To The Monster A Daughter

13/10/2014 17:29


To The Monster A Daughter


Science fiction is the genre that features monsters, and Mary Wollstonecraft Shelley`s Frankenstein (1818) about an experimental surgeon, Dr Frankenstein, who makes a man from parts of deceased bodies he revivifies by means of electricity, is regarded as amongst the first of the genre`s works of literature. The theme was taken up by Hollywood, Babylon, and the movie, Bride Of Frankenstein (1935), followed, while the filmed musical, The Rocky Horror Picture Show (1975), elaborated upon the theme with actor Tim Curry in the role of `transvestite` character, Frank N. Furter, who creates himself a man to marry. The idea of a creator making an acceptable bride for themselves is a Hollywood, Babylon, leitmotif in science fiction movies and The Stepford Wives (1972) posits the idea of women created as idealized replacements of their original but flawed wifely counterparts by men who were dissatisfied with what they`d espoused.



 Although science fiction aliens in movies like Independence Day (1996) feature attacks upon the Earth, Swamp Thing (1982) is noteworthy for the `childhood`s friend` relationship the creature has with the lissom star, Heather Locklear, who is rescued lovingly from the swamp by the creature, but not as a means of exchanging service for love, which effectively is what occurs when men `make love`. Although the creature isn`t human in Swamp Thing, as with director Steven Spielberg`s famously adorable ET: The Extraterrestrial (1982), who is a visitor from the stars seeking to `phone home` to his parents, who`d inadvertently left him on Earth, he isn`t a `monster`, but more human than the human, represented in ET: The Extraterrestrial by actress Drew Barrymore in her pre-pubescence as seven year old Gertie, because he`s in the archetypal role of `childhood`s friend`, which is what women lost early in their evolution.



  The term archetypes derives from the developmental psychologist, Carl Gustav Jung (1875-1961), who posited that the collective unconscious of humans contained archetypes as images or characters appearing in dreams, art and the imagination to guide or impel humanity towards progress. If so, there`s a difference in archetypal terms between monsters and aliens, while the original name for psychiatry, because it referred to the doctor who determine a criminal`s competency to stand trial, was `alienist`, and so `alien` meant non compos mentis, while `monster` was a pejorative term used by the public to describe those crimes they abhorred irrespective of the `alienist` who may`ve decided that the criminal was a psychiatric case of brain dysfunctionality rather than intentionally evil. Consequently, in archetypal psychology, `monster` is a human evaluation and `alien` a psychiatric term for `curable`, which suggests that `alien` denotes some aspect of human nature unexplained.



 The role of the invading alien is apparent from movies like Alien (1979) in which actress Sigourney Weaver is a member of the crew of the spaceship, Nostromo, who discover a derelict alien spacecraft on a planetoid. Sigourney Weaver`s character, Ripley, tries to avoid being eaten by the alien that`s awoken, in a role palpably different from that of Heather Locklear in Swamp Thing, or Drew Barrymore in ET: The Extraterrestrial, where the loss of women`s `childhood`s friend` is represented. The prototypical film of an archetypal figure helping the woman against a `monster`, Forbidden Planet (1956), features `Robbie`, the robot, who represents Morbius` daughter Altaira`s need for an archetypal friendship, whereas Morbius, who is discovered on the planet by the crew of the spaceship, C-57D, where he`s studying the technology of the mysteriously disappeared advanced race of `Krell`, native to that world, and is using what he calls the `plastic educator` to enhance his mental powers, is uncovered as `Monsters from the id!` by the crew of the C-57D, some of whom have been killed by Morbius` `evil self` created by his addictive use of the `plastic educator` and appearing as a rogue `Krell` attacking the spaceship crew`s encampment. The conflict between Morbius` monsters and the crew of the C-57D is stereotypical male sublimation, that is, men are monsters, whereas `Robbie the robot` and Altaira represent the archetype of `childhood`s friend` lost to women from their picture because the monsters have devoured it.



