The Movies of Bruce Lee as Vehicles of Chinese Supremacy
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The Movies of Bruce Lee as Vehicles of Chinese Supremacy
During the buildup of the Chinese on the part of the jews after the Second World War, they replicated their own jewish Hollywood enterprise in the far east and used it to further the spread of orientalism to the consciousness of the Aryan and thereby to facilitate the destabilization of 'the West'. To fragment the consciousness of the Aryan through the importation of foreign thought forms (egregores), which weaken the bonds of integrity of the consciousness of the Aryan.
In order to do so they, ever since the period of the French Revolution had begun to gradually, the gradual introduction of these egregores, the mystique of 'the East', being introduced into their mind and thereby into their culture. The big beguiling curiosities and wonders of the Far East were put forth as baits to intoxicate the consciousness of the Aryan, enabling the gradual takeover of his society by stealth over the course of a few generations, playing the long game of gradualistic praxis, anticipating their victory through deception and the creation of false appearances of scholarly 'wisdom', and, 'cultural exchange'.
The middle part of the last century during the past world war, two epoch, the Aryan races all but exhausted from the judeo-christian orchestrated war, were given a brief respite through the creation of a decadence culture formulated in America by jewry and their affiliates and exported around the world to contaminate the Aryan mind with culture distortion.
Just as in Israel Cohen's "Racial Program of the 20th Century" (1912), with respect to the negroes in America, so too the same principle propounded therein was applied to the far east asians: "We will enable the negroes to rise in such things as sports and entertainment", in order to portray them as a valuable and appealing figure worthy of emulation by the Aryan and desirable on the part of the white females to view as suitable 'mates', for their miscegenation agenda.
Bruce Lee, the martial artist, was groomed (presumably from birth, as is the case of most celebrities who are generational occultists), to play the role he played as the, 'poster boy', of the 'asiatic', and more specifically chinese 'Superman', who were seen(?), as the archetypal vehicle of these egregores of asiatic despotism and supremacism to be consumed by the eager Aryan race along with plentiful buffets of dim sum and pork fried rice.
Martial prowess and physical vigor were put forth in conjunction with the motifs of Oriental wisdom as means of softening up the Aryan consciousness and rendering them deviant in their consciousness, fragmented and weakened so they could be more effectively taken down through the gradualistic praxis of jewish disintegration.
The 1960s and later into the 70s saw the influx of asian invasion by immigration into the historically Aryan countries and the release of these movies served as propaganda vehicles to expedite this process and to mitigate any pushback against the invading foreigners who came in claiming they 'wanted a better life', or they were 'christian', and therefore were part of the, 'culture' of Aryan mankind.
The decadent baby boomers and their war generation antecedents who had attained the greatest material prosperity throughout history in the reign of quantity of late modernity were receptive to the oriental mystique of the movies coming from the Far East, which had begun with Kung Fu movies and others to introduce this cultural foreignness into the Aryan culture as the thin end of the wedge of their genocidal agenda and territorial expansionism.
Jewry and their affiliates understood quite well that controlled opposition to them, to the then prevailing judeo-christian orthodoxy and that it was needed to build up and, 'Eastern block', oriental vanguard of, the 'Other', to continue their dialectic of thesis (West), and antithesis (East), and to reconcile the opposites in a conjunctiva oppositorum according to the template of the Kalergi plan.
The entertainment served up by the cabal of internationalists was thus the introduction of foreignness into the Aryan mind and the figures they established as the 'hero archetypes', in their Hollywood and eastern equivalent films were designed to demoralize and emasculate the Aryan, cucking the Aryan with the 'virile heroism', of the 'up and coming', future archetype of the Eurasian, though in the antecedent phase of the 'asiatic masculine archetype', as the initial salvo.
The presentation of the Spiritual virility of the asiatic, combining the brains of far Eastern mysticism and the brawn of martial skill, was the ensemble of eastern power hurled egregorically against the West as, 'counterculture', to the judeo-christian culture, which, as of that time, still served its function in maintaining the power of the Aryan, though paradoxically enabling their destruction at the hands of those they worship, namely the 'chosen people' of Jehovah-Satan.
