Posts Tagged Harry Potter

Everything You Always Wanted to Know About Being Born … Playing Now, in Theaters Near You!

Projecting the Perinatal Zeitgeist: Everything You’ve Managed to Forget About Being Born

Wounded Deer and Centaurs, Chapter Two: Everything You’ve Forgotten About Birth … Projecting the Perinatal Zeitgeist

With these elements of birth experience in mind, let us look at some of the forces and elements, unprecedented and otherwise, that characterize twenty-first century life.

Baby and Fetal Projections on the Silver Screen

Fetus in the Sky with Diamonds … And Oh, the Shark Has Pretty Teeth, Dear…

clip_image003_thumbIn these strange days, movies, TV shows, and books are rife with perinatal themes: From the famous ending image of the movie “2001,” where the fetus is pictured against the blackness of space as a newborn star…to some of the most popular and lucrative movies of all time — ”Jaws,” for example, with its huge vagina dentata shark mouth lurking in the depths of the unconscious (the ocean), signifying the trauma we have around the mother’s vagina, the mouth ringed with teeth—the ferocious looking teeth symbolizing the pain and death elements of birth experience.

Other examples of perinatal imagery in the media include those in the movie Brazil”—the main character being haunted by hordes of infant/fetal faces in particular; “The Abyss”; “Jacob’s Ladder,” and “Close Encounters of the Third Kind”—large-headed fetal looking aliens again.

ET, Phone Mom!

Psychodynamic as well as perinatal sequences are displayed in “The Wall” and “Brainstorm.” There is the fascinating womb and fetal symbolism in UFO movies like “Cocoon”; “Cocoon: The Return!”; and “E.T.”—with the fetal-looking alien wanting to “phone home.” And of course, we have seen obvious perinatal symbolism in “Independence Day,” “Fire in the Sky,” “Jacob’s Ladder,” “Joe Vs. The Volcano,” “Nothing But Trouble”; and in a recurring way on weekly TV series The X Files, Star Trek, Heroes, and The 4400, among many others.

“Avatar” is a near perfect depiction of a BPM I state that is interrupted by the later stages of pregnancy and threatened by a mechanized-technological birth. Everything is there as in the womb state: a perfect harmony with Nature…a world tree symbolizing the life-giving placenta…harmony with the Mother, who is the World Mother, a Goddess.

In the Narnia series, the children find a “secret” doorway at the back of a wardrobe (womb symbol) and go from their normal realm into another magical realm. In thisas in many other depictions, such as “Alice in Wonderland,” “The Matrix,” and “The Wizard of Oz”we can see both a re-creation of the birth sequence but also the message (from our unconscious selves) that one needs to go back through and re-experience that sequence, as it was left incomplete. This magical realm is thus the womb. And in it lie many of the spiritual truths that we forgot when we came into the world and were overloaded with the pain of birth, which pushed our connection with Nature and the Universe into unconscious memory.

There is a plethora of more recent films rife with perinatal elements: Notable are the Matrix series, “Total Recall,” the Star War series, “Dark City,” “The Lathe of Heaven,” the Alien series, “The Tree of Life,” “Ace Ventura: When Nature Calls,” the Batman series, the Hannibal Lector series, “Suckerpunch,” and the Star Trek series. There are too many more to mention. [Footnote 1]

In addition to its prevalence in science fiction movies, it is replete in the symbolism of horror movies. When you understand this symbolism, you find it saturates the silver screen, popular television, music video and imagery, and the electronic media and arts

Everything You Always Wanted to Know About Being a Baby

Other movies indicating the interest emerging around pre- and perinatal themes are “Look Who’s Talking” and “Look Who’s Talking Too,” which demonstrate a belief in sperm and egg, womb, and infantile consciousness far beyond what mainstream psychology wants to believe.

clip_image005_thumbAlso, there is the hilarious sperm sequence in Woody Allen’s “Everything You Always Wanted to Know About Sex” in which he and a slew of others are dressed as individual sperm and dialogue about their upcoming great adventure.

This idea that sperm and ovum have consciousness can also be heard occasionally in comedic monologues on television and elsewhere.

Boob Tube With a View

clip_image007_thumbSpeaking of television, there was that very interesting and much heralded episode of the Moonlighting series in the late Eighties which—coincidentally employing an article and book title of mine, “A Womb With a View”—showed Bruce Willis in a womb-like enclosure as a fetus viewing, with the help of a higher spiritual ally, the upcoming events of his life. This plot idea was also an amazing, perhaps synchronistic, mirror image of a short story I wrote in 1979 titled “Birthing, Forgetting.” [Footnote 2]

A Hundred Monkeys and Counting

I point out the personal synchronicities because they speak of a “morphic resonance” phenomenon indicating ideas whose time has come. Be that as it may, the episode of Moonlighting is further proof of the growing belief in womb consciousness and interest in perinatal events.

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Perinatal Faces Poking Out Everywhere

Other perinatal elements that are currently manifesting include:

Satanic Cult Abuse

Reports of Satanic cult abuse graphically depict BPM II perinatal elements. We hear of children and others being immobilized, tied up, and otherwise disempowered. Oftentimes they relate being forced to spend extensive periods of time trapped in tight places and/or symbolically or literally buried under ground.

BPM III elements in cult abuse include the sexual excess/abuse and bloodletting or blood use as in its being poured or used in “anointing.”

Cult abuse in film, as well as in real life, especially depict BPM IV elements: Cutting, hurting, torturing, sexually and ritually abusing and “sacrificing” are all very much like an infant’s perception/feelings of its experience of its being “attended” to after birth.

The fact that cult rituals often involve a number of other people focusing on an individual who is strapped or held down—the immobilization prior to birth, as well as the helplessness after birth—on something raised, like an altar or table, and then “worked upon” in some way or other is a particularly graphic expression of a neonate’s experience of being on a medical table after birth, watched by a number of others and worked on.

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The ritualists’ use of robes and costumes, especially if they involve covering the face or the wearing of masks, is also not that much different from the way a baby in modern times perceives its welcoming into the world among masked and robed medical personnel.

Serial Rapists and Killers

One can hardly turn on the tube without finding some movie or TV show that is depicting a serial killer or rapist. I do not need to belabor the flooding of news programs with the same kind of material.

But the number of reports relative to victims and harm involved is far less than victims and suffering involved with other horrific events, such as hurricane, earthquake, nuclear radiation, ozone loss, or flood catastrophes, which have less or no perinatal charge about them. This preoccupation with serial violence, torture, and rape indicates BPM III elements of struggle, violence, sexual perversion and excess, as well as the death and torture aspects of being born.

Tube and Cinematic Violence Galore

Simply the amount of violence on television and in movies is a perinatal indicator. These depictions simulate, and stimulate, perinatal feelings in plot elements which are repeated to death.

Matters of Life and Death

We see clichéd regurgitations of being in life and death situations from which one is saved in the “nick of time.” This is exactly how it seemed when one was “miraculously” born, suddenly, after what seemed an endless time of suffering in which death was felt to be the only possible outcome.

It’s Not the Fourth of July, However….

You do not seem to be able to see a story that does not have explosions galore.

Such “fireworks” are examples of extreme compression suddenly becoming immense expansiveness and thus symbolize the sudden perinatal change of state from compression inside the womb to previously unknown expansiveness outside the womb as well as the sudden release of tension and compression upon being born.

Explosions also symbolize the immediate assault of sensation upon coming out of the sensorally “muffled” womb.

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There is lots of violence, and of course, sex. Such extreme degrees of sexual explicitness and especially sexual perversity point to strong BPM III influences.

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Monsters, Vaginas, and Hairs, Oh My!

4340imagghgfjjesRecurring themes of monsters that eat one, for example, The Alien movie series, indicate the feelings of fear of death in the mother’s womb. This is often portrayed as a huge, threatening mouth surrounded by teeth and, sometimes, hair. This is a symbol found throughout the world. Social scientists refer to it as a vagina dentata “mouth.”

clip_image00110511066-largeOne most obvious portrayal of this was Steven King’s 1995 miniseries, “The Longoliers.” The monsters, shown at the end, turned out to be flying, ball-shaped vagina dentatas, complete with hair covering, as in pubic hair. Though Steven King meant this to be frightening, from the perinatal perspective these flying, attacking vaginas are absolutely hilarious.

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Time Travel Equals Age Regression

Interestingly, the appearance of the Longoliers is caused by the characters going back in time. Though King has them going back only fifteen minutes, and not age regressing to birth, I thought the fact of time regression was telling in the extreme.

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Time travel in general is indicative of the need to go back and fix the trauma of these early events. The Back to the Future series is merely one example. We all know many others.

We have Ever Increasing Cesarean Births

imagdfhuesThe perinatal roots of these movies are indicated in other ways, e.g., the baby alien, in “Alien,” being “born” out of the abdomen.

While a “baby” emerging from a person’s midsection is obviously indicative of birth, clip_image003the fact that it comes bursting out of the belly, rather than the vagina, might also relate to the ever increasing use of cesarean section as a means of birthing in this century.

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“Noah, How Long Can You Tread Water?”

neo-wakes-upclip_image004Important perinatal influences are evident in the frequency of scenes of death by suffocation, in water or otherwise.

We are immersed in water before charybirdsbirth, placental fluid. Near the end of gestation, the mother, when nightmare.2989618237_1_3_5JdRXsNxstanding, constricts blood vessels to the fetus. This reduces the blood supply to the fetus and thus less oxygen is received. It is called fetal malnutrition. Prior to birth we humans experience suffocation and claustrophobic feelings—we “can’t get enough air”!—which seem deadly and unending.

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Aw, Hell

The timelessness of prenatal experience at this point—when not getting enough air—feels horrific, an unending nightmare. This part contributes to human ideas of places of forever, endless suffering, for example, hell.

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Death by Vegetable

“I Agree, But I don’t Like Having It Shoved Down my Throat!”

clip_image005428004336_a0275cf170Very interestingly, a more recent addition to this complex has something being forced aggressively down the throat of the victim.

I have noticed an increasing frequency of this version of suffocation in the visual media ever since I first remember seeing it in a scene from the movie Alien, where a rolled-up magazine is used as a murder weapon by being forced into the victim’s mouth. It seems to be becoming a writer/director’s fad, as increasingly creative ways are being imagined to play it out in scripts.

Fire In The Sky 2

Told You I Didn’t Like Vegetables!

Alien-mouth-e1288810712566Another common variation is when the suffocating item comes out of the person’s mouth.

In this frequent scenario, the victim is “infected” with some kind of alien spore which grows inside of him or her and comes thrusting up from inside of the person’s body and out of the mouth, lodging itself there. Often this alien extrusion looks something like a huge asparagus emerging. thestuff9The perverse sexual aspect of the image also has roots in perinatal, specifically, BPM III experience.

This “vegetable” eruption always happens suddenly and climactically, and almost always it results in death. Scenes like this I have observed in the movie “Jacob’s Ladder,” several times on the hit show The X Files, and in many, many other shows.

This sequence of pics from an episode of The Outer Limits is a rather good depiction of this. Notice that at the point the object emerging from the mouth is most visible it takes on the form of a vagina dentata. This links the images with birth and indicates the aggressive character of the feelings being depicted, that is, we have repressed anger feelings left over inside us from what was done to us. It is also more than just coincidence that the person to whom this is happening is in a hospital room and is dressed in a hospital gown; the plot is about this woman carrying a baby and this scene happens just after the birth. This is significant for the reason following, which states that this image has its roots in an event that indeed happened right after birth..

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Gag Me With a Toxin.

matrix-pod (2)This version of suffocation probably has its roots in the force-feeding of toxic elements to the fetus in the womb through the umbilical cord, and is more definitely related —the symbol is probably an amalgamation of both feelings—to the ungentle clearing of fluids clip_image007from the neonate’s mouth by the attendants immediately after birth.

This latter connection — the ungentle mouth cleaning of birth fluids — I can personally validate from my own primal experiences. Apparently I was not alone in being treated this way as a newborn in the 1940s and 1950s in America…hence the popularity of such images in the media of recent decades.

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Treated Like a “Piece of Meat”

clip_image0071This practice of ungentle mouth clearing—performed by hurried or insensitive, and uninformed, medical personnel, unaware of the consciousness and keen feeling awareness of the enchufesneonate—can leave one with lifelong feelings of being treated like a “thing.”

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The Wall Movie 1982 (7)

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The Wall Movie 1982 (18)

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b,w,brick,in,the,wall,movie,music,pink,floyd,the,wall-78ce4bddae7c105871bf6dba61dfc9ef_hbrainwouldntdieMany report having overwhelming feelings of being dealt with mechanically and without respect. It is common for folks to have feelings of “not being seen.” People can have lifelong body memories of having one’s mouth stretched wide.

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428004336_a0275cf170_thumb1images (2)These feelings, while they may be reinforced by later life events, oftentimes have roots that go back to a time immediately after birth. At this time, too frequently, the jaw is pulled down for the insertion of fingers and suction devices. It is done in a manner that is excruciatingly painful for a being that has spent his or her entire life—nine months—previous to that in a relatively placid environment with its mouth closed.

Jacobs-Ladder-Artcrpdimage_thumb22This ungentle procedure is also felt as an assault in that it occurs, usually, as the first event a baby is confronted with upon release from the womb.safe_image.php Its tiny mouth—never before fully opened—is often the first focus of attention, as large fingers (relatively) reach in, stretching the previously unopened and unstretched (virgin) mouth…breaking the metaphorical oral hymen of the neonate in a way that is felt to the infant to be comparable in pattern and violation to oral sexual assault.

Fire In The Sky 2

Did you ever wonder why so many folks have such terror of seeing a dentist? Did you ever wonder what is the fascination with water-boarding and torture in recent years?

Victims Du Jour

Fox_Mulder's_abductionMonica-Bellucci-Photoshoot-Matrix-Movie-9By the way, I might mention that while genuine sexual assault and child sexual abuse is a reality that has long been with us and is only now really coming to light (thankfully), the similarity of this early perinatal experience of ungentle mouth clearing to sexual assault may have something to do with the epidemic of reports of infant sexual abuse that are coming out of counselor’s therapy rooms.

MSDTORE EC0252886707crppdConfused interpretations of these reports can happen because most counselors and psychotherapists are ignorant of birth and perinatal trauma and yet more and more of them are allowing bits and pieces of regressive techniques into their standard professional arsenals.

In addition, they throw in these techniques, most often, without qualification or experience with these techniques, and oftentimes out of knowledge gained solely from books or second-handedly…not to mention rarely, robocop07because of professional arrogance, having experienced or undergone these regressions themselves.

Combine this inexperienced dredging up of perinatal material with the fact, as I will be continually reiterating throughout this book, that people these days are closer to their perinatal unconscious, medusa3to their birth trauma. One can see how it can easily happen that when feelings of being orally assaulted after birth begin arising within the counseling rooms,medium_wruef9ycqa0crppd they can be interpreted, by therapist or client or both, as early sexual assault—that being the interpretation du jour, so to speak, and because of coursethe-matrix-revolutions-give-me-a-chance-film-photo-u1crppd both are ignorant of the fact of birth trauma—its having systematically been resisted and purged from mainstream professional and lay common knowledge, beginning with Freud’s rejection of Otto Rank’s discovery of it, right down to the present. (But let’s not get into that just here.)

