Tuesday, July 15, 2014

Pink Floyd: 'The Dark Side Of The Moon' synchronized with '2001: A Space Odyssey'


The Dark Side Of The Moon album cover. [Image from the Wikipedia 'The Dark Side of the Moon' page; "Dark Side of the Moon",[a] licensed under fair use via Wikipedia.]

Individual songs from Pink Floyd's 1973 album The Dark Side Of The Moon, are synchronized by the band to play alongside certain scenes from Stanley Kubrick's 1968 movie, 2001: A Space Odyssey. These 'sync videos' are posted on YouTube, and are accessible by clicking on the links listed below.

2001: A Space Odyssey - Heywood Floyd's flight to the moon / The Dark Side Of The Moon - Money

While the lunar lander spacecraft (above left) is on its way from a space station orbiting Earth (above right), to the moon, Heywood Floyd, who is aboard the lander, is shown sleeping (left) during part of the journey. Note the gold coloring of Floyd's surroundings inside the lander.

The lander also has an area within it that looks somewhat like a bank vault or gold bullion depository (below left). In the sync video, a 'cash register' sound plays when the stewardess in this vault/depository area, operates the food tray dispenser (below right). This sound, the presence of the vault area, and the gold color of the interior of the lander, taken together with Money's lyrics (e.g., "Grab that cash with both hands and make a stash"), suggest that Heywood Floyd's trip is tied in with something of monetary value, and with greed.

2001: A Space Odyssey - The foretelling of Poole's fate / The Dark Side Of The Moon - Us And Them

The demise of Discovery One astronaut Frank Poole is foretold in the part of the lyrics in Us And Them in which we hear a voice speaking, and one phrase spoken by this voice is, "So if you give 'em a quick short, sharp, shock": Mission computer HAL (whose camera 'eye' is shown in the screencap at left), is here thinking to himself that he is going to shock (that is, surprise) "'em", i.e., 'them' - Poole (below left) and his fellow astronaut, David Bowman (below right) - by performing some kind of drastic action directed against Poole.

2001: A Space Odyssey - HAL's attack on Poole / The Dark Side Of The Moon - Us And Them

The attack on astronaut Frank Poole by mission computer HAL, represents the fulfillment of that which was foretold in the other Us And Them sync video (from above), that is, the demise of Poole: HAL takes control of Poole's EVA pod (the small spacecraft shown at below left) while Poole's outside of it, about to perform a repair on the Discovery One spaceship, and HAL uses the pod to strike Poole so that Poole is sent off into space with a severed air hose (below right).

2001: A Space Odyssey - HAL disconnect / The Dark Side Of The Moon - Brain Damage and Eclipse

Astronaut David Bowman, wearing a green space helmet in the screencap at left, is here inside mission computer HAL's logic/memory compartment, disconnecting HAL's circuitry.

2001: A Space Odyssey - Stargate / The Dark Side Of The Moon - On The Run

Below left: In part of this sync video, the monolith (the shiny, black, rectangular object in the screencap) aligns with Jupiter and its moons. Below right: A portion of the stargate itself, as astronaut David Bowman sees it while moving through it.

2001: A Space Odyssey - Landscapes / The Dark Side Of The Moon - Any Colour You Like

The title of this song is a reference to the colorful views of Earth's sky and surface (below left and right, respectively) that astronaut David Bowman sees, after having passed through the stargate.

2001: A Space Odyssey - Ending sequence / The Dark Side Of The Moon - Time and The Great Gig In The Sky

As described in the caption to the two screencaps below, there is a match for part of the lyrics of Time, with the Space Odyssey 'hotel' sequence. During part of this sequence, astronaut David Bowman ages rapidly (in the sync video, while Time plays):

Bowman goes from a man around age sixty (above left) to a man of about seventy (above right), while part of the lyrics of Time that play are, "And then one day you find ten years have got behind you." (The screen time that elapses between the two shots shown above, is approximately two minutes).

Another vocal confirmation for this sync, comes in the (spoken) words of the second song in the sync video, The Great Gig In The Sky, a portion of these words being, "And I am not frightened of dying, any time will do, I don't mind. Why should I be frightened of dying? There's no reason for it, you've gotta go sometime." These words refer to David Bowman on his deathbed, which is what is being shown in the video while the words are being spoken, beginning at approximately the point shown in the screencap at left. Note that Bowman is gesturing with his right hand toward the rectangular, black monolith (click image to enlarge).

See the analysis of 2001: A Space Odyssey on this blog for a detailed explanation of the film's themes.

a. Cover for the album The Dark Side of the Moon by the artist Pink Floyd: by Hipgnosis and George Hardie. The cover art copyright is believed to belong to the label, Harvest / Capitol, or the graphic artist(s). Designed by Storm Thorgerson, drawn by George Hardie.

All song lyrics in this post are believed to be used in accordance with the U.S. Copyright Fair Use Act (Title 17, U.S. Code).

Saturday, July 12, 2014

Pink Floyd: 'One Of These Days' synchronized with 'Pulp Fiction' basement scene


This 'sync' video, which is linked to near the bottom of this post, pairs Pink Floyd's song, One Of These Days, with part of the visual portion of Quentin Tarantino's film, Pulp Fiction. It illustrates how the feel of the alchemical nigredo stage, which is associated with chaos and the encounter with one's psychological shadow, is conveyed both in the chaotic basement scene in Tarantino's film, and in the sound of the song it is here synced to. 'The Gimp', dressed in black leather in this scene, represents Butch Coolidge's psychological shadow (in specific, he represents Butch's repressed weaknesses); in this scene, Butch (in white t-shirt) defeats his own shadow by punching The Gimp, knocking him unconscious and leaving him hanging from his neck by a strap or chain wrapped around it (below left screencap; click image to enlarge), thus killing him. The full lyrics of One Of These Days are, "One of these days I'm going to cut you into little pieces"; in the sync video, these lyrics are heard while Butch, holding a Samurai sword, is sneaking up on Maynard (below right; Maynard is the man with the beard), about to kill him with the sword.