Enter Bruce Lee, especially in his single big budget american film "Enter the Dragon", which was the first and last film he produced or starred in for the american audience.
The name itself is suggestive of the intent of its creators, that being the introduction into the consciousness of the Aryan of 'the dragon', of the east and its human embodiment in the figure of Bruce Lee, the archetype of asiatic power.
The movie portrayed Lee as a 'champion of the people', who became embroiled in a martial arts tournament seeking valour and honour and falling into the intrigues of the evil, traditional 'Mandarin archetype', of the Chinese overlord.
Though through this means the film propounded the notion of the 'Chinese man of the people', in contradistinction to the boogeyman (and westernized) of the 'Mandarin' Satanist, the 'Oriental despot', thereby softening up the image of the oriental in the mind of the Aryan and putting forth the notion of a 'common bond', between 'East and West', under the larger rubric of 'humanitarianism' or 'secular humanism'.
The other figures in the film represented the archetype of the negro and of the, 'Westerner', the latter played by the crypto-jew, John Saxon, as the 'hard-nosed pragmatist', investigating the evil of the Oriental despot whose name, 'Han', presented the connotation of the Mandarin archetype and of a traditional Chinese culture. The Westerner, Saxon, is portrayed as a crude materialist lacking in any wisdom though having a worldly focus of his consciousness in contradistinction to Lee who is presented as the embodiment of the 'wisdom of the east', with its subtlety and indirection. The negro, meanwhile, is presented as the archetype of the womanizer, the virile 'black buck' jewry, had portrayed their pets as in the contemporary black exploitation films of the period.
The dialectic of the races is designed to portray them as, though different, possessed of a 'common humanity', which Lee facilitates the reconciliation of over and against the despotic nature of the, 'old order', of hierarchy and authority as exemplified in the traditional caste system of China under the Mandarin's. Lee nonetheless serves as a vehicle of the 'wisdom of the east', perhaps divested of its association with the caste structure through his Taoistic quotations regarding 'boards don't hit back', and 'fighting without fighting' (Wei Wu Wei, 'actionless action'). The conclusion of the film is a 'liberation', of the common people captured by Han after the archetype of evil, the Mandarin, is killed by the 'people's champion'. In such a narrative, all hierarchy and authority is called into question and implicitly undermined and being so through Lee's wisdom suggests that this 'Chinese wisdom', is a means through which the world of peace will fructify in a 'land of milk and honey'. The judeo-christian archetype of 'neither jew or Greek' and its emotional orientation is here suggestive yet modified and indeed rectified via the will and skill and wisdom of 'Homo Asiaticus'.
The introduction of Kung Fu movies serve the purpose of creating a curious phenomenon with which to beguile the Aryan and which to his myopic short-sightedness, short-sighted vision appeared 'safe', as being situated in a different time and place in a foreign land and at a time something far before the contemporary epoch.
This was the introduction of the thin end of the wedge as the distance between the life of the 1960s viewer and the 'traditional society', of China was too great in their mind to be a 'looming threat', and hence could be viewed 'from the comfort' of the movie theatre without any thought of the 'asian invasion' or 'yellow peril', as critiqued by such scholars as Lothrop Stoddard ("The Rising Tide of Color Against White World Supremacy"), and Oswald Spengler ("The Hour of Decision"), during the fin de siecle period prior to the First World War.
That the oriental viewed (and views), with some degree of justice to Aryan as oriented to direct confrontation and the blitzkrieg method of fighting as an expression of their consciousness meant that the gradualistic approach was (and is), the most effective means for their attempt to take over.
Once the Kung Fu movies were introduced and with them the martial arts from China and the Orient in general, the closer proximity of the Asiatic could be advanced as another step in the chess game of geopolitics, with Bruce Lee as the oriental 'asiatic Superman' archetype.
Subsequent to this figure came others of somewhat lesser note, but the initial entrance of the dragon came by way of Bruce Lee, who became synonymous with such, with the asiatic Superman. That the culture distortor jew controlled the media and music industry, ensured that no archetypes of Aryan supremacy were put forth save as the judeo-christian savior archetype 'fighting for peace', and 'love', by which was meant the subjugation of the Aryan to the 'judaic
archetype', which effectively castrated the Aryan in his own authentic self-assertion and will-topower.