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Welcome to the World … Now f u

blog pic 2 (8-6-11)89615_v1Regardless, the ungentle mouth cleaning is felt not just as a physical assault, it is an outrage to the infant’s tender psyche as well—leaving a lifelong and fundamental imprint undergirding and helping to sculpt all later experience—in that it is the first “welcome” to this world. That is to say, the birth struggle ends, there is release… (finally!) … then, “Welcome, baby” — yank! stretch, robocop20feel manipulated and used, bush_borgtreated like an object and with no sense that one is a living aware being.

With this in mind—that this “Hello–fuck you!” experience can be the primal (first) experience of this world, of other -SGC- Unnatural eyes packCRPDpeople, of society — it may be easier to understand the profound fear and anxiety toward other people that resides inside many of us—for example, as in the book title: I’d Rather Die Than Give a Speech!

silence1This also sheds light on the seemingly “mindless” devils-advocate-560-thumb-560xauto-30306violence and rage that is directed back against anonymous people and society in general by certain types of criminals. They can be seen to be teacherteethMacting out edsullivancartoontheir “fuck you” welcome into the world by attacking back and outwardly, rather than this early rage energy being channeled into some of the other, more healing or at least not harmful, responses possible to early assault.

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Faces Coming Out of the Walls

TheWallFaceScreama-brazil-criterion-single-720-brazil-4crppdI would like to refer to one final perinatal indicator in the visual media, which has been capturing my attention of late…seeming to be coming out of the very walls at me! This is—what appears to me to be—a recent and new sort of perinatal symbolism, at least in Western culture.

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hopkinscrosbycrppdWe have had, over and over again, the image of the “evil fetus” erupting from the abdomen,AlienChestburster as in the classic scene from “Alien” as well as that of it emerging from the mouth—as examples, the “volcano-new-species” episode of The X Files and the dance hall scene in “Jacob’s Ladder”—indicating fetal emergence mixed with ungentle neonatal mouth clearing.

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Membrane Walls

But this new variation of “fetal emergence” has human faces pushing through membrane-like elastic walls!

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Ventura Out of the Womb

clip_image002A good example of this occurs in the movie, “Ace Ventura, Pet Detective, When Nature Calls.” In the Ace Ventura movie, Jim Carrey emerges from inside a mechanical rhino with virtually all birth elements evident.

He is holed up in a hot and suffocating “womb”—that is, he is inside the rhino.

ultrasound2019-apr-07He becomes engaged in a desperate need to get out. Interestingly, the fan—the source of comfort in the rhino (womb)—stops working Scream6gafter a while. This is exactly analogous to the way, when we are fetuses, the nurturing elements of the mother’s womb “turn off,” in the last stage of gestation, making the womb quite an uncomfortable place indeed.

We see him pushing his face against the elastic, membrane surface of the rhino’s posterior in a way graphically suggesting perinatal emergence. The tourists watching this explicitly state that they see it as the rhino giving birth.

Potter-Frontcrppdfacetotal_recall_stomach_creatureWe witness the actual “birth”: Jim Carrey (Ace Ventura) struggles to make the opening larger and to come out. Finally, he falls, naked wet and curled up fetal- or baby-like, to the ground. The hilarious—and outrageous to the tourists—part is this image of a rhino giving birth to a full-grown naked adult human “baby.”

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Couldn’t Fight Your Way Out of a Plastic Bag!

hoardnewspaper (2)TotalBitchStoleOurMilkCrippledOurNationOther examples of this element of human features pushing through membranes has individuals completely covered and suffocated in membrane-like elastic sheets from which they cannot escape and in which they appear agonized and struggling. A good example of this was in a scene from “Fire In the Sky” that was shown repeatedly on TV to hype the movie when it came out.

Scream7g (2)Even the invention and use of straight jackets shows our preoccupation with the perinatal, especially as concerns our mental health or well-being. For the message there is that if you “get out of control” you will be put back in a place where you will be forced to comply and will have to learn to deal,b,w,brick,in,the,wall,movie,music,pink,floyd,the,wall-78ce4bddae7c105871bf6dba61dfc9ef_h as all the rest of us do, with the “existential fact” of needing to conform to the dictates of an overwhelming, dominating, and pervasive other world.

headbangingExistential fact is in quotes to point out that this is not an essential fact of existence; rather they seem to be facts to humans because of the experience we share of being in constricting wombs Robbieabysswhich become uncomfortable and suffocating increasingly near the end. This is an example of what I have termed elsewhere, biologically constituted realities.

Of course a similar thing—forcible “re-education”—could be said for the use of jail cells,Open mask solitary confinement, and enclosures like “The Hole” during incarceration. Simply the fact that we have a much greater percentage of our population in prisons than any time previously points to our mania of trying to control this aspect of our feelings from our origins…and of an emerging perinatal unconscious triggering the reaction. In former times, torture devices often employed devices of compression, suffocation, constriction…of total-recallthe entire body or just the head…and often added the element of prenatal discomfort by adding torture while so enclosed. The Iron “Maiden” is such a device. Note the feminine being employed in the name itself. Could that be any more clear that it is meant to be a painful, tortuous re-creation of being inside one’s mother?

Modern movies showing such devices or procedures are indicative of these perinatal elements coming to the surface obviously. One example is “The Man in the Iron Mask.” In a similar respect, I have already mentioned our current preoccupation with water-boarding style torture. In employing suffocation, it is an effective and brutally inhuman way of stimulating people’s perinatal pain, just as straight jackets and jail cells are intended to.

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This House Will Eat You Alive!

I saw a most potent portrayal of this new perinatal element in the 1996 movie by Peter Jackson, with Michael J. Fox, “The Frighteners.”

1218885566_5__3ji-e1320373810749This movie’s plot involved a house being somewhat alive and gobbling people up into the walls. The ingested people would try to emerge from the house’s walls. The walls being like elastic when they would do this, the features of their faces could be seen pushing through to the point even of the individuals being identifiable.

hell_night_3These swallowed people could not get out of the walls. And they would be the next ones trying to lure their loved ones and friends into being gobbled up by the house, the same having been done to them, which had resulted in their being taken into the walls initially. Sounds like a modern, very perinatal variation on the Pied Piper theme.

Pink Floyd - The Wall - CoverBut the former victims who, once pulled into the walls, themselves become perpetrators also is a powerful metaphor of the way primal trauma and child abuse of all kinds—including genital mutilation—is passed from one generation to the next. Vampirism has this telling quality as well: Once you are “bitten,” you are compelled to do it to others. In the same way all child abusers were abused themselves as children, as any psychologist will tell you.

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House, Cave, Squids

Anyway, this portrayal of a house that gobbles up its victims, bizarre as it sounds and as it looked, can only be explained by looking into our perinatal imprints; and it is rife with such elements.

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To start with, a house — being an enclosure in which humans protect, nurture, and take care of themselves clip_image0043once born into the world—is perhaps the most prevalent womb symbol that exists. It is right up there in importance with caves, oceans, swallowing beasts—especially beasts of the ocean like whales (Jonah), sharks (Jaws), and octopi or giant squids.

There was a recent movie of this squid variation. Its plot development was of the “Jaws” genre. But in adding tentacles, it added elements of pubic hair and umbilical strangulation to the normal aspects of womb torture such as simple compression and suffocation.

image_thumb17_thumbHouse; cave; water; devouring dragon, as in Harry Potter; whale or shark; automobile, especially buses or motorhomes; boats, especially submarines; indeed all vehicles of transition, nonmechanical as well as mechanical as in trains and airplanes; the deep forest, as in Avatar—anything in fact with elements of being surrounding and engulfing of one and as nurturing or threatening one, or both, are womb symbols, as we have known for a long time.

Prison, Jail Cell, Schoolroom = Womb

Open mask_thumbIn the category of womb symbols that are places that enclose or “house” one that are uncomfortable, constricting, limiting of one’s ability to move around and in which one is made to suffer, even be tortured, we need to add prisons, dungeons, jail cells, and schoolrooms. Breaking out of prisons, being rescued from tight, enclosing places or situations in which one is not free—that is, can not “move freely”—are specific portrayals of the birth process itself. Contemporary film is flooded with plots and scenes depicting such escapes and/or rescues. Any constricting surround is a womb symbol, including oppressive social and political conditions from which one cannot escape and under which one is not able to move freely, to enjoy “freedom”; especially regimented ones under which one is tortured, processed, and treated anonymously and in an unfeeling, insensitive manner.

Schools and schoolrooms are especially strong womb symbols for they are places in which a person is supposedly nurtured and helped along in one’s development, exactly as was the purpose and situation in the womb. Libraries are the benign version of womb-like “schooling” in that the element of volition or choice in the matter exists. When they depict being constricted or made to suffer, it becomes even more obvious, depicting as that does the later stages in the womb which are uncomfortable and often hellacious.

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The Wall

wall-poster_thumbIn the school sequences in the movie, “The Wall,” there are other perinatal elements potentiating some of the scenes. b,w,brick,in,the,wall,movie,music,pink,floyd,the,wall-78ce4bddae7c105871bf6dba61dfc9ef_h_thumbWe have anonymity, indicating not being seen in the womb; fetal faces; tortuous “development” and passage from one state to another especially as in being shoved through a wringer or meat grinder; and faces coming out of walls or having an appearance similar to that.

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Houses and Spaceships Are Real “Mothers”

One lengthy explanation of this kind of symbolism as it is connected with “the Mother” is the classic work by the Jungian, Erich Neumann, titled, The Origins and History of Consciousness, which he himself based on other even earlier analyses of mother symbolism and its association with enclosing and enveloping sorts of thing.

At any rate, among all these, the house is probably the most popular symbol today. It would seem to be used more in the visual media as a womb symbol than any other, currently. With the increased interest in science fiction, the spaceship is perhaps coming in second, but even that distantly.

Being spaceships, UFOs are obviously womb symbols. Carl Jung once speculated in writing that the upsurge of UFO sightings indicated a rising urge for psychic unity in humans. While this is true on one level, on a deeper level, they are symbols of reintegration with our repressed traumatic womb experiences. Space travel is transition from one world to another in general. And the vehicle of passage is a UFO or spaceship … in which one’s needs are taken care of and one is involved in passage or transition … It is not surprising that often in the course of this transition, space travel, the space voyagers of the silver screen encounter odd and horrifying developments.

Notice how we say “mother ship.” UFO type spaceships are so often depicted as round or spherical. Indeed, we have elaborate developments of these themes in the Death Star depiction of Star Wars–a round enclosed place and habitat associated with dread and death …

“You Will Be Assimilated.”

The variations on this are themselves telling. We have one instance of a cubical habitat in space…a square, not round, spaceship. What better way to show how terrifyingly different the inhabitants are from natural, biological beings. For womb equals round, flowing lines as in Nature, products of a physical or biological world, one of life and dealing with living and animate things. Whereas to indicate that these beings are mechanical, unnatural, robotic…products of a mental world only, one of death and dealing with inanimate, non-living things…machines…straight lines are employed, implying the worlds of engineering, mathematics, geometry…of the mind only, not of the physical or biological worlds or the worlds of feeling and experience. Implying a world of non-feeling and non-experience is horrifyingly akin to implying a death-like existence.

Star Trek aficionados will have picked up by now I am referring to the Borg and to their cubical spaceships/habitats. We have to make the connection that the appearance of symbols of machines, robots, androids, and such with womb symbols–increasingly prevalent in modern and postmodern times–is easily attributable to the fact of our ever increasing mechanization of birth…in which, as I was pointing out above, humans are “thingified” and turned into “human robots.” And, yes, these are horrifying and death-like experiences that we undergo at our beginnings and subject our incoming members to.


Worse Homes and Gardens. Is It Any Wonder It Is Haunted?

clip_image005_thumbclip_image007_thumbI remember watching an old movie from the “Amityville” series. As most people are aware, in any of these movies, it is the evil house that is the source of the horror. This goes back at least to Edgar Allen Poe’s “The House of Usher.”

Yet this plot idea of an evil house, which must, in the end, come crashing down in flames—indicating the explosive and fiery birth, BPM III, which signals the release from the evil forces—was boringly evident in films in the Twentieth Century.

Mad Doctor Frankenstein, the obstetrician

Related to this, taking this theme back in time, clip_image0023is the ideas of dungeons or castles … with mad scientists, no less — obstetricians, perhaps?

At any rate, in this idea of a house that “gobbles” one up, as in “The Frighteners,” we have the bringing together of two of the most predominant birth elements in film—an evil house and a devouring beast. That fact of a doubling of perinatal elements alone is indicative of a plot saturated with perinatal influence.

Origins of Parallel Universes

But this idea of something coming through the walls, membrane walls, is both fascinating and telling in the extreme. It speaks to other perinatal elements and feelings.

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I might start by pointing out the element of there being another realm small_portal pepper spray copinto which people go and from which people are rescued (with luck). There is a barrier between the two realms—a permeable, elastic barrier. Anytime you have this other realm you are talking about either birth or death or both. Oftentimes it is both, for it is felt that to go back to the time of being in the womb (“regression”) is akin to death.

Of course we get this idea that birth is death, for one thing, because of the fact that at that time—in the late stages of pregnancy with fetal malnutrition, lack of sufficient oxygen, suffocation, and so on—there was a sense of impending death, and oftentimes actual vital life threat to the fetus. jacobs-ladder-mccaulay-culkin-and-tim-robbins_thumbWe see our beginnings as dire, for another thing, because the actual time of being born is analogous to a dying to one state in order to be born into another. Actual birth, BPM III, has most often been related to feelings of death/rebirth.

So of course, for these reasons, anything having to do with going across or back into that other realm is going to be associated with death.

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“There’s No Place Like Home.”

clip_image004EnglishGrof_DifferentDoorwayiconBut death is not the only aspect of crossing some kind of barrier into another realm. Related to the house theme we see how going through a membrane into another realm can take one into another place where one has adventures and rediscovers important understandings or is transformed or matured in some way.

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Wizard_Oz_Pepper_Spray_PigIn this category we have Alice going through a looking glass to go into Wonderland; Dorothy and Toto in “The Wizard of Oz” being transported — in their house, naturally — to another realm; and the back of the wardrobe opening up into the other land of Narnia in the classic children’s series by C. S. Lewis titled, The Lion, The Witch, and the Wardrobe. In Howl’s Moving Castle, a floating, traveling house takes the occupants to different places and into various adventures and scenes, like some kind of animated version of Sliders.

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Through the Looking Glass

Mia-Wasikowska-in-Alice-i-001Secret-Garden3And of course this is only the tip of the iceberg of works of literature, film, and TV that could be given: the magic mirror, often an antique one (of course),Close_Encounters_of_the_Third_Kind which opens up to another horrible or wonderful place or to a time in the past; or the secret passageway in a wall that opens, by means of some magical or technical maneuver and takes one into secret places—both wondrous and hideous.

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The hearth that spins around is particularly telling in that the hearth may be considered the “heart” or center of the maternal in the house, the prime source of heat and nourishment—as when in previous times it was the place in which the food was actually cooked. There are many other examples.

clip_image006The movie “Jumanji” with Robin Williams employed this idea laboriously and dramatically, with people going through walls into other times and places.

But the movie also included perinatal elements such as stampedes of gigantic jungle animals and even floods. Here again we see beasts that can devour or crush one, but also enveloping waters. In fact, when the flooding waters came through the wall, to accompany this element there was even the “mandatory” fight with a toothy beast!

