American History X-Part IV

Conclusion and Final Analysis

On an exoteric, everyday level, American History X is a well-received multicultural “salvation” tale. It is a story about abandoning “hate”, which is after all, just “baggage”, because “life’s too short to be pissed off all the time”. This message resonates strongly with a majority of contemporary Judeo-Christian Europeans, a people whom can be compelled by compassion, a desire to appear virtuous, or paths of least resistance more generally.

Esoterically however, this film conveys a very different message. Tony Kaye’s view of civilization is one depicting the prescriptive (and fairly underhanded) Jewish moral control of Gentiles, a genuinely terrifying, and perhaps too accurate vision of contemporary, “Progressive” America. His perfectly consistent use of Jewish naming convention and biblical knowledge confirms this.

Additionally and with remarkable sophistication, this film esoterically depicts the most common and important theme in Jewish art: racial cuckoldry of Gentile women, specifically the Jewish cuckoldry of Derek’s Gentile mother, all of which results in the Gentile’s Pieta of tragic folly, his predestined lot of race-blind compassion and sacrifice, as Derek is shown spiritually destroyed by way of the deceitful moralism which culminates in the death of his own brother, and finally, his very identity as a White Gentile is blamed for the entire catastrophe.

The Gentile’s “Pieta”: Derek’s fate is sealed, his eternal lot is Sin. Here he is shown humiliated and bedazzled by the Jewish God, while his descendants fall helplessly into the thrall of the “Progressive Church”.

This is a profoundly and purposefully demoralizing message to any White Gentile audience. Not only does it dissuade any sense of healthy ethnic identity amongst Gentiles in America, it also leaves the audience feeling helpless and confused about morality itself. What is the unconscious viewer even to think? After Kaye’s depiction of the Vinyard family, the audience is left pacified, afraid, and furiously resentful (or at least annoyed), with every single character in the entire film (except of course, the esoterically indicated Jews).

This film is not what it seems. The fact that “Neo-Nazis” at any time or in any way found it “inspirational” is frankly, hilarious. American History X is an almost perfect work of Jewish art for the contemporary age, and I have to imagine that Kaye’s prized “short cut” of the film (for which he nearly ruined his career trying to screen) would have been flawless in its own regard. However we should be clear as to the film’s highly-complex and demoralizing message, a story purposefully left without catharsis, only a further sentence of guilt and original sin. This is a burden specifically meant to be bourne by its unconscious Gentile European viewers in accordance with the demands of “Progressivism”, which is at root, Jewish moralism and nothing more.

A rare advertisement for the film which symbolizes my analysis nicely: Christianity, which is the Jewish essence of Americanism, stands between Gentiles and Jewish Power.

I conclude that these essays contain the correct interpretation of the film American History X, although what I have described will certainly sound unusual, even shocking to those unfamiliar with Jewish esotericism. However after accounting for the complex and often unconscious, emotional nature of Jewish/Gentile attitudes, I feel I have presented a roughly accurate analysis of the filmmaker’s vision.

This style of analysis will prove instructive. Overall, not only does this sort of cinematic “exegesis” help viewers better understand their own culture, it also makes the medium of film fascinating again for the jaded, who have long grown weary of demoralizing media, art, and religion, and want to find out where it all went wrong.

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