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Django: Race War Propaganda or Just Another Tarantino Bloodfest?
December 5, 2012
Just in time for Christmas, the progenitor of pointless and gratuitous violence, Quentin Tarantino, has come up with a film to rival his contemporary, Robert Rodriguez, in the attempt to create politically exploitable racial tension.
Taking its name in part from Sergio Corbucci’s 1966 spaghetti western, Tarantino’s Django Unchained infuses the classic shoot ‘em up western with a distinct racial message – a slave named Django (Jamie Foxx) is recruited as a bounty hunter to find the ruthless Brittle Brothers in exchange for a reunion with his wife, Broomhilda (Kerry Washington). In the process of searching for the elusive brothers, Django visits a variety of Deep South plantations and gets to kill a number of stereotypical slavers.
“Kill white folks and they pay you for it? What’s not to like?” Django responds when asked if enjoys his new profession.
After watching the trailer below, it is difficult to escape the impression that the subtext of the film is that it is perfectly acceptable for one group to torture and murder another group if the group on the receiving end does something reprehensible.
Tarantino’s latest film fits comfortably in the current political landscape where ideas deviating from the “progressive” ideology and its predatory and confiscatory nature are considered acts of racist hostility.
A recent example of this is the irrational assertion by sports writer Jason Whitlock that the NRA is indistinguishable from the KKK. Increasingly, all opposition to the policies of Obama and the Democrats are dismissed as racism – not merely on the lunatic fringe, but in the mainstream. Democrats now habitually refer to Republicans (and non-progressive Independents and especially Ron Paul supporters) as throwback racist troglodytes who will throw a victim class – blacks, Latinos, women, homosexuals and “transgenders” – to the wolves.
Like Robert Rodriguez’s Machete, Django Unchained creates a world of hostility and violence ordered along racial lines. It is propaganda for a race war.
The British Empire used the practice of divide and conquer to keep vassal states in crisis and realize order out of chaos. The global elite today are doing the same. If they are going to conquer humanity, they must make certain humanity never puts aside minor differences and comes together to fight a common enemy.
Django, of course, may be viewed as merely a b-movie directed by a guy who has made a handsome living off gratuitous blood and gore. However, when its inflammatory sub-text is inserted in the tinderbox social and political environment devised by the elite, it may prove far more damaging than its facile and cartoonish exterior reveals on first glance.
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