Beyond Liberalism

For a New Middle Ages: Against Western Decadence, an essay by Alexander Dugin, published by Arktos. Alexander Dugin contrasts Russia’s traditional values with the West’s moral decline, highlighting a favorable view of Trump’s America against the broader Western backdrop. The war that we are currently waging against the collective West is a war of civilisations, where the civilisation of the Antichrist, the civilisation of Satan, a Satanic and devilish society, is waging war against us. Russia is fighting against this. We are fighting this civilisation in the name of God. Such a Satanic civilisation, which cancels gender, negates the family, abolishes all prohibitions, permits all forms of pathologies and perversions, and even forces them on people, up to gender changes in children, such a... Read the full essay here: https://arktos.com/2023/10/02/for-a-new-middle-ages-against-western-decadence/

Joseph Burstyn, Inc. v. Wilson, 343 U.S. 495 (1952), also referred to as the Miracle Decision, was a landmark decision by the United States Supreme Court that largely marked the decline of motion picture censorship in the United States. Joseph Burstyn was Polish Jewish immigrant film distributor. However the state of New York rescinded the license to exhibit the short film "The Miracle", originally made as a segment of the Italian film L'Amore.

Mutual Film Corporation v. Industrial Commission of Ohio, 236 U.S. 230 (1915), was a landmark decision of the US Supreme Court ruling by a 9–0 vote that the free speech protection of the Ohio Constitution, which was substantially similar to the First Amendment of the United States Constitution, did not extend to motion pictures. Justice McKenna, writing for the Court stated: "... the exhibition of moving pictures is a business, pure and simple, originated and conducted for profit ... not to be regarded, nor intended to be regarded by the Ohio Constitution, we think, as part of the press of the country, or as organs of public opinion." The Court described movies in some technical detail and noted their popularity but wrote that as "they may be used for evil, ... We cannot regard [the censorship of movies] as beyond the power of government."

Breen, who also expressed views critical of Jews, was deeply worried that Jewish filmmakers would try to use National Socialist policies on Jews during the 1930s as a vehicle for propaganda. He was concerned that Germans would be offended by harsh depiction of National Socialism. He specifically warned Hollywood producers to avoid the topic altogether, saying that "there is a strong pro-German and anti-Semitic feeling in this country... and while those who are likely to approve of an anti-Hitler picture may think well of such an enterprise, they should keep in mind that millions of Americans might think otherwise." Breen claimed that plans to make such pictures were being coordinated through the Hollywood Anti-Nazi League, which he claimed was "conducted and financed almost entirely by Jews".

William Dudley Pelley, founder of the Silver Legion of America, believed that Jews controlled the movie industry, which he thought to be the "most effective propaganda medium in America", during the 1930s. Hence he applauded the fact that Breen had assumed the power to censor Hollywood.

Georg Gyssling was German consul to the United States from 1927 until 1941, since 1933 in Los Angeles. Gyssling was a member of the NSDAP from 1931. Gyssling was the German Foreign Office representative in Los Angeles, and was sometimes referred to as "Hitler's Hollywood consul". He had a specific brief to monitor the activities of the studios, and by all accounts he was extremely diligent and effective in his duties. Joseph Breen would often collaborate with Gyssling in monitoring Hollywood and other film productions.

Joseph Ignatius Breen was an American film censor with the Motion Picture Producers and Distributors of America who applied the Hays Code to film production. Will H. Hays appointed the "tough Irish Catholic" Breen to head the Production Code Administration (PCA), a newly created department of the MPPDA, created to administer the Motion Picture Production Code. Unlike previous attempts at self-censorship, PCA decisions became binding... no film could be exhibited in an American theater without a stamp of approval from the PCA. Any producer attempting to do so faced a fine of $25,000. Liberty Magazine wrote in 1936 that Breen's appointment gave him "more influence in standardizing world thinking than Mussolini, Hitler, or Stalin." Breen, having written letters criticizing Jews in the early 1930s including phrases like "Ninety-five percent of these folks are Jews of an Eastern European lineage. They are, probably, the scum of the scum of the earth"

On 5th of September 1921, Roscoe ‘Fatty’ Arbuckle, celebrating a new contract with Paramount that netted him $1 million, throws a party in the St. Francis Hotel in San Francisco. During the festivities, a frail aspiring actress named Virginia Rappe became ill due to a problem with alcohol that inflamed her chronic cystitis. Two days later she was taken to the hospital, where her friend Bambina Maude Delmont, in a bid to shake the actor down for some money, told Rappe’s doctor that Arbuckle had raped her. Rappe died shortly thereafter, setting off a scandal as rumors swirled.