Other movies of Lee served to introduce criticism of the Aryan and of his culture or what the cabal would have associated with him, namely christianity.
In the film "Return of the Dragon", Lee is put forth in the context of a 'man of the people' champion, yet again, fighting in the locus of judeo-christian power, Rome, against the Aryan 'Other', and their subordinates. Lee is a defender of a Chinese relation and her business agent, a Roman businessman, who in his corruption seeks to drive the Chinese out of business and steal their 'hard-earned wealth'. The Roman businessman is associated with catholicism with much in the way of symbolism in his plush office a mural of 'the christ', painted in a malevolent dark blue as the blue and black mural, thereby implicitly stigmatizing the Roman catholic, which the Chinese makers and jewish backers of the film wish to present as the 'evil empire' of hypocrisy.
A Roman woman is also portrayed in the context of a sexually promiscuous deviant whose attraction to Lee inclines her to 'bed him', without a moment's hesitation, thereby conveying the impression of the 'virile Chinese', in relation to the Roman men who Lee is depicted as easily beating with his 'Spiritual virility', of martial will and skill.
Commentary contra Rome is also adduced with Lee putting forth contemptuous statements regarding how the ruins of Rome resemble the slums of Hong Kong and how the Roman monuments should be leveled by him if he owned it and would 'build on it', to 'make money', not only denigrating a Roman tradition but demonstrating the crudely materialistic nature of the Chinese as well as their own culture being associated as the underlying theme throughout the movie as that of a 'superior wisdom' or 'tradition'.
Indeed, the visitation of Lee's character in Rome suggests some form of symbolic assertion of Chinese will to power over and against that of the Romans.
Of course, the stigmatization of the Roman catholicism of 'the boss' character is illustrative of his hypocrisy, his actions not corresponding to the religious meaning of the aesthetic (the mural, etc.), is valid enough yet Roman catholicism cannot be said to represent the Aryan but rather the jew and to follow the jew's chaotic path toward the abyss and towards its own destruction, especially through its own hypocrisy.
Also critiqued is the american affiliate, a mercenary played by Chuck Norris. The association of mercenary behaviour and america is thus put forth, which is an implied criticism of the judeo-christian nation and its Protestant nature, which, though antagonistic to the Roman catholic church, nonetheless is bound up therewith as a variation on the theme of judeo-christianity, both of whom adhere to the hypocritical praxis and power madness of their religion and its mandate of global conquest.
The movie concludes with the arrest of the boss after he assassinates the Chinese who had affiliated themselves with him, further demonstrating the schizophrenic nature of christianity, violating its own laws while imposing them on others in a double standard, 'morality'. The american is defeated in the Roman colosseum by Lee as yet another symbolic display of the hubris of Western civilization and they who 'live by the gun', dying by the gun.
Further stigmatization of the Japanese is put forth in the earlier movie "The Chinese Connection", where Japanese are portrayed as violent aggressors and Chinese as heroic defenders, yet again putting forth this archetype of the Chinese man of peace and defender against the aggression of others, the Taoist 'man of heaven', with his methodology of 'Wei Wu Wei' or 'actionless action'.
Later figures such as Jackie Chan and Jet Li continued this trend of perpetuating the archetype of Chinese supremacy via the jewish controlled Hollywood industry. At the present time 'Western civilization', has been completely cocked by the Eastern and has allowed (at least to all appearances), its subordination to foreign thought forms of Taoism and all other variations of 'Eastern spirituality'. This is not to say that such spirituality lacks value, but rather that it may pose a threat to Aryan culture and civilization. However, semitized the culture of the Aryan has
become. Redemption for the Aryan does not lie within the semitic church of Rome or those of the Protestant sects, indeed, redemption for the Aryan lies not with the redemption of 'Western civilization', but rather with the affirmation of the Hyperborean wisdom of the Aryan ancestors and which can only be represented through an acquaintance with the authentic culture of the Aryan race, the true bearers of the Primordial Gnosis.