miyazaki’s new film, “The Wind Rises,” is about a young warplane designer.




The Japanese animator Hayao Miyazaki has long had an aerial fixation, setting one movie after another in the realms of fanciful flight, from “Nausicaa of the Valley of the Wind” to “Kiki’s Delivery Service” to the underrated “Porco Rosso” (about a World War I flying ace who turns into a pig man). Mr. Miyazaki remains enchanted with the idea of being airborne, which animation freely lends itself to, having sent little girls, castles and even swine into flight. The Wind Rises ,” his newest film, tells the fictionalized story of Jiro Horikoshi, a gifted aeronautic engineer who is historically notable — or infamous — for designing deadly warplanes used by Japan in World War II. Mr. Miyazaki’s lyrical chronicle of the inventor’s creative process and his poignant romance reminds us that staying aloft is a fraught endeavor. Yet even in this film about an absorbed artist of the floating world, premonitions of the calamitous events to come cannot be entirely absent.




Jiro is a natural and unpretentious solver of engineering challenges of all kinds. He notices the promising possibilities that a fish bone suggests for an airplane wing, and with his trusty slide rule, he makes a splint for a fellow train passenger, a girl named Nahoko, who is injured in Japan’s devastating 1923 earthquake. The depiction of the disaster is typical of Miyazaki’s virtuosic technique: the earth erupts with rippling, ramshackle motion, rising up and snapping like a rug as the artfully organic sound design summons groans and burps.


The plot of “The Wind Rises” is episodic, following Jiro from one project to another, portraying the creative process through sudden sequences suggesting his dream life. Though his days might be spent at a drafting table overseen by a benevolent troll of a boss, his inspirations come in lucid visions and plays of form. The air pioneer Gianni Caproni, his mustachioed mentor, supplies a spirited, wise perspective during Jiro’s stops and starts on his projects.


The film’s heart lies in Jiro’s innovative career and in his touching bond with Nahoko. They cross paths again at a mountain resort that she visits as a tuberculosis sufferer in the company of her father (who, in an offhand detail, seems to share Jiro’s loping gait). Mindful of her illness, Jiro and Nahoko marry quickly, and their relationship is shaped by their dwindling time together. After a coughing fit, hers is basically the only blood we see, perhaps notable in a movie about warplanes.


Between the earthquake and Jiro’s sometimes apocalyptic dreams, the film’s fanciful sequences seem to tap into Japan’s troubled unconscious, as if anticipating the cataclysms to come. That history has brought criticism in Japan, where some have cast the film as antipatriotic, and has led to a certain caution in its United States marketing because of how sympathetically it treats the creator of a machine used in the attack on Pearl Harbor and in kamikaze missions.


Yet just as with Isao Takahata’s “Grave of the Fireflies,” about two children surviving amid the terrors of World War II, it would be hard to argue that the subject of Mr. Miyazaki’s film was cavalierly seized upon. It is a considered choice, as Mr. Miyazaki is mindful that the inventor’s process is not necessarily focused on moral implications.


Mr. Miyazaki, 72, has stated with more finality than in past declarations that “The Wind Rises” is his last film. And like Shakespeare’s “Tempest,” it feels partly like a concluding reflection on creation and destruction. Its sonic quietude and mostly subdued palette, unusual for a striking colorist like Mr. Miyazaki, are almost unnerving. But Jiro’s world is not immune to upheaval, and Mr. Miyazaki does interrupt this idyllic view with the inflamed red of a fire at a university and of Nahoko’s blood.


Yet Jiro’s head is ultimately in his work and the preciously cocooned love of his wife, not the world at large. And just as we know that Jiro and Nahoko’s bliss has an end, so too are we aware that the bubble in which he toils will not last forever. But Mr. Miyazaki renders Jiro’s life and dreams with lyrical elegance and aching poignancy. At one point, Caproni advises Jiro that artists have 10 years of peak creativity. Yet “The Wind Rises,” with its complex diminuendo, underlines Mr. Miyazaki’s much longer, richly creative odyssey.


The Wind Rises


Opens on Friday in New York and Los Angeles.


Written and directed by Hayao Miyazaki, based on an original graphic novel published in Monthly Model Graphix; supervising animator, Kitaro Kosaka; edited by Takeshi Seyama; music by Joe Hisaishi, with the theme song “Hikoki Gumo,” music and lyrics by Yumi Arai, performed by Ms. Arai; art direction by Yoji Takeshige; produced by Toshio Suzuki; released by Studio Ghibli and Touchstone Pictures. In Manhattan at the Landmark’s Sunshine Cinema, 139-143 East Houston Street, East Village. In Japanese, with English subtitles. Running time: 2 hours 6 minutes. This film is not rated.


WITH THE VOICES OF: Hideaki Anno, Miori Takimoto, Hidetoshi Nishijima, Masahiko Nishimura, Stephen Alpert, Morio Kazama, Keiko Takeshita, Mirai Shida, Jun Kunimura, Shinobu Otake and Mansai Nomura.




NYT > Arts



Movie Review: ‘The Wind Rises,’ Miyazaki’s Film About a Warplane Creator

Sunday, May 19, 2013

You"ll Never Believe Who Is The Lowest Low Wage Job Creator In America


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You"ll Never Believe Who Is The Lowest Low Wage Job Creator In America