This “Dark” Unknown

In this movie, “Jumanji,” as in too many others, the “other side” is depicted as a dangerous and often deathly place. This points to the vital life threat that we go through at the times of our birth, leaving an imprint of fear of it for a lifetime.

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Verny_SecretLifeiconLeboyer_BirthViolenceiconThis depiction of it and fear of it are both understandable and unfortunate. For, as I alluded to earlier, this idea of birth trauma has been vigorously resisted in our culture ever since it was first presented by Otto Rank. And we can attribute that resistance to accepting its reality to the fact that it triggers so much fear in people to even consider these perinatal influences.

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2001 Baby Earth

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Love, Fear Relationship

Escape-Alcatrazfrighteners05-thumbTo put it another way, considering, as we now are, how imbued with death, fear, and pain is this time of our life, we are capable of seeing that there are good reasons why otherwise logical people would at all costs resist the idea of birth trauma and perinatal influences, the evidence be damned. We are fascinated by this time of our life. We play it out endlessly in our imaginations and collective dreams and, as we shall see subsequent chapters, in our everyday lives. But we are utterly terrified of it. Indeed it is, as Janov once put it, the only time for most people that in life we come so close to death, other than our actual demise.

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To Hell With It…

clip_image001 13So to acknowledge birth is to face death and an inner memory of horror and a hell-like experience. These aspects of it are not going to lend to its being readily accepted among our intellectual currency.

Clients in the therapy rooms only face their perinatal memories when all other interpretations, memories, and early experiences have been made and integrated. The perinatal is the last and most gruesome of truths to face. It is faced only when all other options are gone and the truth alone will do.

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In the same way—since it is not easy truth—its acceptance into the arena of our common knowledge has awaited its necessity to be known and acknowledged. It has required our species survival being at stake for us to consider the deepest roots of our problems. [Footnote 3]

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Face Me, or You’re Mine!

t10001clip_image002Central to this book is the idea that we need to face the ultimate and horrible truths if we are to save ourselves. Wounded Deer are those people who suffer from closeness to these perinatal truths. Centaurs are those wounded ones who have accepted these facts of life; they have accepted the fact that fundamentally they, as all of us, are wounded. And in embracing it this way they become healers for those who cannot face their truth or who are struggling with doing so.

For not only are we closer terminator-2-1crppd2to our perinatal unconscious these days, we are—because of the precarious nature of our times, which our ignorance and denial of the perinatal heretofore has set up for us—required to face the perinatal “monster” or we are doomed. It is now the time to uncover the truth, to get to the root of the problem, or there will simply, eventually, be no problem, because there will be no people to have a problem or to recognize a truth or root of a problem.

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Fear and Freedom … Only a Membrane Away

clip_image004zyjbq2d56rkznqfucrrpd2Be that as it may, this recent development in perinatal imagery involving a membrane barrier between us and the perinatal realm is closer to our actual perinatal reality than any of the previous symbols put out in earlier times which showed a barrier between us and the perinatal. So this membrane depiction of the perinatal suggests an increasing closeness to the perinatal unconscious.

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Perinatal Spamming

T-1000We have progressed in our collective consciousness beyond hard walls or mirrors separating us from our perinatal memories (and horror), now they are just a membrane away. They are only a thin, elastic membrane away. And from the other side this part of ourselves calls out to us, pushing its face through—like the computer push technology, with all its annoying pop-up consoles and screens that won’t go away. Our births come spamming through to tell us what we need and to call us back to a realization of the truths we need to hear to save ourselves.

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terminator-2-1crppd1imadddgftggesGetting back to the membrane symbol itself, the perinatal elements of this new depiction are rife. Obviously the late stages of pregnancy have one in an enclosed elastic, membrane container—the womb—from which one cannot escape. Also, the fetus’s features in the latest stages are somewhat evident, can be seen and felt, on the surface of the mother’s belly, something like faces pushing out of elastic walls. And one struggles agonizingly during birth and endures intense suffocation through a great deal of it, just like those in movies who are surrounded by elastic sheets.

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All of this is then, in Western civilization, compounded after birth with tight swaddling. The newborn, curiously, is wrapped like a tamale in a way that he or she cannot move freely. So rather than remember the earlier womb experience of blissful freedom and euphoria, it has its most recent hellish experience of the late stages of gestation and birth reinforced. There is no doubt that we are letting our newest members know they will not be able to move freely in life, have freedom, or express themselves freely. It is no wonder that depression is a pandemic in modern society and antidepressants are sprinkled over the masses like holy water.

Baby Abductees and Masked Medical Aliens

Fox_Mulder's_abductionFinally, a later perinatal element is inserted in the “Fire In the Sky” scene in that the struggling abductee, covered in the elastic membrane sheet, is lying on an Jacobs-Ladder-Artcrpdthe_joker_straight_jacketalien’s medical table. In the same way a baby, right after birth, endures the struggle for breath, caused by premature umbilical cutting, as it lies on the medical table and receives “processing” by medical personnel who to the fetus are alien-looking—that is, they have prominent eyes and lower face not pronounced because covered with surgical mask.

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wyeuacsd2gb6bgsThe point of bringing out the occurrence of these media images is that the projective systems of our culture—our art—are reflecting our collective changes in consciousness: Specifically, the evolution of our consciousness as it is confronted by this unconscious pre- and perinatal material…or, as some psychohistorians would have it, the “collapsing” of our “ego strength” as we are “threatened” by these “dangerous” perinatal elements.

Birthing Into Everyday Life

clip_image006imadddddgesWhether these images are indicative of a healing crisis or are the opening of a Pandora’s box—that is to say, whether they will they lead to the armageddon that many are predicting or to a consciousness evolution and a new Earth—will be something for us to consider further on.

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Meanwhile, let us look at how these elements, not only show up in our collective media dreams, but fashion the very furniture of our everyday reality.

To Be Continued with Wounded Deer and Centaurs, Chapter Three: The Perinatal Furniture of Everyday Living

Return to Wounded Deer and Centaurs, Chapter One: We Are a Fever

Enjoy your own virtual emergence by following the pics below:

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Now add a blissful period and go back around again; that’s the way it works in life.

Continue with The Primal Screen: The Doors of Perception Stormed and The Perinatal Rising — A Kaleidoscope of Postmodern Life

Return to We Are a Fever, Part Five, The Perinatal Unconscious: Why We Are Committing Ecocide and Seeking Species Suicide

Footnotes

1. For an analysis of the pre- and perinatal elements of “Independence Day,” see Anne Marquez’s article on the Primal Spiritwebsite:‘Independence Day’: Pre- and Perinatal Adventure in Film.”

2.The text for “Birthing, Forgetting” can be found at “My Beginning, At Least the Part Anyone Could See: Birthing…Forgetting (a short story) on my site, SillyMickel Adzema’s Life – Autobiography. It was originally published in – Michael D. Adzema, “Birthing, Forgetting (a story).” Primal Renaissance: The Journal of Primal Psychology, 2(1), Spring 1996, pp. 65-76

Birthing, Forgetting (a short story)

An audio reading by the author of Birthing, Forgetting, can be heard by following the link above to the audio site or by clicking the audio player below.

http://ecdn0.hark.com/swfs/player_fb.swf?pid=zgxsgyzhkm

For background and elaboration of “Birthing, Forgetting” listen to the audio,

Some Primal History and Prologue to “Birthing, Forgetting”

The audiocast of “Prologue to Birthing, Forgetting” can be heard by following the link above to the audio site or by clicking the audio player below.

http://cdn.hark.com/swfs/player_fb.swf?pid=hwvpxzhffh

3. See Stanislav Grof on this at “Planetary Survival and Consciousness Evolution: Psychological Roots of Human Violence and Greed

Continue with The Primal Screen: The Doors of Perception Stormed and The Perinatal Rising — A Kaleidoscope of Postmodern Life

Return to We Are a Fever, Part Five, The Perinatal Unconscious: Why We Are Committing Ecocide and Seeking Species Suicide

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Birthing Into the Media and the Perinatal Zeitgeist: Everything You Always Wanted to Know About Being Born But Were Afraid to Ask

Apocalypse No! Chapter Eight: The Perinatal Media

ET, Phone Mom – Of Aliens, Toothy Vaginas, Satanic Cults, and Explosions: Everything You Always Wanted to Know About Being Born

With these elements of birth experience in mind, let us look at some of the forces and elements, unprecedented and otherwise, that characterize our times.

Baby and Fetal Projections on the Silver Screen

Fetus in the Sky with Diamonds…And Oh, the Shark Has Pretty Teeth, Dear…

clip_image003_thumbIn these strange days, movies, TV shows, and books are rife with perinatal themes: From the famous ending image of the movie “2001,” where the fetus is pictured against the blackness of space as a newborn star…to some of the most popular and lucrative movies of all time—”Jaws,” for example, with its huge vagina dentata shark mouth lurking in the depths of the unconscious (the ocean), signifying the trauma we have around the mother’s vagina, the mouth ringed with teeth—the ferocious looking teeth symbolizing the pain and death elements of birth experience.

Other examples of perinatal imagery in the media include those in the movie Brazil”—the main character being haunted by hordes of infant/fetal faces in particular; “The Abyss”; “Jacob’s Ladder,” and “Close Encounters of the Third Kind”—large-headed fetal looking aliens again.

ET, Phone Mom!

Psychodynamic as well as perinatal sequences are displayed in “The Wall” and “Brainstorm.” There is the fascinating womb and fetal symbolism in UFO movies like “Cocoon”; “Cocoon: The Return!”; and “E.T.”—with the fetal-looking alien wanting to “phone home.” And of course, we have seen obvious perinatal symbolism in “Independence Day,” “Fire in the Sky,” “Jacob’s Ladder,” “Joe Vs. The Volcano,” “Nothing But Trouble”; and in a recurring way on weekly TV series The X Files, Star Trek, Heroes, and The 4400, among many others.

“Avatar” is a near perfect depiction of a BPM I state that is interrupted by the later stages of pregnancy and threatened by a mechanized-technological birth. Everything is there as in the womb state: a perfect harmony with Nature…a world tree symbolizing the life-giving placenta…harmony with the Mother, who is the World Mother, a Goddess.

In the Narnia series, the children find a “secret” doorway at the back of a wardrobe (womb symbol) and go from their normal realm into another magical realm. In this—as in many other depictions, such as “Alice in Wonderland,” “The Matrix,” and “The Wizard of Oz”—we can see both a re-creation of the birth sequence but also the message (from our unconscious selves) that one needs to go back through and re-experience that sequence, as it was left incomplete. This magical realm is thus the womb. And in it lie many of the spiritual truths that we forgot when we came into the world and was overloaded with the pain of birth, which pushed our connection with Nature and the Universe into unconscious memory.

There is a plethora of more recent films rife with perinatal elements: Notable are the Matrix series, “Total Recall,” the Star War series, “Dark City,” “The Lathe of Heaven,” the Alien series, “The Tree of Life,” “Ace Ventura: When Nature Calls,” the Batman series, the Hannibal Lector series, “Suckerpunch,” and the Star Trek series. There are too many more to mention.

In addition to its prevalence in science fiction movies, it is replete in the symbolism of horror movies. When you understand this symbolism, you find it saturates the silver screen, popular television, music video and imagery, and the electronic media and arts

Everything You Always Wanted to Know About Being a Baby

Other movies indicating the interest emerging around pre- and perinatal themes are “Look Who’s Talking” and “Look Who’s Talking Too,” which demonstrate a belief in sperm and egg, womb, and infantile consciousness far beyond what mainstream psychology wants to believe.

clip_image005_thumbAlso, there is the hilarious sperm sequence in Woody Allen’s “Everything You Always Wanted to Know About Sex” in which he and a slew of others are dressed as individual sperm and dialogue about their upcoming great adventure.

This idea that sperm and ovum have consciousness can also be heard occasionally in comedic monologues on television and elsewhere.

Boob Tube With a View

clip_image007_thumbSpeaking of television, there was that very interesting and much heralded episode of the Moonlighting series in the late Eighties which—coincidentally employing an article and book title of mine, “A Womb With a View”—showed Bruce Willis in a womb-like enclosure as a fetus viewing, with the help of a higher spiritual ally, the upcoming events of his life. This plot idea was also an amazing, perhaps synchronistic, mirror image of a short story I wrote in 1979 titled “Birthing, Forgetting.” [Footnote 2]

A Hundred Monkeys and Counting

I point out the personal synchronicities because they speak of a “morphic resonance” phenomenon indicating ideas whose time has come. Be that as it may, the episode of Moonlighting is further proof of the growing belief in womb consciousness and interest in perinatal events.

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Perinatal Faces Poking Out Everywhere

Other perinatal elements that are currently manifesting include:

Satanic Cult Abuse

Reports of Satanic cult abuse graphically depict BPM II perinatal elements. We hear of children and others being immobilized, tied up, and otherwise disempowered. Oftentimes they relate being forced to spend extensive periods of time trapped in tight places and/or symbolically or literally buried under ground.

BPM III elements in cult abuse include the sexual excess/abuse and bloodletting or blood use as in its being poured or used in “anointing.”

Cult abuse in film, as well as in real life, especially depict BPM IV elements: Cutting, hurting, torturing, sexually and ritually abusing and “sacrificing” are all very much like an infant’s perception/feelings of its experience of its being “attended” to after birth.

The fact that cult rituals often involve a number of other people focusing on an individual who is strapped or held down—the immobilization prior to birth, as well as the helplessness after birth—on something raised, like an altar or table, and then “worked upon” in some way or other is a particularly graphic expression of a neonate’s experience of being on a medical table after birth, watched by a number of others and worked on.

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The ritualists’ use of robes and costumes, especially if they involve covering the face or the wearing of masks, is also not that much different from the way a baby in modern times perceives its welcoming into the world among masked and robed medical personnel.

Serial Rapists and Killers

One can hardly turn on the tube without finding some movie or TV show that is depicting a serial killer or rapist. I do not need to belabor the flooding of news programs with the same kind of material.

But the number of reports relative to victims and harm involved is far less than victims and suffering involved with other horrific events, such as hurricane, earthquake, nuclear radiation, ozone loss, or flood catastrophes, which have less or no perinatal charge about them. This preoccupation with serial violence, torture, and rape indicates BPM III elements of struggle, violence, sexual perversion and excess, as well as the death and torture aspects of being born.

Tube and Cinematic Violence Galore

Simply the amount of violence on television and in movies is a perinatal indicator. These depictions simulate, and stimulate, perinatal feelings in plot elements which are repeated to death.

Matters of Life and Death

We see clichéd regurgitations of being in life and death situations from which one is saved in the “nick of time.” This is exactly how it seemed when one was “miraculously” born, suddenly, after what seemed an endless time of suffering in which death was felt to be the only possible outcome.

It’s Not the Fourth of July, However….

You do not seem to be able to see a story that does not have explosions galore.

Such “fireworks” are examples of extreme compression suddenly becoming immense expansiveness and thus symbolize the sudden perinatal change of state from compression inside the womb to previously unknown expansiveness outside the womb as well as the sudden release of tension and compression upon being born.

Explosions also symbolize the immediate assault of sensation upon coming out of the sensorally “muffled” womb.

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There is lots of violence, and of course also sex. Such extreme degrees of sexual explicitness and especially sexual perversity point to strong BPM III influences.