 Because alienists defined `alien` as unexplained, `alien` wasn`t perceived as `monstrous`, which begs the question: what is alien? The answer is that Swamp Thing is human, because he hasn`t got a criminal mind, whereas the alien in Alien is a monster, because it`s behavior is criminal, that is, humans have humanity, which means the creature from the swamp in Swamp Thing, the extraterrestrial from ET: The Extraterrestrial, and Robbie, the robot from Forbidden Planet, are human. Alienists would seek to define human by appeals to behavioralism, but that test is designed to establish whether convicted criminals are `monsters` and humans don`t have to take the exam. Although modern society tells humans every day that they must pass the alienists` test. The presupposition is that humans are `monsters` in the bank or supermarket where the security guards and the CCTV monitor their every move in order to confirm or deny that the human is a non compos mentis `alien`, whereas the debit card proves the competency of the human, as does the cash for the tomatoes or the deposit slip for the bank teller. Consequently, the aim of security systems is to prove the human `alien` and non compos mentis in order to dispossess them of their humanity, which has been the issue since the industrial Revolution (1760-1840) in England where humans experienced dehumanization and `alienation` through becoming unindividuated parts of a manufactory. Public transport requires that the human individual have a ticket to travel, but the discovery of an individual without a ticket doesn`t remove their humanity and label them `alien` and non compos mentis, because they haven`t passed the alienists` test demanding that they have a ticket to prove they`re human. Their passport tells them that they are, and they don`t need to prove they aren`t monsters, so why is there so much accusation? Because psychiatry has established the principle that the unconvicted are criminals.



 Psychiatry`s defining criminals as aliens depicts foreigners as monsters, whereas the thing in the swamp in Swamp Thing is neither a monster nor a criminal, so he`s an alien or foreigner, who`s human in behavioral terms, which is the meaning of the archetypal character. Aliens aren’t monsters, which means that monsters are being falsely equated with aliens in movies. It`s important because the term `alien` has a psychological meaning as applied to `foreigner`, that is `monster` and `foreigner` aren`t interchangeable terms, whereas the identification of `alien` with `foreigner` necessarily defines `foreigner` as `monster`, which means `visitor` is definable as `demon` and `guest` as `enemy`, because `monster` isn`t directly applied to describe what is monstrous by a psychiatry determined by its original precept, which was to decide whether criminals were non compos mentis and so innocent of their crimes or competent and so guilty.



 Unconvicted criminals awaiting the `alienist` psychiatric decision over whether they could be tried for the crimes they had allegedly committed, were identified as possibly `alien`, which is understandable as `foreign`, that is, any stranger was subject to the behavioralist test for `monsters`, although all those tested were humans, because unconvictable, as they weren`t in prison and charged with having committed a crime. Consequently, the task of proving guilt drives everybody insane, because the `monster` has to be in prison before the non compos mentis test can be legitimately applied. If a student forgets their bus pass, they`re non comps mentis and a criminal `monster`; because they haven`t passed the behavioralist test set by the alienist: even though no crime has been committed. The surveillance calls the human a `monster` in order to declare the human non compos mentis and so not responsible if the humans are driven insane, because the CCTV and the security guards don`t want to be accountable. Consequently, although guests aren`t monsters, alienist procedures define visitors as non compos mentis and irresponsible because they`re free to move from one place to another without restriction as humans do.



 That the humans are being monitored by `monsters` seems incontrovertible. What isn`t evident is whether the `monsters` are governmental, criminal, or a combination of both in varying degrees of interpenetration with regard to institutions and establishments. The normative alienist tests are designed to differentiate human and `alien`, but women are defined as `schizophrenic`, because their normal feelings for their own species of woman with her own `futanarian` penis` semen and host womb for the sexual reproduction of her own brains` powers for liberation from host womb slavery in homosexuality in pederasty`s war in parasitism against her is labeled `lesbian` and aberrant if they like what they see in the mirror. Consequently, the `monsters` don`t want women, who`re defined as `alien`, although the aliens aren`t monsters, because they`re not monstrous. Defining `alien` then depends on defining women and women are definable as `futanarian` humanity with their own penis` semen and host wombs for the sexual reproduction of their own brains` powers to liberate them from host womb slavery by men of the `serpent`s seed` engaged in homosexuality in pederasty`s war against her race, which is why `alien` is often definable as `women`s archetypal `childhood`s friend`, because `monster` is definable as men.



 Science fiction movies featuring aliens are therefore divisible into aliens as motherly `childhood friend` archetypes, or devouring monsters, because women correspond to aliens while men correspond to monsters, although aliens are depicted as monsters because some aliens are men and not motherly childhood friends. In H. G. Wells` seminal science fiction story made into the Hollywood, Babylon film, War Of The Worlds (1953), the occupants of the devastating Martian war machines die of the common cold virus in an echo of the late 20th century`s incurable `killer disease`, HIV/AIDS, spread by homosexuality in pederasty as a form of its `biological warfare` against humanity, because the Martians are men as `monsters` and not the the motherly childhood friend of director Steven Spielberg`s Close Encounters Of The Third Kind (1977) in which the alien mother ship arrives to take humans to the stars and planets. Similarly, in Star Wars IV: A New Hope, and its prequels and sequels, Darth Vader and the soldiers of the Empire, battling against Princess Leia`s rebel Federation of planets, represent monsters rather than aliens, because monsters are categorizable instantly as that which devours the human, while alien intelligence is describable as the boy who nobody`s seen before buying sweets at the local supermarket.



