It is the subtleties like this that truly piss me off the most because it is fed right into your subconscious. We need to pull this kind of shit off all screens. I'm soooooo tired of them pushing this insane and sick agenda on us.
You're right about it being fed into our subconscious - but even more disturbing, it's deliberately meant to target children.
The film is chock full of subliminals, not just the obvious ones - as well as presenting a huge array of conflicting and/or competing moving images and sounds - i.e. seductive 'shiny objects' - pitched to different sensory channels (visual, hearing, kinaesthetic, etc.)
Also if you notice, the storyline does not really 'resolve' (as it does in classic western film structure), but instead repeatedly raises emotional tension that does not really go anywhere.
All this strongly tends to bypass people's so-called 'left-brain', i.e. their analytical thinking. But in essence, the most disturbing aspect is that the way this film is made seems intended to covertly put people into a trance, in order to both ideologically program them plus alter children's/our cognitive development away from rational thought over time.
Who wants to read and think anymore, when there's the equivalent of an onscreen acid trip full of alluring sensory and emotional stimuli to immerse in, instead? Maybe keep kids away from this?
This psyops/psychological warfare technique of barraging a perceiver with myriads of conflicting and/or competing stimuli, pitched to multiple sensory channels was developed by master hypnotist Milton Erickson to quickly induce a trance state in subjects. It easily disarms and bypasses the rational mind. He called it the Confusion Technique.
The Confusion Technique by Milton H Erickson, from the Chapter Deep Hypnosis and Its Induction in Experimental Hypnosis (c)1948 By Leslie LeCron
'Erickson's "confusion technique" ... has been employed extensively for the induction of specific phenomena as well as deep trances. Usually, it is best employed with highly intelligent subjects interested in the hypnotic process, or with those consciously unwilling to go into a trance despite an unconscious willingness.
In essence, it is no more than a presentation of a whole series of individually differing, contradictory suggestions, apparently all at variance with each other, differently directed, and requiring a constant shift in orientation by the subject...'
If anything, the thematic messaging of this glutted Spider-Verse film/programming promotes 'A (spider-web) multi-verse of 'diversity inclusion equity' ('d.i.e.') + 'With so many kaleidoscoping perspectives, there can't be any actual objective truths...'
The movie doesn’t conclude normally because it is part one of a two part anthology. It was announced as such from the get go, with the second part releasing in 2024.
It’s not subliminal programming, it’s leaving on a clif hanger to get people to buy tickets to the next movie. It’s called marketing.
No it's not referencing the 2-part aspect, you're right, that's understandable.
But even within its multiple characters/storylines, the dynamic of a 'dramatic resolution' and the momentum of a 'through line' seems weak, compared with their just barraging you with constantly changing visual/auditory stimuli.
What I meant is that usually every sequence (even scenes) should have a sort of beginning, middle and ending mini-arc, with a protagonist vs. antagonist.
Characters can switch functions (protagonist, etc.) and do in this film, but their little dramas don't have much emotional release over time. The sequences just leave you kind of up-in-the-air, then they switch to something or someone else.
If this was a European film it could be more ambiguous and right-brained, but this one seems to raise and sustain tension vs. the rhythm of having a series of resolutions (even as the overall dramatic tension keeps rising).
So the texture of the film seems more sensorially rewarding, but not so much emotionally. It's like they substituted a large quantity of stimuli for a lesser quality of emotional reward (though it could have had both if they wanted).
And rising tension i.e. anxiety plays into the hypnosis thing, because covertly induced anxiety makes people much more vulnerable to suggestion and looking for a strong 'leader' who can tell them what to do.
Yeah i cant really get into anything with "multiversal" implications. Basically if there are infinite realities with infinite actions, there are infinite consequences and whatever we're watching is essentially meaningless. There can be no stakes. If something bad happens on screen, there is another universe (whether they show it or not) where it didnt happen.
It's too much to follow and too much to care about so I lose interest.