Gag Me With Asparagus – Of Time Travel, Claustrophobia, Hell, Cesarean Births, and Death by Vegetable

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Newborns and Monsters and Hells, Oh My!–Of Time Travel, Claustrophobia, Cesarean Births, and Death by Vegetable

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Monsters, Vaginas, and Hairs, Oh My!

4340imagghgfjjesRecurring themes of monsters that eat one, for example, The Alien movie series, indicate the feelings of fear of death in the mother’s womb. This is often portrayed as a huge, threatening mouth surrounded by teeth and, sometimes, hair. This is a symbol found throughout the world. Social scientists refer to it as a vagina dentata “mouth.”

clip_image00110511066-largeOne most obvious portrayal of this was Steven King’s 1995 miniseries, “The Longoliers.” The monsters, shown at the end, turned out to be flying, ball-shaped vagina dentatas, complete with hair covering, as in pubic hair. Though Steven King meant this to be frightening, from the perinatal perspective these flying, attacking vaginas are absolutely hilarious.

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Time Travel Equals Age Regression

Interestingly, the appearance of the Longoliers is caused by the characters going back in time. Though King has them going back only fifteen minutes, and not age regressing to birth, I thought the fact of time regression was telling in the extreme.

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Time travel in general is indicative of the need to go back and fix the trauma of these early events. The Back to the Future series is merely one example. We all know many others.

We have Ever Increasing Cesarean Births

imagdfhuesThe perinatal roots of these movies are indicated in other ways, e.g., the baby alien, in “Alien,” being “born” out of the abdomen.

While a “baby” emerging from a person’s midsection is obviously indicative of birth, clip_image003the fact that it comes bursting out of the belly, rather than the vagina, might also relate to the ever increasing use of cesarean section as a means of birthing in this century.

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“Noah, How Long Can You Tread Water?”

neo-wakes-upclip_image004Important perinatal influences are evident in the frequency of scenes of death by suffocation, in water or otherwise.

We are immersed in water before charybirdsbirth, placental fluid. nightmare.2989618237_1_3_5JdRXsNxNear the end of gestation, the mother, when standing, constricts blood vessels to the fetus. This reduces the blood supply to the fetus and thus less oxygen is received. It is called fetal malnutrition. Prior to birth we humans experience suffocation and claustrophobic feelings—we “can’t get enough air”!—which seem deadly and unending.

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Aw, Hell

The timelessness of prenatal experience at this point—when not getting enough air—feels horrific, an unending nightmare. This part contributes to human ideas of places of forever, endless suffering, for example, hell.

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Death by Vegetable

“I Agree, But I don’t Like Having It Shoved Down my Throat!”

clip_image005428004336_a0275cf170Very interestingly, a more recent addition to this complex has something being forced aggressively down the throat of the victim.

I have noticed an increasing frequency of this version of suffocation in the visual media ever since I first remember seeing it in a scene from the movie Alien, where a rolled-up magazine is used as a murder weapon by being forced into the victim’s mouth. It seems to be becoming a writer/director’s fad, as increasingly creative ways are being imagined to play it out in scripts.

Fire In The Sky 2

Told You I Didn’t Like Vegetables!

Alien-mouth-e1288810712566Another common variation is when the suffocating item comes out of the person’s mouth.

In this frequent scenario, the victim is “infected” with some kind of alien spore which grows inside of him or her and comes thrusting up from inside of the person’s body and out of the mouth, lodging itself there. Often this alien extrusion looks something like a huge asparagus emerging. thestuff9The perverse sexual aspect of the image also has roots in perinatal, specifically, BPM III experience.

This “vegetable” eruption always happens suddenly and climactically, and almost always it results in death. Scenes like this I have observed in the movie “Jacob’s Ladder,” several times on the hit show The X Files, and in many, many other shows.

Pink Floyd - The Wall - Cover

Gag Me With a Toxin.

matrix-pod (2)This version of suffocation probably has its roots in the force-feeding of toxic elements to the fetus in the womb through the umbilical cord, and is more definitely related —the symbol is probably an amalgamation of both feelings—to the ungentle clearing of fluids clip_image007from the neonate’s mouth by the attendants immediately after birth.

This latter connection—the ungentle mouth cleaning of birth fluids—I can personally validate through my own primal experiences. Apparently I was not alone in being treated this way as a newborn in the 1940s and 1950s in America…hence its popularity.

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Becoming Thingified – Modern Birth Tells the Baby, “Welcome to the World, Now Screw You!”

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“Welcome to the World, Now Go to Hell!” – A Baby Becomes Thingified Through Modern Birth

Treated Like a “Piece of Meat”

clip_image0071enchufesThis practice of ungentle mouth clearing—performed by hurried or insensitive, and uninformed, medical personnel, unaware of the consciousness and keen feeling awareness of the neonate—can leave one with lifelong feelings of being treated like a “thing.”

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The Wall Movie 1982 (7)

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The Wall Movie 1982 (18)

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b,w,brick,in,the,wall,movie,music,pink,floyd,the,wall-78ce4bddae7c105871bf6dba61dfc9ef_hbrainwouldntdieMany report having overwhelming feelings of being dealt with mechanically and without respect. It is common for folks to have feelings of “not being seen.” People can have lifelong body memories of having one’s mouth stretched wide.

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428004336_a0275cf170_thumb1images (2)These feelings, while they may be reinforced by later life events, oftentimes have roots that go back to a time immediately after birth. At this time, too frequently, the jaw is pulled down for the insertion of fingers and suction devices. It is done in a manner that is excruciatingly painful for a being that has spent his or her entire life—nine months—previous to that in a relatively placid environment with its mouth closed.

Jacobs-Ladder-Artcrpdimage_thumb22This ungentle procedure is also felt as an assault in that it occurs, usually, as the first event a baby is confronted with upon release from the womb.safe_image.php Its tiny mouth—never before fully opened—is often the first focus of attention, as large fingers (relatively) reach in, stretching the previously unopened and unstretched (virgin) mouth…breaking the metaphorical oral hymen of the neonate in a way that is felt to the infant to be comparable in pattern and violation to oral sexual assault.

Fire In The Sky 2

Did you ever wonder why so many folks have such terror of seeing a dentist? Did you ever wonder what is the fascination with water-boarding and torture in recent years?

Victims Du Jour

Fox_Mulder's_abductionMonica-Bellucci-Photoshoot-Matrix-Movie-9By the way, I might mention that while genuine sexual assault and child sexual abuse is a reality that has long been with us and is only now really coming to light (thankfully), the similarity of this early perinatal experience of ungentle mouth clearing to sexual assault may have something to do with the epidemic of reports of infant sexual abuse that are coming out of counselor’s therapy rooms.

MSDTORE EC0252886707crppdConfused interpretations of these reports can happen because most counselors and psychotherapists are ignorant of birth and perinatal trauma and yet more and more of them are allowing bits and pieces of regressive techniques into their standard professional arsenals.

In addition, they throw in these techniques, most often, without qualification or experience with these techniques, and oftentimes out of knowledge gained solely from books or second-handedly…not to mention rarely, robocop07because of professional arrogance, having experienced or undergone these regressions themselves.

Combine this inexperienced dredging up of perinatal material with the fact, as I will be continually reiterating throughout this book, that people these days are closer to their perinatal unconscious, medusa3to their birth trauma. One can see how it can easily happen that when feelings of being orally assaulted after birth begin arising within the counseling rooms,medium_wruef9ycqa0crppd they can be interpreted, by therapist or client or both, as early sexual assault—that being the interpretation du jour, so to speak, and because of coursethe-matrix-revolutions-give-me-a-chance-film-photo-u1crppd both are ignorant of the fact of birth trauma—its having systematically been resisted and purged from mainstream professional and lay common knowledge, beginning with Freud’s rejection of Otto Rank’s discovery of it, right down to the present. (But let’s not get into that just here.)

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Welcome to the World … Now f u

blog pic 2 (8-6-11)89615_v1Regardless, the ungentle mouth cleaning is felt not just as a physical assault, it is an outrage to the infant’s tender psyche as well—leaving a lifelong and fundamental imprint undergirding and helping to sculpt all later experience—in that it is the first “welcome” to this world. That is to say, the birth struggle ends, there is release… (finally!) … then, “Welcome, baby” — yank! stretch, robocop20feel manipulated and used, bush_borgtreated like an object and with no sense that one is a living aware being.

With this in mind—that this “Hello–fuck you!” experience can be the primal (first) experience of this world, of other -SGC- Unnatural eyes packCRPDpeople, of society — it may be easier to understand the profound fear and anxiety toward other people that resides inside many of us—for example, as in the book title: I’d Rather Die Than Give a Speech!

silence1This also sheds light on the seemingly “mindless” devils-advocate-560-thumb-560xauto-30306violence and rage that is directed back against anonymous people and society in general by certain types of criminals. They can be seen to be teacherteethMacting out edsullivancartoontheir “fuck you” welcome into the world by attacking back and outwardly, rather than this early rage energy being channeled into some of the other, more healing or at least not harmful, responses possible to early assault.

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All in All, It’s Just Another Face in the Wall – Threatening Enclosures From Which One Wishes to Push Out or Escape

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All in All, It’s Just Another Face in the Wall – Enclosing, Threatening Things That One Wishes to Push Out or Escape From

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Faces Coming Out of the Walls

TheWallFaceScreama-brazil-criterion-single-720-brazil-4crppdI would like to refer to one final perinatal indicator in the visual media, which has been capturing my attention of late…seeming to be coming out of the very walls at me! This is—what appears to me to be—a recent and new sort of perinatal symbolism, at least in Western culture.

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hopkinscrosbycrppdWe have had, over and over again, the image of the “evil fetus” erupting from the abdomen,AlienChestburster as in the classic scene from “Alien” as well as that of it emerging from the mouth—as examples, the “volcano-new-species” episode of The X Files and the dance hall scene in “Jacob’s Ladder”—indicating fetal emergence mixed with ungentle neonatal mouth clearing (see the previous section titled, “Gag Me With Asparagus“).

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Membrane Walls

But this new variation of “fetal emergence” has human faces pushing through membrane-like elastic walls!

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Ventura Out of the Womb

clip_image002A good example of this occurs in the movie, “Ace Ventura, Pet Detective, When Nature Calls.” In the Ace Ventura movie, Jim Carrey emerges from inside a mechanical rhino with virtually all birth elements evident.

He is holed up in a hot and suffocating “womb”—that is, he is inside the rhino.

ultrasound2019-apr-07He becomes engaged in a desperate need to get out. Interestingly, the fan—the source of comfort in the rhino (womb)—stops working Scream6gafter a while. This is exactly analogous to the way, when we are fetuses, the nurturing elements of the mother’s womb “turn off,” in the last stage of gestation, making the womb quite an uncomfortable place indeed.

We see him pushing his face against the elastic, membrane surface of the rhino’s posterior in a way graphically suggesting perinatal emergence. The tourists watching this explicitly state that they see it as the rhino giving birth.

Potter-Frontcrppdfacetotal_recall_stomach_creatureWe witness the actual “birth”: Jim Carey (Ace Ventura) struggles to make the opening larger and to come out. Finally, he falls, naked wet and curled up fetal- or baby-like, to the ground. The hilarious—and outrageous to the tourists—part is this image of a rhino giving birth to a full-grown naked adult human “baby.”

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Couldn’t Fight Your Way Out of a Plastic Bag!

hoardnewspaper (2)TotalBitchStoleOurMilkCrippledOurNationOther examples of this element of human features pushing through membranes has individuals completely covered and suffocated in membrane-like elastic sheets from which they cannot escape and in which they appear agonized and struggling. A good example of this was in a scene from “Fire In the Sky” that was shown repeatedly on TV to hype the movie when it came out.

Scream7g (2)Even the invention and use of straight jackets shows our preoccupation with the perinatal, especially as concerns our mental health or well-being. For the message there is that if you “get out of control” you will be put back in a place where you will be forced to comply and will have to learn to deal,b,w,brick,in,the,wall,movie,music,pink,floyd,the,wall-78ce4bddae7c105871bf6dba61dfc9ef_h as all the rest of us do, with the “existential fact” of needing to conform to the dictates of an overwhelming, dominating, and pervasive other world.

headbangingExistential fact is in quotes to point out that this is not an essential fact of existence; rather they seem to be facts to humans because of the experience we share of being in constricting wombs Robbieabysswhich become uncomfortable and suffocating increasingly near the end. This is an example of what I have termed elsewhere, biologically constituted realities.

Of course a similar thing—forcible “re-education”—could be said for the use of jail cells,Open mask solitary confinement, and enclosures like “The Hole” during incarceration. Simply the fact that we have a much greater percentage of our population in prisons than any time previously points to our mania of trying to control this aspect of our feelings from our origins…and of an emerging perinatal unconscious triggering the reaction. In former times, torture devices often employed devices of compression, suffocation, constriction…of total-recallthe entire body or just the head…and often added the element of prenatal discomfort by adding torture while so enclosed. The Iron “Maiden” is such a device. Note the feminine being employed in the name itself. Could that be any more clear that it is meant to be a painful, tortuous re-creation of being inside one’s mother?

Modern movies showing such devices or procedures are indicative of these perinatal elements coming to the surface obviously. One example is “The Man in the Iron Mask.” In a similar respect, I have already mentioned our current preoccupation with water-boarding style torture. In employing suffocation, it is an effective and brutally inhuman way of stimulating people’s perinatal pain, just as straight jackets and jail cells are intended to.

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This House Will Eat You Alive!

I saw a most potent portrayal of this new perinatal element in the 1996 movie by Peter Jackson, with Michael J. Fox, “The Frighteners.”

1218885566_5__3ji-e1320373810749This movie’s plot involved a house being somewhat alive and gobbling people up into the walls. The ingested people would try to emerge from the house’s walls. The walls being like elastic when they would do this, the features of their faces could be seen pushing through to the point even of the individuals being identifiable.

hell_night_3These swallowed people could not get out of the walls. And they would be the next ones trying to lure their loved ones and friends into being gobbled up by the house, the same having been done to them, which had resulted in their being taken into the walls initially. Sounds like a modern, very perinatal variation on the Pied Piper theme.

Pink Floyd - The Wall - CoverBut the former victims who, once pulled into the walls, themselves become perpetrators also is a powerful metaphor of the way primal trauma and child abuse of all kinds—including genital mutilation—is passed from one generation to the next. Vampirism has this telling quality as well: Once you are “bitten,” you are compelled to do it to others. In the same way all child abusers were abused themselves as children, as any psychologist will tell you.

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Worse Homes and Gardens – Houses, Prisons, Schools, Dungeons, UFOs and Spaceships…and Their Obstetricians

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Worse Homes and Gardens – Houses, Prisons, UFOs and Spaceships, Dungeons … and Their Obstetricians clip_image0023

House, Cave, Squids

Anyway, this portrayal of a house that gobbles up its victims, bizarre as it sounds and as it looked, can only be explained by looking into our perinatal imprints; and it is rife with such elements.

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To start with, a house — being an enclosure in which humans protect, nurture, and take care of themselves clip_image0043once born into the world—is perhaps the most prevalent womb symbol that exists. It is right up there in importance with caves, oceans, swallowing beasts—especially beasts of the ocean like whales (Jonah), sharks (Jaws), and octopi or giant squids.