 The `monster` teaches the woman that she`s an `alien` by giving her `schizophrenic` feelings about being human. If women are `futanarian` with their own penis` semen and host womb, telling women they`re `lesbian` and aberrant, because they have sexual feelings for their own bodies and those of other women, makes them schizophrenic and `alien` as defined by the predominant `alienist` psychiatry, which defines a woman as a `monster` because she`s human. Consequently, the `alienist` perspective is properly termed, because it`s `alien` to human psychology. Devised by a devouring `monster` by analogy,  movies like Independence Day, in which much of the Earth is devastated by devouring extraterrestrial `monsters`, is what men of the `serpent`s seed` do on the Earth and so can be relied upon to be planning to continue. Confusion is caused by labeling the monsters `alien`, which assists the pogrom that doesn`t want the human species of women to penetrate the masquerade. Unable to perceive it`s themselves who`re the aliens ultimately defeated by the heroic brave boys of the Earth`s security forces, and instead cheer wildly along with the rest of the hoodwinked, as the `serpent`s seed` march on unhindered beneath the flag of Satanism, the masquerade continues and the human species continues to experience pogrom after pogrom along the `serpent`s seed` of men`s planned route to her extinguishment.



 Because of a paucity of education for women, daughters are fed to monsters, that is, they`re given to men in marriage outside of their own species` sexual reproduction as `futanarian` women with their own penis` semen and host womb for the sexual reproduction of their own brains` powers for liberation. The theme is familiar from Graeco-Roman mythology, for example, the hero Hercules slays the female Lernaean hydra to give the Danaid women in marriage to men, although the women don`t want to marry, which suggests the women are knowingly `futanarian` and the hydra is their many headed mother depicted as defending them as a `monster` by men of the `serpent`s seed` seeking to enslave their host wombs in institutionalized homosexuality in pederasty and war against the rest of her cities during ancient Greece`s emergence as the regional power that would produce Alexander the Great, who`d conquer the known world by 323 B.C., and whose persistent virality was expunged when he died while planning an invasion of Arabia.



 The musical, The Rocky Horror Show, (1973) was billed as a tribute to Hollywood, Babylon`s science fiction film industry, and it`s theme of a Dr Frankenstein character creating a man `monster` is appropriate because Frank N. Furter is a transvestite who wears women`s clothes and marries the man he creates, which is what men of the `serpent`s seed` in male braining do. If women are denied sexual access as a `futanarian` species with their own penis` semen and host wombs, there won`t be any human brains as everyone becomes a single male brained `transvestite` created by men of the `serpent`s seed` as a `TV` they can watch wearing each others` clothes and killing itself in their brave heroic wars against a dying woman.



 The movie Bride Of Frankenstein couldn`t examine the transvestite principle correctly as films were subject to the `Hays code` (1930-67) when it was made in 1935. Women had to keep a foot on the floor during bedroom scenes, because Hollywood, Babylon didn`t want `futanarian` women to be seen having sex. However, although Bride Of Frankenstein seems about another `monster`, it`s actually about women`s alienation, and science is the subject not only medicine, that is, Bride Of Frankenstein represents the need for women to sexually reproduce with each other and also the need for the creation of labor saving robots to keep her safe and assist her in the construction of the art, civilization and culture she still manages to produce from her host womb despite men`s depredations. Hollywood, Babylon`s The Rocky Horror Picture Show (1975) features Frank N. Furter`s attempts to marry Rocky, the man he`s created, although the more logical premise is of the `futanarian` woman with her own penis` semen and host womb becoming the subject of a movie industry released from the restrictions imposed by the `Hays code` until 1967`s ironically titled, Barefoot In The Park, with loving couple Paul and Corie, actress Jane Fonda, and actor Robert Redford as `newlyweds`, in an apartment overlooking New York`s Central Park, engaging in intimate marital scenes exclusive of woman`s penis. Because The Rocky Horror Picture Show didn`t follow the human logic of its nativity, woman was stillborn. Although Jesus` Nativity suggests `woman`s seed` will still be born and have Resurrection and heaven; if only she`ll be selfish to the point of living.