Condition Red: Your Visual Displacement Is Now Complete
Condition Red: Your Visual Displacement Is Now Complete by Edmund Connelly for UNZ Review
Understandably, at this point in time after the 2020 elections, many observers are laser focused on the struggle for the Presidency between the incumbent and the cadaver. Accounts of voter fraud are mildly interesting, but observers are, in my view, missing the larger and far more important story: The race war against Whites has reached a new level, yet many people who shouldn’t be are distracted by the details of day-to-day politics, much to our collective peril. Today I will try to remedy this by using a method falling between essay writing and a video: I will use a photo essay to represent what is being done to the White race in real time. This will be ugly.
In essence, I will use my academic background to show why images are important in a struggle for existence and power, and how those images are used by a certain group to weaken the White race.
Over a decade ago, I began on this site an examination of the changing representations of who we Americans are. As part of that, I introduced academic texts that — to be honest — accurately showed “the deep-rooted stereotypes which have fueled anti-black prejudice” and buttressed White dominance, which is not really surprising given that Whites comprised roughly 90% of America’s population (and all of the elite) for the entirety of European settlement in the lands that were to become The United States. Breathlessly, we read in grad school books such as Ceramic Uncles & Celluloid Mammies: Black Images and Their Influence on Culture and White on Black: Images of Africa and Blacks in Western Popular Culture that dutifully convicted the American majority of racism. In short, all such accounts concluded: “White Man Bad.”
Not surprisingly, during this period of shift from written to visual culture, professors poured out non-written texts such as oral histories and film, giving us budding academics more ways to cement that overweening verdict: “White Man Bad.” Thus, in more than one graduate class, we were treated to multiple showings of documentaries such as Ethnic Notions, which promised:
Through these images we can begin to understand the evolution of racial consciousness in America. Loyal Toms, carefree Sambos, faithful Mammies, grinning Coons, savage Brutes, and wide-eyed Pickaninnies roll across the screen in cartoons, feature films, popular songs, minstrel shows, advertisements, folklore, household artifacts, even children’s rhymes. These dehumanizing caricatures permeated popular culture from the 1820s to the Civil Rights period and implanted themselves deep in the American psyche.
This focus on African Americans soon gave way to a growing range of “lament” groups who clamored to give their own version of “White Man Bad,” resulting in, for instance, studies of Asian Americans. In 1988, for example came Slaying the Dragon, which offered a “comprehensive look at Hollywood’s treatment of Asian and Asian American women since the silent era.” Or consider Picturing Oriental Girls: A [Re]Educational Videotape, an excursion through film, television and more providing a “text from ‘mail-order bride’ catalogs and men’s magazines, clips from over 25 films and television programs [that] explicate the orientalism and exoticism prevalent in mass media images of Asian American women.” Here the White Man is Bad for creating the sexual objectification of Asian women in Hollywood films and film’s successor, television. Of course, we savvy TOO comrades know, the location of film production in America should be written as (((Hollywood))), a point to which we shall steadfastly turn below.
Very quickly during those propaganda sessions, I tried a two-pronged approach upon experiencing this onslaught against a Nice White Guy like myself. First, I appropriated those analytical tools to show how the tide had been turning against Whites in visual realms since at least the 1970s, and second, I pointed out that those creating this growing stable of less-than-positive portrayals of White men were not exactly White themselves. Rather, they came from that “Culture of Critique” crowd that had been assaulting White civilization for centuries.
Swiftly, however, I was informed that these new academic tools were not to be used by White men, for we had already an abundant basket of privileges that would never expire. Further, I was informed in ways ranging from implicit to explicit that no longer would straight White men like me work again in the academy, the prophetic results of which you can see in almost any American university today.
Mine was a mighty battle just to slink out of grad school with an actual Ph.D. in hand, and sadly, I watched this Cultural Marxism seep out like an unappetizing poison throughout the wider culture, year after year … after year. Off in some forgotten corner of the globe, I was able to craft university lessons about this ominous development and have shared the fruits of my efforts here on TOO and in TOQ, so I have continuously been attuned to how imagery has been used in the Great Racial Battle Against Whites. Reader, the situation is extremely dire, as I will unenthusiastically show below.
It is not surprising that my approach has well matched the overall intent and direction of our editor Kevin MacDonald’s vision, for I was taking the written evidence from The Culture of Critique and extending it to film and other popular culture. The package may differ, but the weaponized content is the same. By the way, the term “critique” is far too polite; in actual fact it is unbridled warfare.
MacDonald has been tireless in addressing this topic on TOO, also encouraging many of us contributors to share our own expertise on the subject, much of which can be found on the site under Jews as a Hostile Elite, one of the most numerous categories available on TOO. MacDonald has consistently argued that Jewish activism has been in opposition to White civilization, with the awful year of 2020 and its events right up to the currently contested election. This development, MacDonald tells us, is about “removing the traditional culture of America, and … removing Whites from the center of the American story. It is about replacement — first the monuments and the culture, then the people.”
In perhaps more boisterous form than Prof. MacDonald’s dispassionate writing, I’ve contributed countless TOO articles with this theme, practically from the beginning. For instance, as far back as mid-2008, I wrote, “Hollywood, it seems, has not favored us [Whites] over the last half century or so. Either they supplant favorable White images with favorable images of African Americans and more recent Americans such as Jews. Or they create images of Whites that are far more negative than typical of the first half of Hollywood’s existence. Why the change?”
Of course the vast majority of TOO readers understand the reasons for this change, but here my point is that I’ve consistently been warning our Tribe that we face a clear and present danger, literally one over our very existence. Though toning it down a bit, I concluded, “Speaking only for myself, I fear that such fictional images of the dispossession of white males signal a real desire on the part of some segments of society to dispossess White males in real life. What then will future films look like when in fact the majority has been eclipsed?”