There was a recent movie of this squid variation. Its plot development was of the “Jaws” genre. But in adding tentacles, it added elements of pubic hair and umbilical strangulation to the normal aspects of womb torture such as simple compression and suffocation.

image_thumb17_thumbHouse; cave; water; devouring dragon, as in Harry Potter; whale or shark; automobile, especially buses or motorhomes; boat, especially a submarine; indeed all vehicles of transition, nonmechanical as well as mechanical as in trains and airplanes; the deep forest, as in Avatar—anything in fact with elements of being surrounding and engulfing of one and as nurturing or threatening one, or both, are womb symbols, as we have known for a long time.

Prison, Jail Cell, Schoolroom = Womb

Open mask_thumbIn the category of womb symbols that are places that enclose or “house” one that are uncomfortable, constricting, limiting of one’s ability to move around and in which one is made to suffer, even be tortured, we need to add prisons, dungeons, jail cells, and schoolrooms. Breaking out of prisons, being rescued from tight, enclosing places or situations in which one is not free—that is, can not “move freely”—are specific portrayals of the birth process itself. Contemporary film is flooded with plots and scenes depicting such escapes and/or rescues. Any constricting surround is a womb symbol, including oppressive social and political conditions from which one cannot escape and under which one is not able to move freely, to enjoy “freedom”; especially regimented ones under which one is tortured, processed, and treated anonymously and in an unfeeling, insensitive manner.

Schools and schoolrooms are especially strong womb symbols for they are places in which a person is supposedly nurtured and helped along in one’s development, exactly as was the purpose and situation in the womb. Libraries are the benign version of womb-like “schooling” in that the element of volition or choice in the matter exists. When they depict being constricted or made to suffer, it becomes even more obvious, depicting as that does the later stages in the womb which are uncomfortable and often hellacious.

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The Wall

wall-poster_thumbIn the school sequences in the movie, “The Wall,” there are other perinatal elements potentiating some of the scenes. b,w,brick,in,the,wall,movie,music,pink,floyd,the,wall-78ce4bddae7c105871bf6dba61dfc9ef_h_thumbWe have anonymity, indicating not being seen in the womb; fetal faces; tortuous “development” and passage from one state to another especially as in being shoved through a wringer or meat grinder; and faces coming out of walls or having an appearance similar to that.

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Houses and Spaceships Are Real “Mothers”

One lengthy explanation of this kind of symbolism as it is connected with “the Mother” is the classic work by the Jungian, Erich Neumann, titled, The Origins and History of Consciousness, which he himself based on other even earlier analyses of mother symbolism and its association with enclosing and enveloping sorts of thing.

At any rate, among all these, the house is probably the most popular symbol today. It would seem to be used more in the visual media as a womb symbol than any other, currently. With the increased interest in science fiction, the spaceship is perhaps coming in second, but even that distantly.

Being spaceships, UFOs are obviously womb symbols. Carl Jung once speculated in writing that the upsurge of UFO sightings indicated a rising urge for psychic unity in humans. While this is true on one level, on a deeper level, they are symbols of reintegration with our repressed traumatic womb experiences. Space travel is transition from one world to another in general. And the vehicle of passage is a UFO or spaceship … in which one’s needs are taken care of and one is involved in passage or transition … It is not surprising that often in the course of this transition, space travel, the space voyagers of the silver screen encounter odd and horrifying developments.

Notice how we say “mother ship.” UFO type spaceships are so often depicted as round or spherical. Indeed, we have elaborate developments of these themes in the Death Star depiction of Star Wars–a round enclosed place and habitat associated with dread and death …

“You Will Be Assimilated.”

The variations on this are themselves telling. We have one instance of a cubical habitat in space…a square, not round, spaceship. What better way to show how terrifyingly different the inhabitants are from natural, biological beings. For womb equals round, flowing lines as in Nature, products of a physical or biological world, one of life and dealing with living and animate things. Whereas to indicate that these beings are mechanical, unnatural, robotic…products of a mental world only, one of death and dealing with inanimate, non-living things…machines…straight lines are employed, implying the worlds of engineering, mathematics, geometry…of the mind only, not of the physical or biological worlds or the worlds of feeling and experience. Implying a world of non-feeling and non-experience is horrifyingly akin to implying a death-like existence.

Star Trek aficionados will have picked up by now I am referring to the Borg and to their cubical spaceships/habitats. We have to make the connection that the appearance of symbols of machines, robots, androids, and such with womb symbols–increasingly prevalent in modern and postmodern times–is easily attributable to the fact of our ever increasing mechanization of birth…in which, as I was pointing out in the previous post/section, humans are “thingified” and turned into “human robots.” And, yes, these are horrifying and death-like experiences that we undergo at our beginnings and subject our incoming members to.


Worse Homes and Gardens. Is It Any Wonder It Is Haunted?

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clip_image007_thumbI remember watching an old movie from the “Amityville” series. As most people are aware, in any of these movies, it is the evil house that is the source of the horror. This goes back at least to Edgar Allen Poe’s “The House of Usher.”

Yet this plot idea of an evil house, which must, in the end, come crashing down in flames—indicating the explosive and fiery birth, BPM III, which signals the release from the evil forces—was boringly evident in films in the Twentieth Century.

Mad Doctor Frankenstein, the obstetrician

Related to this, taking this theme back in time, clip_image0023is the ideas of dungeons or castles…with mad scientists, no less—obstetricians, perhaps?

At any rate, in this idea of a house that “gobbles” one up, as in “The Frighteners,” we have the bringing together of two of the most predominant birth elements in film—an evil house and a devouring beast. That fact of a doubling of perinatal elements alone is indicative of a plot saturated with perinatal influence.

Through the Looking Glass Into Parallel Universes … But “There’s No Place Like Home”

Through the Looking Glass Into Parallel Universes, But “There’s No Place Like Home”

Origins of Parallel Universes

But this idea of something coming through the walls, membrane walls, is both fascinating and telling in the extreme. It speaks to other perinatal elements and feelings.

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I might start by pointing out the element of there being another realm small_portal pepper spray copinto which people go and from which people are rescued (with luck). There is a barrier between the two realms—a permeable, elastic barrier. Anytime you have this other realm you are talking about either birth or death or both. Oftentimes it is both, for it is felt that to go back to the time of being in the womb (“regression”) is akin to death.

Of course we get this idea that birth is death, for one thing, because of the fact that at that time—in the late stages of pregnancy with fetal malnutrition, lack of sufficient oxygen, suffocation, and so on—there was a sense of impending death, and oftentimes actual vital life threat to the fetus. jacobs-ladder-mccaulay-culkin-and-tim-robbins_thumbWe see our beginnings as dire, for another thing, because the actual time of being born is analogous to a dying to one state in order to be born into another. Actual birth, BPM III, has most often been related to feelings of death/rebirth.

So of course, for these reasons, anything having to do with going across or back into that other realm is going to be associated with death.

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“There’s No Place Like Home.”

clip_image004EnglishGrof_DifferentDoorwayiconBut death is not the only aspect of crossing some kind of barrier into another realm. Related to the house theme we see how going through a membrane into another realm can take one into another place where one has adventures and rediscovers important understandings or is transformed or matured in some way.

platoscavehowlsmovingcastleimages

Wizard_Oz_Pepper_Spray_PigIn this category we have Alice going through a looking glass to go into Wonderland; Dorothy and Toto in “The Wizard of Oz” being transported — in their house, naturally — to another realm; and the back of the wardrobe opening up into the other land of Narnia in the classic children’s series by C. S. Lewis titled, The Lion, The Witch, and the Wardrobe. In Howl’s Moving Castle, a floating, traveling house takes the occupants to different places and into various adventures and scenes, like some kind of animated version of Sliders.

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Through the Looking Glass

Mia-Wasikowska-in-Alice-i-001Secret-Garden3And of course this is only the tip of the iceberg of works of literature, film, and TV that could be given: the magic mirror, often an antique one (of course),Close_Encounters_of_the_Third_Kind which opens up to another horrible or wonderful place or to a time in the past; or the secret passageway in a wall that opens, by means of some magical or technical maneuver and takes one into secret places—both wondrous and hideous.

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The hearth that spins around is particularly telling in that the hearth may be considered the “heart” or center of the maternal in the house, the prime source of heat and nourishment—as when in previous times it was the place in which the food was actually cooked. There are many other examples.

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The movie “Jumanji” with Robin Williams employed this idea laboriously and dramatically, with people going through walls into other times and places.

But the movie also included perinatal elements such as stampedes of gigantic jungle animals and even floods. Here again we see beasts that can devour or crush one, but also enveloping waters. In fact, when the flooding waters came through the wall, to accompany this element there was even the “mandatory” fight with a toothy beast!

This “Dark” Unknown

In this movie, “Jumanji,” as in too many others, the “other side” is depicted as a dangerous and often deathly place. This points to the vital life threat that we go through at the times of our birth, leaving an imprint of fear of it for a lifetime.

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Verny_SecretLifeiconLeboyer_BirthViolenceiconThis depiction of it and fear of it are both understandable and unfortunate. For, as I alluded to earlier, this idea of birth trauma has been vigorously resisted in our culture ever since it was first presented by Otto Rank. And we can attribute that resistance to accepting its reality to the fact that it triggers so much fear in people to even consider these perinatal influences.

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Aliens, Abductions, Hell … Birth and Death: Freedom Is Just a Membrane Away

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Aliens, Abductions, Hell, and Fear: Freedom Is Just a Membrane Away

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Love, Fear Relationship

Escape-Alcatrazfrighteners05-thumbTo put it another way, considering, as we now are, how imbued with death, fear, and pain is this time of our life, we are capable of seeing that there are good reasons why otherwise logical people would at all costs resist the idea of birth trauma and perinatal influences, the evidence be damned. We are fascinated by this time of our life. We play it out endlessly in our imaginations and collective dreams and, as we shall see in the next chapter, in our everyday lives. But we are utterly terrified of it. Indeed it is, as Janov once put it, the only time for most people that in life we come so close to death, other than our actual demise.

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To Hell With It…

clip_image001 13So to acknowledge birth is to face death and an inner memory of horror and a hell-like experience. These aspects of it are not going to lend to its being readily accepted among our intellectual currency.

Clients in the therapy rooms only face their perinatal memories when all other interpretations, memories, and early experiences have been made and integrated. The perinatal is the last and most gruesome of truths to face. It is faced only when all other options are gone and the truth alone will do.

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In the same way—since it is not easy truth—its acceptance into the arena of our common knowledge has awaited its necessity to be known and acknowledged. It has required our species survival being at stake for us to consider the deepest roots of our problems. [Footnote 3]

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Face Me, or You’re Mine!

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t10001And this book is primarily about that necessity to face the ultimate and horrible truths if we are to save ourselves. Not only are we closer terminator-2-1crppd2to our perinatal unconscious these days, we are—because of the precarious nature of our times, which our ignorance and denial of the perinatal heretofore has set up for us—required to face the perinatal “monster” or we are doomed. It is now the time to uncover the truth, to get to the root of the problem, or there will simply, eventually, be no problem, because there will be no people to have a problem or to recognize a truth or root of a problem.

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Fear and Freedom … Only a Membrane Away

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zyjbq2d56rkznqfucrrpd2Be that as it may, this recent development in perinatal imagery involving a membrane barrier between us and the perinatal realm is closer to our actual perinatal reality than any of the previous symbols put out in earlier times which showed a barrier between us and the perinatal. So this membrane depiction of the perinatal suggests an increasing closeness to the perinatal unconscious.

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Perinatal Spamming

T-1000We have progressed in our collective consciousness beyond hard walls or mirrors separating us from our perinatal memories (and horror), now they are just a membrane away. They are only a thin, elastic membrane away. And from the other side this part of ourselves calls out to us, pushing its face through—like the computer push technology, with all its annoying pop-up consoles and screens that won’t go away. Our births come spamming through to tell us what we need and to call us back to a realization of the truths we need to hear to save ourselves.

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terminator-2-1crppd1imadddgftggesGetting back to the membrane symbol itself, the perinatal elements of this new depiction are rife. Obviously the late stages of pregnancy have one in an enclosed elastic, membrane container—the womb—from which one cannot escape. Also, the fetus’s features in the latest stages are somewhat evident, can be seen and felt, on the surface of the mother’s belly, something like faces pushing out of elastic walls. And one struggles agonizingly during birth and endures intense suffocation through a great deal of it, just like those in movies who are surrounded by elastic sheets.

Skynet in the desert

All of this is then, in Western civilization, compounded after birth with tight swaddling. The newborn, curiously, is wrapped like a tamale in a way that he or she cannot move freely. So rather than remember the earlier womb experience of blissful freedom and euphoria, it has its most recent hellish experience of the late stages of gestation and birth reinforced. There is no doubt that we are letting our newest members know they will not be able to move freely in life, have freedom, or express themselves freely. It is no wonder that depression is a pandemic in modern society and antidepressants are sprinkled over the masses like holy water.

Baby Abductees and Masked Medical Aliens

Fox_Mulder's_abductionFinally, a later perinatal element is inserted in the “Fire In the Sky” scene in that the struggling abductee, covered in the elastic membrane sheet, is lying on an Jacobs-Ladder-Artcrpdthe_joker_straight_jacketalien’s medical table. In the same way a baby, right after birth, endures the struggle for breath, caused by premature umbilical cutting, as it lies on the medical table and receives “processing” by medical personnel who to the fetus are alien-looking—that is, they have prominent eyes and lower face not pronounced because covered with surgical mask.

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wyeuacsd2gb6bgsThe point of bringing out the occurrence of these media images is that the projective systems of our culture—our art—are reflecting our collective changes in consciousness: Specifically, the evolution of our consciousness as it is confronted by this unconscious pre- and perinatal material…or, as some psychohistorians would have it, the “collapsing” of our “ego strength” as we are “threatened” by these “dangerous” perinatal elements.

Birthing Into Everyday Life

clip_image006imadddddgesWhether these images are indicative of a healing crisis or are the opening of a Pandora’s box—that is to say, Earth rebirth or apocalypse—will be something for us to consider further on.

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Meanwhile, let us look at how these elements, not only show up in our collective media dreams, but fashion the very furniture of our everyday reality.

Continue with Apocalypse No! Chapter Nine:
Twenty-First Century Life –
Table of DisContents

Return to Apocalypse – No! Chapter Seven: “We Ain’t Born Typical”

Enjoy your own virtual emergence by following the pics below:

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Picture 8

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CareyArmsEmergingFromRhino

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Now add a blissful period and go back around again; that’s the way it works in life.

Continue with Apocalypse No! Chapter Nine: Twenty-First Century Life – Table of DisContents

Return to Apocalypse – No! Chapter Seven: “We Ain’t Born Typical”

Footnotes

1. For an analysis of the pre- and perinatal elements of “Independence Day,” see Anne Marquez’s article on the Primal Spiritwebsite:‘Independence Day’: Pre- and Perinatal Adventure in Film.”