Specific restrictions were spelled out as "Particular Applications" of these principles: - Nudity and suggestive dances were prohibited. - The ridicule of religion was forbidden, and ministers of religion were not to be represented as comic characters or villains. - The depiction of illegal drug use was forbidden, as well as the use of liquor, "when not required by the plot or for proper characterization." - Methods of crime (e.g. safe-cracking, arson, smuggling) were not to be explicitly presented. - References to sex perversions such as homosexuality and venereal disease were forbidden, as were depictions of childbirth. - The language section banned various words and phrases that were considered to be offensive. - Murder scenes had to be filmed in a way that would discourage imitations in real life, and brutal killings could not be shown in detail. - "Revenge in modern times" was not to be justified. - The sanctity of marriage and the home had to be upheld. "Pictures shall not infer that low forms of sex relationship are the accepted or common thing." - Adultery and illicit sex, although recognized as sometimes necessary to the plot, could not be explicit or justified and were not supposed to be presented as an attractive option. - Portrayals of miscegenation were forbidden. - "Scenes of Passion" were not to be introduced when not essential to the plot. - "Excessive and lustful kissing" was to be avoided, along with any other treatment that might "stimulate the lower and baser element." - The flag of the United States was to be treated respectfully, and the people and history of other nations were to be presented "fairly." - "Vulgarity," defined as "low, disgusting, unpleasant, though not necessarily evil, subjects" must be "subject to the dictates of good taste." - Capital punishment, "third-degree methods", cruelty to children and animals, prostitution and surgical operations were to be handled with similar sensitivity.

In 1927, Hays suggested to studio executives that they form a committee to discuss film censorship. Irving G. Thalberg of Metro-Goldwyn-Mayer, Sol Wurtzel of Fox Film Corporation, and E. H. Allen of Paramount Pictures responded by collaborating on a list they called the "Don'ts and Be Carefuls" based on items that were challenged by local censor boards. The production code enumerated three "General Principles": 1) No picture shall be produced that will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin. 2) Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented. 3) Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation. In 1915, the Supreme Court had decided unanimously in Mutual Film Corporation v. Industrial Commission of Ohio that free speech did not extend to motion pictures.

The Motion Picture Production Code was a set of industry guidelines for the self-censorship of content that was applied to most motion pictures released by major studios in the United States from 1934 to 1968. It is also popularly known as the Hays Code, after Will H. Hays, president of the Motion Picture Producers and Distributors of America (MPPDA) from 1922 to 1945. In the 1920s, Hollywood was rocked by a number of notorious scandals, such as the murder of William Desmond Taylor and the alleged rape of Virginia Rappe by popular movie star Roscoe "Fatty" Arbuckle, which brought widespread condemnation from religious, civic and political organizations. Many felt that the film industry had always been morally questionable, and political pressure was increasing, with legislators in 37 states introducing almost one hundred film censorship bills in 1921.

The American War on White Liberals in the Film Industry CONTENT BELOW

Aldo Und Der Chipmunk SS Presentieren: CHIPMUNKEN MARSCHIEREN IN FEINDESLAND

According to this, cult = society = civilization Which is accurate actually. The term "cult" and "culture" have the same etymological roots. Those who are opposed to "all cults" are in fact opposed to "all societies", "all religions" and "all civilizations". The term "cult" has negative connotations due to mental colonization by liberals. However, this is hypocritical in of itself as liberals too are cult members of a cult called liberalism.

Nihilism: The Philosophy of Johan Liebert by Weebgraphy Johan Liebert (by the creator of the series and manga) is symbolically the Anti-Christ while our Protagonist, Dr. Tenma is symbolically Christ due to his philosophy on life. The story takes place in Germany. ------------------------ TIMESTAMPS: ------------------------ - 0:00 - Intro - 0:24 - Act I - Nihilism - 2:04 - Act II - The Nameless Monster - 7:15 - Act III - Johan - 14:12 - Religious Symbolism - 14:28 - Conclusion - 14:52 - Outro

The White Man's Burden: Understanding the Faustian Eschatology of the Modern World by The Fascifist For those of you who have already watched my video presentations titled On the Ontological Difference Between Medieval Europe and the Atlanticist West and The Modern World: White and Western, I would hereby like to expand upon the particular concept of “the white man’s burden”. Several presuppositions go into this idea including the notion that Man is the measure of all things in the fullest sense, that Man is the arbiter of all things both seen and unseen, and — most of all — that human reason is the pinnacle of material evolution; therefore, it has brought forth a being that can by self-enlightenment attain its own chartered destiny through the dialectical unfolding of history via “gnosis” or knowledge. In keeping with the story of Faustus, Man must give up something for the sake of this teleological end and according to the libertine, it is worth the price. CLICK HERE FOR THE FULL ARTICLE

The Inseprability of Humanity and Environment As with all apparent subject-object distinctions, humanity and enviornment can not be separated for the same reason that mind and world can not be separated. Nature is a concept referring to the comprehensible human understanding of all actual and potential relationships between all perceived things and processes. Thus, one can not speak of an environment independent of humanity nor can one speak of a humanity independent of environment. These two are actually one at the most fundamental level. Those who speak of "environmental conservatism" must simultaneously speak of human health and welfare. Anything proposed in the name of "enviornmentalism" that harms humanity is actually false and a nefarious attempt to hijack an otherwise noble cause. True environmentalism does not extinguish humanity, but rather cultivates, nurtures and disciplines humanity towards a holistic and harmonious consciousness of life. Only an environmentalism that is contextualized by a healthier humanity can properly serve mankind who is the steward of all things subject to humanity. As God sustains all things, so too must man, as God's image, learn to be a wise steward of all that he is tasked with responsibility over.