It is the subtleties like this that truly piss me off the most because it is fed right into your subconscious. We need to pull this kind of shit off all screens. I'm soooooo tired of them pushing this insane and sick agenda on us.
You're right about it being fed into our subconscious - but even more disturbing, it's deliberately meant to target children.
The film is chock full of subliminals, not just the obvious ones - as well as presenting a huge array of conflicting and/or competing moving images and sounds - i.e. seductive 'shiny objects' - pitched to different sensory channels (visual, hearing, kinaesthetic, etc.)
Also if you notice, the storyline does not really 'resolve' (as it does in classic western film structure), but instead repeatedly raises emotional tension that does not really go anywhere.
All this strongly tends to bypass people's so-called 'left-brain', i.e. their analytical thinking. But in essence, the most disturbing aspect is that the way this film is made seems intended to covertly put people into a trance, in order to both ideologically program them plus alter children's/our cognitive development away from rational thought over time.
Who wants to read and think anymore, when there's the equivalent of an onscreen acid trip full of alluring sensory and emotional stimuli to immerse in, instead? Maybe keep kids away from this?
This psyops/psychological warfare technique of barraging a perceiver with myriads of conflicting and/or competing stimuli, pitched to multiple sensory channels was developed by master hypnotist Milton Erickson to quickly induce a trance state in subjects. It easily disarms and bypasses the rational mind. He called it the Confusion Technique.
https://lermanet.org/scientology/confusion-technique2.html
The Confusion Technique by Milton H Erickson, from the Chapter Deep Hypnosis and Its Induction in Experimental Hypnosis (c)1948 By Leslie LeCron
'Erickson's "confusion technique" ... has been employed extensively for the induction of specific phenomena as well as deep trances. Usually, it is best employed with highly intelligent subjects interested in the hypnotic process, or with those consciously unwilling to go into a trance despite an unconscious willingness.
In essence, it is no more than a presentation of a whole series of individually differing, contradictory suggestions, apparently all at variance with each other, differently directed, and requiring a constant shift in orientation by the subject...'
If anything, the thematic messaging of this glutted Spider-Verse film/programming promotes 'A (spider-web) multi-verse of 'diversity inclusion equity' ('d.i.e.') + 'With so many kaleidoscoping perspectives, there can't be any actual objective truths...'
The movie doesn’t conclude normally because it is part one of a two part anthology. It was announced as such from the get go, with the second part releasing in 2024.
It’s not subliminal programming, it’s leaving on a clif hanger to get people to buy tickets to the next movie. It’s called marketing.
No it's not referencing the 2-part aspect, you're right, that's understandable.
But even within its multiple characters/storylines, the dynamic of a 'dramatic resolution' and the momentum of a 'through line' seems weak, compared with their just barraging you with constantly changing visual/auditory stimuli.
What I meant is that usually every sequence (even scenes) should have a sort of beginning, middle and ending mini-arc, with a protagonist vs. antagonist.
Characters can switch functions (protagonist, etc.) and do in this film, but their little dramas don't have much emotional release over time. The sequences just leave you kind of up-in-the-air, then they switch to something or someone else.
If this was a European film it could be more ambiguous and right-brained, but this one seems to raise and sustain tension vs. the rhythm of having a series of resolutions (even as the overall dramatic tension keeps rising).
So the texture of the film seems more sensorially rewarding, but not so much emotionally. It's like they substituted a large quantity of stimuli for a lesser quality of emotional reward (though it could have had both if they wanted).
And rising tension i.e. anxiety plays into the hypnosis thing, because covertly induced anxiety makes people much more vulnerable to suggestion and looking for a strong 'leader' who can tell them what to do.
Yeah i cant really get into anything with "multiversal" implications. Basically if there are infinite realities with infinite actions, there are infinite consequences and whatever we're watching is essentially meaningless. There can be no stakes. If something bad happens on screen, there is another universe (whether they show it or not) where it didnt happen.
It's too much to follow and too much to care about so I lose interest.