2.The text for “Birthing, Forgetting” can be found at “My Beginning, At Least the Part Anyone Could See: Birthing…Forgetting (a short story) on my site, SillyMickel Adzema’s Life – Autobiography. It was originally published in – Michael D. Adzema, “Birthing, Forgetting (a story).” Primal Renaissance: The Journal of Primal Psychology, 2(1), Spring 1996, pp. 65-76

Birthing, Forgetting (a short story)

An audio reading by the author of Birthing, Forgetting, can be heard by following the link above to the audio site or by clicking the audio player below.

http://ecdn0.hark.com/swfs/player_fb.swf?pid=zgxsgyzhkm

For background and elaboration of “Birthing, Forgetting” listen to the audio,

Some Primal History and Prologue to “Birthing, Forgetting”

The audiocast of “Prologue to Birthing, Forgetting” can be heard by following the link above to the audio site or by clicking the audio player below.

http://cdn.hark.com/swfs/player_fb.swf?pid=hwvpxzhffh

3. See Stanislav Grof on this at “Planetary Survival and Consciousness Evolution: Psychological Roots of Human Violence and Greed

Continue with Apocalypse No! Chapter Nine:
Twenty-First Century Life – Table of DisContents

Return to Apocalypse – No! Chapter Seven: “We Ain’t Born Typical”

Invite you to join me on Twitter:
http://twitter.com/sillymickel

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America Since Its “Pleasantville” Fifties: Cultural Rebirth Aborted, Changing of the Guard Denied, The Elders on Life Support, and the Abomination Fills the Land

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Culture War, Class War Chapter Seven: Cultural Rebirth, Aborted

It’s a (Not So) Wonderful Life…for the World War Two Generation Compared to Their Boomer Children

War Compelled the Dashing of Dreams for WWII Gen Youth – It’s a Not-So Wonderful Life

Sixties Youth Ideals of Freedom – So at Odds with Their Parents Lives of Heavy Responsibilities

The paramount theme in “Pleasantville”—which is that thinking for oneself and following one’s own unique path and being open to the change that comes with that brings “color,” truth, and aliveness to one’s life—is truly a Sixties Generation idea. Again, it is not that it has never been thought of before. All great ideas have been thought before, but that does not mean they have been implemented on a sociocultural, macrocosmic level. Many ideas have remained in the realm of the solitary pursuits of philosophers and mystics and been exemplified only in individual lives. But the Sixties was such a time of turmoil because the values of individual freedom, personal passion, feeling and experience, questioning authority, and thinking for oneself were shared by so many Baby-Boomers and were so contrary to the values of the generation in power.

It’s a (Not So) Wonderful Life

An excellent example of how opposed the Sixties values are to those of the WWII Generation is found in that beloved movie of all time, “It’s a Wonderful Life,” starring Jimmy Stewart. In that film, the main character is prevented by circumstances from following his dreams. One event after another keeps him from leaving his home town. His story might be called “The Truman Show” in reverse for he comes to accept the loss of his dreams. He is rewarded for giving up his yearning for adventure with the warmth of a loving family and friends.

Nonetheless, he has been reduced to someone who simply follows a script or role and when it appears that he might fail in that role he considers killing himself.

Reassures a Generation

The movie is beloved and timeless, no doubt, because it reassures an entire generation and all those who have had to give up their dreams for whatever reason that their sacrifices were for a higher good and that it is a wonderful life after all.

Will never know what might have been.

It provides a rationalization against the painful feelings of knowing that one will never know “what might have been” by pointing out the truth that one’s life affects others and has meaning regardless of whether or not one has been fortunate enough to actualize one’s deepest desires, talents, aspirations, and dreams.

War Compels Dashing of Dreams

As mentioned, “It’s a Wonderful Life” calls out to and epitomizes the experiences and attitudes of the World War Two Generation in particular. They were called upon to fight a war, after all, which no doubt would derail many a young man’s (and woman’s) dreams. As in “It’s a Wonderful Life,” the circumstances that arise to prevent their following through on their dreams are imposed from the outside–the state of being at war and being called upon by a draft to enlist or else be enlisted. For the women, as well as the men who stayed behind, the war’s influence on their lives and the carrying out of idealistic schemes and dreams are only a little less pronounced. For, as in “It’s a Wonderful Life,” the war created a society heaving with needs and pain, which only the truly heartless (who wouldn’t have any dreams anyway) could not help but feel compelled to respond to.

Growing up too fast

In one way or another, the situation in the Forties, with the war effort and afterwards, created a generation who, except for the rare individual or one of unusual circumstances, was called upon to step up into mature responsible tasks long before the idealism of their youth would have preferred that they do so. And their generation is scarred for having missed this opportunity. They are individuals deserving of our sympathy; yet crippled they are nonetheless.

We Are the Centaurs (My Friends)… The WWII Generation’s Sacrifice Made the Idealism of Their Children Possible

The WWII Generation’s Sacrifice Made Sixties Visioning Possible

Mashing Butterflies and Drowning Kittens

This is not to say, however, that the generations before the WWII Generation were allowed their dreams and that the WWII Generation is unique in being crippled in its development. For we know that earlier child-rearing modes required the submission of children and youth to parental wishes (again, see “The History of Childhood As The History of Child Abuse” by Lloyd deMause). Therefore, dreaming or envisioning an adventurous life was not the norm. For much of the history of the world and in most cultures, indeed, even the selection of one’s spouse was decided by the parents. So much has our history–in both Eastern and Western cultures–been marked by the assassination of youthful dreaming, idealism, and choice that Shakespeare’s Romeo and Juliet can be said to be a revolutionary work in even depicting that this assassination of dreams is a tragedy!

Roaring Into Life

Still, the WWII Generation can be said to have been especially affected by this slaying of self, for they did, after all experience the heady freedom of the “Roaring Twenties” and the dreaming that preceded the Great Depression. In the Twenties, victorious in World War I and with it now put behind, America was coming into its youthfulness and was heady with its achievements. Unbelievable accomplishments and inventions in all areas of life were speeding up sociocultural change causing some to believe that a new era was around the corner, just within reach, an era unlike anything the world had ever known. This was the atmosphere in the Twenties when the WWII Generation were in their childhood or adolescence. It couldn’t help making a very strong, because of its being early, imprint on their expectations.

Suddenly Depressed

However, these dreams would be dashed in the Great Depression, during which time they would be adolescents and young adults, and they would be harnessed into struggling like their parents had to earlier and were now again struggling.

Getting a New Deal…Light at the End of a Tunnel

Still, as time wore on the dreams of a new world would be reignited with the idealistic union movement and the Franklin Roosevelt changes in the social contract that rescripted the relation between the society and the individual, creating a symbiotic one which enhanced them both as champions of each other. Folks would magnify the power of the person when united with others. They would dream of a fairer world in which the rich did not dominate with their wealth because the poor could balance the scales with their strength in numbers, adding to their individual power by joining in unions and by combining their votes in elections. They could begin to envision the light at the end of the tunnel of the Great Depression in which they might realize the freedom and adventure they’d glimpsed around them as children in the Twenties.

War. Shot Down Again.

So it is understandable that they would not wish to enter World War II when it began. And Pearl Harbor Day, when their fate was inevitably forged, when it became clear that for the second time the light of individual freedom would be extinguished, would become an important marker in their lifetimes–a day almost as much to be memorialized as their birthdays.

We Are the Centaurs (My Friends)

Sitting on the Shoulders of One’s Ancestors

For this we can pity the World War Two Generation. As in John Updike’s The Centaur, the World War Two Generation is depicted as a generation that was required to give up its dreams and do its “duty,” above all. It was required to carry out a script given to them by their society, not allowing them to follow their natural youthful ideals. And as in Updike’s novel, they are beaten down in a life that is regimented and has no “color,” spark, life, idealism, or dreams. They have become the robot-like residents of “Pleasantville.” But Updike points out in his novel that their sacrifice, despite the personal tragedy of it on the individual scale, is both necessary and noble in that it makes possible the realization of dreams by the generation that they gave birth to.

Prince in Exile and Hundredth Monkey: Good Old Boys Are Always the Last to Learn in America’s “Pleasantville”

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The Hundredth Monkey: Good Old Boys Are Always the Last to Learn in America’s “Pleasantville”

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The Sixties Generation Arrived

It is significant that the protagonist of change in the movie “Pleasantville” would be a young male, Bud (David). This is in keeping with legends of old where a young prince comes bearing the new knowledge. But in postmodern style, wonderfully so, he is drawn only reluctantly into this role and we see that it is women who are the real instigators, the least threatened by change. At first, David/Bud opposes his sister and argues for the status quo, maintaining that his sister, who is actually the first one to “break the rules” and thereby to bring color to the town, must abide by the script.

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The Prince in Exile

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The Prince is Schooled in Tradition

sitaThe “young prince” knows the rules well. This fits with legend, where the new ways are brought by a prince who is not ignorant of tradition; in fact the prince is the one who has excelled in training in traditional ways. (See also, Common Themes from Myth and Mythology in Modern Fiction, Prince in Exile.)

In the movie, David is in fact a Pleasantville trivia whiz. He knows exactly the way things are supposed to unravel, the way events are supposed to go.

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The Prince Is Reluctant to Break with Tradition

So when his sister first introduces color by introducing sex, he admonishes her. And when he also is tempted to a change in the “script,” he refuses at first. This is when Bud is offered homemade cookies by the young woman who would be his romantic partner. He refuses because he knows that, according to script, it is another young man who is supposed to get the cookies and end up with that particular girl. Despite his attraction for the young woman, his strong sense of maintaining the status quo, not rocking the boat, causes him to try to refuse the cookies. It takes a great deal of forcefulness on the young woman’s part to get him, reluctantly, to accept the cookies that he actually does want. So, again, it is a young, significantly “colorized,” woman who tempts him into a change in the script.

The Prince Brings Change, Without Realizing It, Just Being Himself

It is not that the young man does not have the makeup for accepting change. In fact, even before his sister blatantly brings about change, and therefore color, by rebelliously introducing sex, he has already sown the seeds of change, although unconsciously, when he suggests to his boss, Mr. Johnson, that he think for himself, instead of following a rigid script. This he does unconsciously and out of selfish motives in that he by nature is different from the character he is supposed to portray and so he does not play his role exactly as it is “supposed” to be played. Specifically, because he is not really the robot character he has replaced, he ends up being late for his job–which heretofore was a totally unheard of event.

The Hundredth Monkey

It is also significant that it is the young that are the first ones in the town to become “colored.” As in the hundredth monkey phenomenon, it is first the young, especially females, who are open to new experiences, ways, and ideas. Then it is adult females–in this movie exemplified by Betty Parker, the mother of Bud and Mary Sue—who are next to consider alternatives and new ways. Adult males are the last to turn to color, but among them it is the sensitive of heart, exemplified by the artist/soda-jerk character, Mr. Johnson, who “turn on” initially.

Good Old Boys, the Last to Learn

Last to become colorizedi.e., to be open to change and thinking for oneself—are the “authorities” of the town, in this instance, those on the Chamber of Commerce. And among these the most recalcitrant of all is their leader, Big Bob, played by J.T. Walsh, in his final film role before his passing away. Though Big Bob displays a pleasing and affable persona on the surface (for this read “good old boy”), there is an insidious Hitleresque quality to him which provides the suspense at the climax of the movie where he presides over the fate of the artist, Mr. Johnson, and the “young prince,” David/Bud.

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Abortion of Cultural Rebirth Always Begins With a Conservative Backlash by The “Religious Wrong”

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A Conservative Backlash by The “Religious Wrong”‘ Attempts to Abort the Generational Changing of the Guard in America’s “Pleasantville”

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“You Can’t Legislate Morals”

With the support of the Chamber of Commerce, we know Big Bob has the power to do whatever he will with the two on trial. slide_194730_434143_smallAnd since the events preceding the trial has included mob actions which have included a book burning, the attack and destruction of the malt shop, and the cornering, physical intimidation, and physical attack of “coloreds” by gangs—images common to modern times which has seen these sorts of events in actuality occurring in the civil rights and anti–Vietnam-War movements, and currently in democracy and freedom uprisings in the Middle East, America, and throughout the world in the Occupy movement—the fate of the prisoners is imagined to include the ultimate penalty of death.

“Conservative Backlash”

Indeed, this ominous possibility is promoted by the actions of the soda-jerk Artist who, at the trial, pitifully pleads for a compromise. This is pitiful since we know that his art is his life, that it is the one thing that has truly enriched his life and made it worth living.

Sitting at the Lunch Counter

We know of its importance in that, even after the attack on his malt shop, he defied the “rules” laid down by the town’s authorities which outlawed art and color by working with the Prince through the night to produce a colorful mural on the outside wall of his shop depicting the current events of the town and the feelings swirling about inside its residents.

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This defiant act by the artist is reminiscent of antiwar demonstrators, who got fired upon at Kent State, of civil rights demonstrators, who police attacked with dogs, and of Tiananmen Square demonstrators, who were rolled over by tanks, shot, and killed, and most recently of all the courageous men and women of the Middle East risking their lives for freedom and of the Occupy heroes throughout the world putting their bodies in front of the most dire, widespread fascism ever to exist.

Since this character, recently so courageously defiant, is intimidated into pleading for a compromise in which he would be willing to use only certain colors or where he would submit for approval by the Chamber’s leader his ideas for painting beforehanda compromise which his body language and facial expressions show, wonderfully acted by Jeff Daniels, is one near up against the very death of his soulwe know he fears for the loss of his physical life.

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“Just Sign This Confession.”

The compromise is too much like the compromises we have witnessed being offered and come to expect being offered to some of the Tiananmen Square and other political prisoners of recent times wherein they are required to do something along the lines of admitting their guilt, apologizing to the State for the trouble they have caused it, and promising to never again to engage in such activities…and only in the most benevolent of circumstance being allowed to continue anything like their former activities but if so only under the supervision and with the approval of authorities with veto power over their proposed actions.

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The Religious Wrong

So Big Bob and the Chamber of Commerce represent in the current social framework the Religious Right (sometimes referred to as the “religious wrong” and sometimes about which it is noted that the Religious Right is neither). Big Bob’s Chamber of Commerce represents Republicans, Tea Partiers, and those in general in our society who have succumbed to the rewards and threats of the World War Two Generation to live a regimented robot-like unfeeling passionless life; to become one of J. D. Salinger’s “phonies,” to abide by their misconstrued idea of “family values,” and above all to “behave” and not do anything to rock the boat of the status quo which might threaten the privileges of those currently enjoying power and wealth handed down, mostly, by heredity.

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Civil Rights Movement

It is highly significant that in the courtroom scene the “colored” would be sitting in the balcony, above the black-and-white men. One might say this represents their status as being an elevated state, something to aspire to, and yet not on the level where matters are decided. But even more so, this scene is important in that it is a near exact replication of the courtroom scene in “To Kill a Mockingbird,” wherein the balcony of the courtroom is filled with Blacks, another kind of “colored.”

This makes it clear that when the movie is dealing with the conflict between the adult males of the town and the “colored” it is referring to the Civil Rights movement.

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Revenge of the Octogenarians and the American Tienanmen Square – Culture War

Abortion of Cultural Rebirth, Aborted Changing of the Guard – The King Refuses to Die

The American Tienanmen Square—Culture War

The events in China’s Tiananmen Square more than twenty years ago so affected and still affects some of us here in America because we know at some level that we have experienced it before. What happened in China two decades ago is so much like what happened here four decades ago, somewhat less graphically, around the Vietnam War demonstrations. Let me explain.

Standing Before Tanks, Flowers in Barrels

For one thing, the images of the demonstrations in China, e.g., the lone man standing in front of the tank, were so like those of Sixties demonstrations, e.g., Sixties youth blocking the paths of soldiers and placing flowers in their gun barrels.

Revenge of the Octogenarians

And the result of both was the same: In both cases the opposition, the youth movement, crushed violently in China, subtly and behind the scenes in the US—at the command of an octogenarian generation, clinging desperately to power as much as to their waning physical frames.

The King Won’t Die

Assassinations—Character and Otherwise

We see the same pattern of violent versus subtle played out in the US as well where we no longer assassinate our president as we did with JFK, we character assassinate instead, as we did with Clinton and which the Tea Party and the wealthy right are trying to manufacture against Obama. One might say the WWII generation in America has gotten more finesse, with practice, in its beating back sociocultural change not to their liking and that the Chinese geriatric set didn’t have as much practice with it.

The King Refuses to Die

Nevertheless the results in both countries are the same. They involve the ultimate victory of sociocultural change in both instances being delayed until the dying off of an elderly generation in power—a generation refusing to die or hand over the controls at the proper time like the generations before them. Simply, the king won’t die!

Time is Running Out.

Time is running out for the octogenarians and ninety-somethings on either side of the Pacific.

The expected, supposedly inevitable defeat of the WWII Generation—their dying off—is portrayed in “Pleasantville” by Big Bob, head of the Chamber of Commerce, ending up fleeing the scene in the courtroom. (Strange coincidence, the actor actually died after making this film.) There are many ways his defeat could have been played out in the movie. I think it is highly significant that he runs away, never to be seen again, just as in the current context the dying off of the WWII Generation is a literal leaving of the scene, not an outright defeat, or some other means of change of power.

The King on Life Support and The Consequences of an Abomination: America Since Its “Pleasantville”

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America’s Aborted Changing of the Guard and The King Propped Up Mechanically: Since “Pleasantville”

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With these factors in mind, what have we experienced in the last two decades, as the Sixties Generation finally got its turn? As expected, it was at first quite different from what the WWII Generation had been serving up during its forty-plus years’ reign.

The Nineties

We saw the beginnings of cultural enlightening and progress during Clinton’s term in the Nineties. In retrospect it was a colorful time; it was an enthusiastic time.

The Nineties were bookmarked between the economic wreckage left by Reagan-Bush and their voodoo economics throwing money at the rich leading to a huge recession and a financial scandal—S&L Scandal—that involved, for that time, an extraordinary price tag for the country. And the other end was the assignment by the Supreme Court of the election to George W. Bush over Al Gore—a battle of a Sixties Generation member against a WWII Generation paid-for concoction, the W.

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A Culture War Raged

In between those two markers a war was waged, a culture war, whose battleseconomics, abortion, sexuality, cultural expression, war/peace, child abuse, spouse abuse; and whose personalities—Clinton, Gingrich, Lewinsky, OJ Simpson, Pat Robertson, Jerry Brown, Ross Perot—were detailed and rehashed endlessly via the daily news mills.

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The W

At the end, the installment of the W represented a resurgence, in typical Culture War style, of the dominance of WWII-type oppression and manipulation of the masses.

The King Propped Up Mechanically

b209568907yuppieIt was the abortion of the changing of the cultural guard that was naturally occurring. It was the King propped up mechanically, robot-like carrying out the dictums of those who once lived but were no more. It was an abomination of the natural order.

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The Consequences of an Abomination

And its consequences during the first decade of the Twenty-First Century were exactly what would be expected from an abomination like that.

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Monsters Don’t Really Die in Horror Flicks

220px-David_H._Kochmatrix-podThe WWII Generationlike the endings of horror flicks, which leave always a hint or part of the monster living on somehow, thus setting up a possible sequelleft behind part of itself in the form of the Eighties Generation clones and the Fifties Generation. And these folks ain’t going away any time soon! They are here in the Tea Party; they are here in the wealthy right; they are here in the ownership and guiding principles of the mainstream media, now become principal propagandist of the American patriarchy (the “filthy rich”).

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Millennium’s Second Decade—Same Old Culture War

Currently, in the second decade of the new millennium, the Culture War has erupted in Nineties fashions, pitting Obama now against the cultural regressives.

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The Wisconsin-style anti-cutback, pro-union uprisings and the worldwide Occupy phenomenon have brought the lingering issues out into the open in a style not much different from the rebellious Sixties.

It is the same old culture war/class war, now brought to furious and fiery life, as a struggle suppressed by a decade of domination by untruths would be, as it emerges even angrier for having to wait.

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The King’s Gotta Die Sometime! Dangers and Prospects, Zombie Apocalypse vs the WWW

The King’s Gotta Die Sometime! Prospects and Dangers in the Post-WWII-Generation World

However much we cannot know the future, and despite the seeds of WWII Generation values left incubating in the minds of Eighties and Fifties Generation members and emerging under tea-bag hats, we can hope that the vision of “Pleasantville” will eventually hold out.

Hopeful News

People Fight Harder to Keep What They Have…For Good Things They’ve Experienced.

Just as in the movie when after everyone has experienced color there is no semblance of a wish to return to a black-and-white world, so also we might hope that as our society turns more and more away from war-making, selfishness, race- and sexism, ecological destruction, and all the other WWII Generation evils left behind, and turns more and more toward economic prosperity, peace-keeping, loving our children and having honest relationships, and the reclaiming of our natural environment and ecological balance, there will be fewer and fewer who wish to turn back the times to the unreal black-and-white world of the “Blue Meanies.”

Reason for Hope

We see evidence of this in both the election of Obama and the high popular ratings for him since in office. Earlier we observed it in the great support for Clinton even during the assassination attempt on his character.

People of Hope

The approval ratings of both of these Sixties-side-of-the-Culture-War Presidents certainly is not comprised only of Baby-Boomers. Sixties Generation values are infectious because they offer so much hope. African-Americans of all ages supported Clinton overwhelmingly; of course they support Obama. We can certainly see that our black population would not wish a return to the black-and-white world that included discrimination and violence against them.

Women of all ages, for the same reasons, would not be expected to wish a return to a less individualistic status, to a subservient state. And the young will always be idealistic if they are shown any ideals, which is what we can expect the Sixties Generation to be doing for them, as they continue taking their seats in the Wise Elders section of the parliament of sociocultural creation.

Last Ditch Battle

We have seen examples of this change all around us. In fact the current frenzied attack from the Right can be seen as a desperate last ditch battle in a war they will inevitably lose. That is the good news.

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Bad News

How Bad the Aftermath, The Devastation Left Behind

The bad news is that, similar to the way the Republicans cleaned out the Treasury and left huge deficits and several wars on the desk of the incoming Democratic administration in 2009, thus hobbling it before it began, we have no idea how great will be the destruction left behind from these culture waging, albeit waning, authoritarians in the current context.

Heavy with Gold

With their gains in stealing from all classes of society below them in their last dying clingings of a dying old guard, a king who simply won’t die, they are heavy with gold. They have the means to buy much more influence than their numbers.

Their Power Is Magnified

The multitudes are growing in size against them, but with their wealth and with the technology and science available now multiplying further their abilities, their capacity to control the minds of much of the population is magnified beyond anything previously and beyond anyone’s abilities to calculate or foresee.

Zombie Apocalypse?

So despite the trends toward a natural evolution like we have seen in the past, we might witness a strange aberration-—a zombie apocalypse created out of the thinking of a time long gone comprised of sick ghostly fantasies of a black-and-white golden age that never was. Such things have happened before; cultures have indeed stagnated for hundreds and even thousands of years. The Middle Age is one such example of stagnation beneath an oppressive deathly authority that would never renew.

Still, despite the scientific and technological monkey wrenches that might permanently upset a natural order of progression, it is more likely that things will work out as they have most of the time than that we will see an aberrant development. There is, after all, at least as much technology and science catalyzing progressive change as is not.

The Positive … Good News?

And the evidence for a natural development is there for all with eyes to see. With so much change needed, it is easy to forget how much has changed for the positive since the Sixties. Still, with no inclination to see it, no amount of listing of the evidence will bring them into view.

What might be helpful, though, is to note some other analogies from the movie “Pleasantville” which can provide insight as to what may be on the horizon or at least be considered food for speculation:

It Takes a Village; We Are a Global Village.

Whereas the black-and-white Pleasantville ends at the town’s borders and turns round again to the center of town, the post-color Pleasantville roads continue going, connecting Pleasantville with the rest of the world. Thus, with color and by inference imagination and thinking for oneself, Pleasantville has become part of a larger world, one in which Pleasantville citizens can participate and in which they can travel and take up residence. This represents the global village, the coming together of the interests of all nations–the emerging “global economy.”

We Have What Really Brings Down Tyrants – The Power of Individuals Is also Magnified by Technology.

But perhaps most of all this connection to a larger world represents those factors of modern telecommunications and travel that have made the world open to the eyes of all, which is the real reason the Iron Curtain fell, the real reason apartheid was overthrown, the real reason democratic revolution is coming to the Middle East and may yet be causative in bringing democracy to places like China and Iran, despite their oppressive propped-up elder-archies, their kings who will not die, their frozen non-renewing social processes.

The W’s Legacy Finally Overthrown by the WWW?

And the most potent analogy of all: the World Wide Web, bringing together all peoples of the world into a collective consciousness sharing ideas and together shaping a world, not just a neighborhood, with true democratization of information, uncontrollable by any wealthy elite of any country or any generation.

Stay Tuned.

Finally, the image at the end of “Pleasantville” is the most apt for what we may next expect: The only thing we know for sure is that it will be different.

Continue with Culture War, Class War, Chapter Eight:
Creating an American Mind

Coming Up: The Rise and Fall of “Obvious Truths”–How The Big Lie Continued; The Fifty-Year Invisible Family and Community That Surrounded All Americans and Affected Every Aspect of Their Lives Including, and Intentionally, the Basic Components of One’s Personality, and the Erosion of Reason, Soul, and Independent Thought or Action.

Return to Culture War, Class War, Chapter Six: “Pleasantville” as Culture War Allegory

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Worse Homes and Gardens – Houses, Prisons, Schools, Dungeons, UFOs and Spaceships…and Their Obstetricians: Perinatal Media, Part 5

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Perinatal Media, Part Five: Worse Homes and Gardens – Houses, Prisons, UFOs and Spaceships, Dungeons…and Their Obstetricians clip_image0023

House, Cave, Squids

Anyway, this portrayal of a house that gobbles up its victims, bizarre as it sounds and as it looked, can only be explained by looking into our perinatal imprints; and it is rife with such elements.

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To start with, a house — being an enclosure in which humans protect, nurture, and take care of themselves clip_image0043once born into the world—is perhaps the most prevalent womb symbol that exists. It is right up there in importance with caves, oceans, swallowing beasts—especially beasts of the ocean like whales (Jonah), sharks (Jaws), and octopi or giant squids.

There was a recent movie of this squid variation. Its plot development was of the “Jaws” genre. But in adding tentacles, it added elements of pubic hair and umbilical strangulation to the normal aspects of womb torture such as simple compression and suffocation.

image_thumb17_thumbHouse; cave; water; devouring dragon, as in Harry Potter; whale or shark; automobile, especially buses or motorhomes; boat, especially a submarine; indeed all vehicles of transition, nonmechanical as well as mechanical as in trains and airplanes; the deep forest, as in Avatar—anything in fact with elements of being surrounding and engulfing of one and as nurturing or threatening one, or both, are womb symbols, as we have known for a long time.

Prison, Jail Cell, Schoolroom = Womb

Open mask_thumbIn the category of womb symbols that are places that enclose or “house” one that are uncomfortable, constricting, limiting of one’s ability to move around and in which one is made to suffer, even be tortured, we need to add prisons, dungeons, jail cells, and schoolrooms. Breaking out of prisons, being rescued from tight, enclosing places or situations in which one is not free—that is, can not “move freely”—are specific portrayals of the birth process itself. Contemporary film is flooded with plots and scenes depicting such escapes and/or rescues. Any constricting surround is a womb symbol, including oppressive social and political conditions from which one cannot escape and under which one is not able to move freely, to enjoy “freedom”; especially regimented ones under which one is tortured, processed, and treated anonymously and in an unfeeling, insensitive manner.

Schools and schoolrooms are especially strong womb symbols for they are places in which a person is supposedly nurtured and helped along in one’s development, exactly as was the purpose and situation in the womb. Libraries are the benign version of womb-like “schooling” in that the element of volition or choice in the matter exists. When they depict being constricted or made to suffer, it becomes even more obvious, depicting as that does the later stages in the womb which are uncomfortable and often hellacious.

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The Wall

wall-poster_thumbIn the school sequences in the movie, “The Wall,” there are other perinatal elements potentiating some of the scenes. b,w,brick,in,the,wall,movie,music,pink,floyd,the,wall-78ce4bddae7c105871bf6dba61dfc9ef_h_thumbWe have anonymity, indicating not being seen in the womb; fetal faces; tortuous “development” and passage from one state to another especially as in being shoved through a wringer or meat grinder; and faces coming out of walls or having an appearance similar to that.

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Houses and Spaceships Are Real “Mothers”

One lengthy explanation of this kind of symbolism as it is connected with “the Mother” is the classic work by the Jungian, Erich Neumann, titled, The Origins and History of Consciousness, which he himself based on other even earlier analyses of mother symbolism and its association with enclosing and enveloping sorts of thing.

At any rate, among all these, the house is probably the most popular symbol today. It would seem to be used more in the visual media as a womb symbol than any other, currently. With the increased interest in science fiction, the spaceship is perhaps coming in second, but even that distantly.

Being spaceships, UFOs are obviously womb symbols. Carl Jung once speculated in writing that the upsurge of UFO sightings indicated a rising urge for psychic unity in humans. While this is true on one level, on a deeper level, they are symbols of reintegration with our repressed traumatic womb experiences. Space travel is transition from one world to another in general. And the vehicle of passage is a UFO or spaceship … in which one’s needs are taken care of and one is involved in passage or transition … It is not surprising that often in the course of this transition, space travel, the space voyagers of the silver screen encounter odd and horrifying developments.

Notice how we say “mother ship.” UFO type spaceships are so often depicted as round or spherical. Indeed, we have elaborate developments of these themes in the Death Star depiction of Star Wars–a round enclosed place and habitat associated with dread and death …

“You Will Be Assimilated.”

The variations on this are themselves telling. We have one instance of a cubical habitat in space…a square, not round, spaceship. What better way to show how terrifyingly different the inhabitants are from natural, biological beings. For womb equals round, flowing lines as in Nature, products of a physical or biological world, one of life and dealing with living and animate things. Whereas to indicate that these beings are mechanical, unnatural, robotic…products of a mental world only, one of death and dealing with inanimate, non-living things…machines…straight lines are employed, implying the worlds of engineering, mathematics, geometry…of the mind only, not of the physical or biological worlds or the worlds of feeling and experience. Implying a world of non-feeling and non-experience is horrifyingly akin to implying a death-like existence.

Star Trek aficionados will have picked up by now I am referring to the Borg and to their cubical spaceships/habitats. We have to make the connection that the appearance of symbols of machines, robots, androids, and such with womb symbols–increasingly prevalent in modern and postmodern times–is easily attributable to the fact of our ever increasing mechanization of birth…in which, as I was pointing out in the previous post/section, humans are “thingified” and turned into “human robots.” And, yes, these are horrifying and death-like experiences that we undergo at our beginnings and subject our incoming members to.


Worse Homes and Gardens. Is It Any Wonder It Is Haunted?

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clip_image007_thumbI remember watching an old movie from the “Amityville” series. As most people are aware, in any of these movies, it is the evil house that is the source of the horror. This goes back at least to Edgar Allen Poe’s “The House of Usher.”

Yet this plot idea of an evil house, which must, in the end, come crashing down in flames—indicating the explosive and fiery birth, BPM III, which signals the release from the evil forces—was boringly evident in films in the Twentieth Century.

Mad Doctor Frankenstein, the obstetrician

Related to this, taking this theme back in time, clip_image0023is the ideas of dungeons or castles…with mad scientists, no less—obstetricians, perhaps?

At any rate, in this idea of a house that “gobbles” one up, as in “The Frighteners,” we have the bringing together of two of the most predominant birth elements in film—an evil house and a devouring beast. That fact of a doubling of perinatal elements alone is indicative of a plot saturated with perinatal influence.

Continue with Through the Looking Glass Into Parallel Universes…But “There’s No Place Like Home”: Perinatal Media, Part 6

Return to All in All, It’s Just Another Face in the Wall–Enclosing, Threatening Things From Which One Wishes to Push Out or Escape: Perinatal Media, Part 4

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All in All, It’s Just Another Face in the Wall – Threatening Enclosures From Which One Wishes to Push Out or Escape: Perinatal Media, Part 4

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Perinatal Media, Part Four: All in All, It’s Just Another Face in the Wall–Enclosing, Threatening Things That One Wishes to Push Out or Escape From

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Faces Coming Out of the Walls

TheWallFaceScreama-brazil-criterion-single-720-brazil-4crppdI would like to refer to one final perinatal indicator in the visual media, which has been capturing my attention of late…seeming to be coming out of the very walls at me! This is—what appears to me to be—a recent and new sort of perinatal symbolism, at least in Western culture.

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hopkinscrosbycrppdWe have had, over and over again, the image of the “evil fetus” erupting from the abdomen,AlienChestburster as in the classic scene from “Alien” as well as that of it emerging from the mouth—as examples, the “volcano-new-species” episode of The X Files and the dance hall scene in “Jacob’s Ladder”—indicating fetal emergence mixed with ungentle neonatal mouth clearing (see the previous section titled, “Gag Me With Asparagus“).

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Membrane walls

But this new variation of “fetal emergence” has human faces pushing through membrane-like elastic walls!

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Ventura out of the womb

clip_image002A good example of this occurs in the movie, “Ace Ventura, Pet Detective, When Nature Calls.” In the Ace Ventura movie, Jim Carey emerges from inside a mechanical rhino with virtually all birth elements evident.

He is holed up in a hot and suffocating “womb”—that is, he is inside the rhino.

ultrasound2019-apr-07He becomes engaged in a desperate need to get out. Interestingly, the fan—the source of comfort in the rhino (womb)—stops working Scream6gafter a while. This is exactly analogous to the way, when we are fetuses, the nurturing elements of the mother’s womb “turn off,” in the last stage of gestation, making the womb quite an uncomfortable place indeed.

We see him pushing his face against the elastic, membrane surface of the rhino’s posterior in a way graphically suggesting perinatal emergence. The tourists watching this explicitly state that they see it as the rhino giving birth.

Potter-Frontcrppdfacetotal_recall_stomach_creatureWe witness the actual “birth”: Jim Carey (Ace Ventura) struggles to make the opening larger and to come out. Finally, he falls, naked wet and curled up fetal- or baby-like, to the ground. The hilarious—and outrageous to the tourists—part is this image of a rhino giving birth to a full-grown naked adult human “baby.”

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Couldn’t Fight Your Way Out of a Plastic Bag!

hoardnewspaper (2)TotalBitchStoleOurMilkCrippledOurNationOther examples of this element of human features pushing through membranes has individuals completely covered and suffocated in membrane-like elastic sheets from which they cannot escape and in which they appear agonized and struggling. A good example of this was in a scene from “Fire In the Sky” that was shown repeatedly on TV to hype the movie when it came out.

Scream7g (2)Even the invention and use of straight jackets shows our preoccupation with the perinatal, especially as concerns our mental health or well-being. For the message there is that if you “get out of control” you will be put back in a place where you will be forced to comply and will have to learn to deal,b,w,brick,in,the,wall,movie,music,pink,floyd,the,wall-78ce4bddae7c105871bf6dba61dfc9ef_h as all the rest of us do, with the “existential fact” of needing to conform to the dictates of an overwhelming, dominating, and pervasive other world.

headbangingExistential fact is in quotes to point out that this is not an essential fact of existence; rather they seem to be facts to humans because of the experience we share of being in constricting wombs Robbieabysswhich become uncomfortable and suffocating increasingly near the end. This is an example of what I have termed elsewhere, biologically constituted realities.

Of course a similar thing—forcible “re-education”—could be said for the use of jail cells,Open mask solitary confinement, and enclosures like “The Hole” during incarceration. Simply the fact that we have a much greater percentage of our population in prisons than any time previously points to our mania of trying to control this aspect of our feelings from our origins…and of an emerging perinatal unconscious triggering the reaction. In former times, torture devices often employed devices of compression, suffocation, constriction…of total-recallthe entire body or just the head…and often added the element of prenatal discomfort by adding torture while so enclosed. The Iron “Maiden” is such a device. Note the feminine being employed in the name itself. Could that be any more clear that it is meant to be a painful, tortuous re-creation of being inside one’s mother?

Modern movies showing such devices or procedures are indicative of these perinatal elements coming to the surface obviously. One example is “The Man in the Iron Mask.” In a similar respect, I have already mentioned our current preoccupation with water-boarding style torture. In employing suffocation, it is an effective and brutally inhuman way of stimulating people’s perinatal pain, just as straight jackets and jail cells are intended to.

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This House Will Eat You Alive!

I saw a most potent portrayal of this new perinatal element in the 1996 movie by Peter Jackson, with Michael J. Fox, “The Frighteners.”

1218885566_5__3ji-e1320373810749This movie’s plot involved a house being somewhat alive and gobbling people up into the walls. The ingested people would try to emerge from the house’s walls. The walls being like elastic when they would do this, the features of their faces could be seen pushing through to the point even of the individuals being identifiable.

hell_night_3These swallowed people could not get out of the walls. And they would be the next ones trying to lure their loved ones and friends into being gobbled up by the house, the same having been done to them, which had resulted in their being taken into the walls initially. Sounds like a modern, very perinatal variation on the Pied Piper theme.

Pink Floyd - The Wall - CoverBut the former victims who, once pulled into the walls, themselves become perpetrators also is a powerful metaphor of the way primal trauma and child abuse of all kinds—including genital mutilation—is passed from one generation to the next. Vampirism has this telling quality as well: Once you are “bitten,” you are compelled to do it to others. In the same way all child abusers were abused themselves as children, as any psychologist will tell you.

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Continue with Worse Homes and Gardens – Houses, Prisons, Schools, Dungeons, UFOs and Spaceships…and Their Obstetricians: Perinatal Media, Part 5

Return to Becoming Thingified–Modern Birth Tells the Baby, “Welcome to the world, now screw you!”: Perinatal Media, Part 3

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Becoming Thingified–Modern Birth Tells the Baby, “Welcome to the world, now screw you!”: Perinatal Media, Part 3

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Perinatal Media, Part Three: Welcome to the world, now go to hell!” – A Baby Becomes Thingified Through Modern Birth

Treated Like a “Piece of Meat”

clip_image0071This practice of ungentle mouth clearing—performed by hurried or insensitive, and uninformed, medical personnel, unaware of the consciousness and keen feeling awareness of the enchufesneonate—can leave one with lifelong feelings of being treated like a “thing.”

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The Wall Movie 1982 (7)

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The Wall Movie 1982 (18)

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b,w,brick,in,the,wall,movie,music,pink,floyd,the,wall-78ce4bddae7c105871bf6dba61dfc9ef_hbrainwouldntdieMany report having overwhelming feelings of being dealt with mechanically and without respect. It is common for folks to have feelings of “not being seen.” People can have lifelong body memories of having one’s mouth stretched wide.

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428004336_a0275cf170_thumb1images (2)These feelings, while they may be reinforced by later life events, oftentimes have roots that go back to a time immediately after birth. At this time, too frequently, the jaw is pulled down for the insertion of fingers and suction devices. It is done in a manner that is excruciatingly painful for a being that has spent his or her entire life—nine months—previous to that in a relatively placid environment with its mouth closed.

Jacobs-Ladder-Artcrpdimage_thumb22This ungentle procedure is also felt as an assault in that it occurs, usually, as the first event a baby is confronted with upon release from the womb.safe_image.php Its tiny mouth—never before fully opened—is often the first focus of attention, as large fingers (relatively) reach in, stretching the previously unopened and unstretched (virgin) mouth…breaking the metaphorical oral hymen of the neonate in a way that is felt to the infant to be comparable in pattern and violation to oral sexual assault.

Fire In The Sky 2

Did you ever wonder why so many folks have such terror of seeing a dentist? Did you ever wonder what is the fascination with water-boarding and torture in recent years?

Victims Du Jour

Fox_Mulder's_abductionMonica-Bellucci-Photoshoot-Matrix-Movie-9By the way, I might mention that while genuine sexual assault and child sexual abuse is a reality that has long been with us and is only now really coming to light (thankfully), the similarity of this early perinatal experience of ungentle mouth clearing to sexual assault may have something to do with the epidemic of reports of infant sexual abuse that are coming out of counselor’s therapy rooms.

MSDTORE EC0252886707crppdConfused interpretations of these reports can happen because most counselors and psychotherapists are ignorant of birth and perinatal trauma and yet more and more of them are allowing bits and pieces of regressive techniques into their standard professional arsenals.

In addition, they throw in these techniques, most often, without qualification or experience with these techniques, and oftentimes out of knowledge gained solely from books or second-handedly…not to mention rarely, robocop07because of professional arrogance, having experienced or undergone these regressions themselves.

Combine this inexperienced dredging up of perinatal material with the fact, as I will be continually reiterating throughout this book, that people these days are closer to their perinatal unconscious, medusa3to their birth trauma. One can see how it can easily happen that when feelings of being orally assaulted after birth begin arising within the counseling rooms,medium_wruef9ycqa0crppd they can be interpreted, by therapist or client or both, as early sexual assault—that being the interpretation du jour, so to speak, and because of coursethe-matrix-revolutions-give-me-a-chance-film-photo-u1crppd both are ignorant of the fact of birth trauma—its having systematically been resisted and purged from mainstream professional and lay common knowledge, beginning with Freud’s rejection of Otto Rank’s discovery of it, right down to the present. (But let’s not get into that just here.)

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Welcome to the world…now f u

blog pic 2 (8-6-11)89615_v1Regardless, the ungentle mouth cleaning is felt not just as a physical assault, it is an outrage to the infant’s tender psyche as well—leaving a lifelong and fundamental imprint undergirding and helping to sculpt all later experience—in that it is the first “welcome” to this world. That is to say, the birth struggle ends, there is release…( finally!)…then, “Welcome, baby” — yank! stretch, robocop20feel manipulated and used, bush_borgtreated like an object and with no sense that one is a living aware being.

With this in mind—that this “Hello–fuck you!” experience can be the primal (first) experience of this world, of other -SGC- Unnatural eyes packCRPDpeople, of society — it may be easier to understand the profound fear and anxiety toward other people that resides inside many of us—for example, as in the book title: I’d Rather Die Than Give a Speech!

silence1This also sheds light on the seemingly “mindless” devils-advocate-560-thumb-560xauto-30306violence and rage that is directed back against anonymous people and society in general by certain types of criminals. They can be seen to be teacherteethMacting out edsullivancartoontheir “fuck you” welcome into the world by attacking back and outwardly, rather than this early rage energy being channeled into some of the other, more healing or at least not harmful, responses possible to early assault.

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Continue with All in All, It’s Just Another Face in the Wall – Threatening Enclosures From Which One Wishes to Push Out or Escape: Perinatal Media, Part 4


Return to Gag Me With Asparagus – Of Time Travel, Claustrophobia, Hell, Cesarean Births, and Death by Vegetable: Perinatal Media, Part 2

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Prince in Exile and Hundredth Monkey: Good Old Boys Are Always the Last to Learn in America’s "Pleasantville"

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The Hundredth Monkey: Good Old Boys Are Always the Last to Learn in America’s “Pleasantville”

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The Sixties Generation Arrived

It is significant that the protagonist of change in the movie “Pleasantville” would be a young male, Bud (David). This is in keeping with legends of old where a young prince comes bearing the new knowledge. But in postmodern style, wonderfully so, he is drawn only reluctantly into this role and we see that it is women who are the real instigators, the least threatened by change. At first, David/Bud opposes his sister and argues for the status quo, maintaining that his sister, who is actually the first one to “break the rules” and thereby to bring color to the town, must abide by the script.

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The Prince in Exile

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The Prince is Schooled in Tradition

sitaThe “young prince” knows the rules well. This fits with legend, where the new ways are brought by a prince who is not ignorant of tradition; in fact the prince is the one who has excelled in training in traditional ways. In the movie, David is in fact a Pleasantville trivia whiz. He knows exactly the way things are supposed to unravel, the way events are supposed to go.

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The Prince Is Reluctant to Break with Tradition

So when his sister first introduces color by introducing sex, he admonishes her. And when he also is tempted to a change in the “script,” he refuses at first. This is when Bud is offered homemade cookies by the young woman who would be his romantic partner. He refuses because he knows that, according to script, it is another young man who is supposed to get the cookies and end up with that particular girl. Despite his attraction for the young woman, his strong sense of maintaining the status quo, not rocking the boat, causes him to try to refuse the cookies. It takes a great deal of forcefulness on the young woman’s part to get him, reluctantly, to accept the cookies that he actually does want. So, again, it is a young, significantly “colorized,” woman who tempts him into a change in the script.

The Prince Brings Change, Without Realizing It, Just Being Himself

It is not that the young man does not have the makeup for accepting change. In fact, even before his sister blatantly brings about change, and therefore color, by rebelliously introducing sex, he has already sown the seeds of change, although unconsciously, when he suggests to his boss, Mr. Johnson, that he think for himself, instead of following a rigid script. This he does unconsciously and out of selfish motives in that he by nature is different from the character he is supposed to portray and so he does not play his role exactly as it is “supposed” to be played. Specifically, because he is not really the robot character he has replaced, he ends up being late for his job–which heretofore was a totally unheard of event.

The Hundredth Monkey

It is also significant that it is the young that are the first ones in the town to become “colored.” As in the hundredth monkey phenomenon, it is first the young, especially females, who are open to new experiences, ways, and ideas. Then it is adult females–in this movie exemplified by Betty Parker, the mother of Bud and Mary Sue—who are next to consider alternatives and new ways. Adult males are the last to turn to color, but among them it is the sensitive of heart, exemplified by the artist/soda-jerk character, Mr. Johnson, who “turn on” initially.

Good Old Boys, the Last to Learn

Last to become colorized–i.e., to be open to change and thinking for oneself—are the “authorities” of the town, in this instance, those on the Chamber of Commerce. And among these the most recalcitrant of all is their leader, Big Bob, played by J.T. Walsh, in his final film role before his passing away. Though Big Bob displays a pleasing and affable persona on the surface (for this read “good old boy”), there is an insidious Hitleresque quality to him which provides the suspense at the climax of the movie where he presides over the fate of the artist, Mr. Johnson, and the “young prince,” David/Bud.

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Continue with Culture War, Class War, Chapter Seven: Cultural Rebirth, Aborted

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Myth ‘em if they can’t take a fuck.

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