The sync video can be viewed on YouTube here. One Of These Days is from Pink Floyd's 1971 album, Meddle. Pulp Fiction was released in 1994. See the analysis of Pulp Fiction on this blog for a detailed explanation of the film's themes.

All song lyrics in this post are believed to be used in accordance with the U.S. Copyright Fair Use Act (Title 17, U.S. Code).

Thursday, July 10, 2014

Pink Floyd: 'Comfortably Numb' synchronized with 'Inception' dream sequence


This 'sync' video, which is linked to near the bottom of this post, pairs Pink Floyd's song, Comfortably Numb, with part of the visual portion of Christopher Nolan's film, Inception. This sync is intended by the makers of Inception such that we will take the lyrics to Comfortably Numb, to be providing one or more hints about what's really going on in the film. For example, consider this excerpt from the song lyrics:

"Come on now
I hear you're feeling down.
Well I can ease your pain
Get you on your feet again.
I'll need some information first.
Just the basic facts.
Can you show me where it hurts?"

The above lyrics can be taken to sound like a psychotherapist speaking to a patient. What is suggested by these lyrics being used in unison with this scene from the movie, is that the reality of Inception is that Ariadne is Dom's psychotherapist, and she has him under her influence.

The shot from the scene sequence in this sync video shown at left, seen shortly before the above-quoted portion of the song lyrics are heard, shows Ariadne, the therapist (as suggested by the song lyrics explained above), sitting near her 'patient', Dom, who is reclining.

The sync video can be viewed on YouTube here. Comfortably Numb is from Pink Floyd's 1979 double album, The Wall. Inception was released in the year 2010. See the analysis of Inception on this blog for a detailed explanation of the film's themes.

All song lyrics in this post are believed to be used in accordance with the U.S. Copyright Fair Use Act (Title 17, U.S. Code).

Friday, July 4, 2014

The Wizard of Oz - Analysis of the Movie - part 1: Introduction


[Image at left from the Wikipedia 'The Wizard of Oz (1939 film)' page; "WIZARD OF OZ ORIGINAL POSTER 1939", public domain, via Wikimedia Commons.]

Welcome to the analysis of The Wizard of Oz. Buttons at the bottom of each post enable navigation through the parts of the analysis. Regarding the appearance of possible anti-Semitism on this blog, please see the 'Disclaimers' section near the bottom of this page.

The Wizard of Oz is a 1939 American musical comedy-drama fantasy film produced by Metro-Goldwyn-Mayer, and is the most well-known and commercially successful adaptation based on the 1900 novel The Wonderful Wizard of Oz by L. Frank Baum. The film stars Judy Garland as Dorothy. It co-stars Frank Morgan, Ray Bolger, Bert Lahr, and Jack Haley. Notable for its use of Technicolor, fantasy storytelling, musical score and unusual characters, over the years it has become an icon of American popular culture.[a]

Above left: The Wicked Witch of the West has a long, hook nose; Jews are often caricatured as having this type of nose, so the Wicked Witch represents a Jew who is evil. Also note that her skin is green; in Europe and the U.S., green is sometimes associated with death, sickness, or the Devil. Green can also symbolize envy.[b] Above right: The Wicked Witch in flight. Her broom handle is here placed such that it is reminiscent of a phallus; this symbolizes that the evil Jew the Witch represents has male sex characteristics, in addition to female sex characteristics. She is a female pseudohermaphrodite. Pseudohermaphroditism is a condition in which the individual has a single chromosomal and gonadal sex but combines features of both sexes in the external genitalia, causing doubt as to the true sex.[c]

Top left: The Scarecrow's nose has a prominent dark brown color, and thus, he represents some group of persons who are brown nosers of evil Jews. Top right: The Tin Man's nose is long, and could be taken to have a smudge of something on the end of it; this 'something' represents stool, and thus, the Tin Man represents a brown nosing Jew. Above left: The Cowardly Lion's nose is large, and therefore, he represents a cowardly Jew. Also, his 'mane' makes him appear like he has girl's hair, suggesting that he is gay. Above right: All three of Dorothy's 'friends' are, in fact, evil, and are deceiving her during the group's journey.

a. Wikipedia, 'The Wizard of Oz (1939 film)'. Web, n.d. URL = https://en.wikipedia.org/wiki/The_Wizard_of_Oz_(1939_film).
b. Wikipedia, 'Green'. Web, n.d. URL = https://en.wikipedia.org/wiki/Green.
c. 'pseudohermaphroditism'. Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 26 Sep. 2015. URL = http://www.britannica.com/science/pseudohermaphroditism.

Thursday, July 3, 2014

Wizard of Oz analysis - part 12: Wrapping up: The movie's underlying message


Above: Four Horsemen of the Apocalypse, - Conquest, War, Famine & Death, an 1887 painting by Victor Vasnetsov. The Lamb is visible at the top.[a] The Four Horsemen of the Apocalypse are described in the last book of the New Testament of the bible, called the Book of Revelation of Jesus Christ to Saint John the Evangelist, in chapter 6 verses 1-8 (i.e., 6:1-8). The chapter tells of a book or scroll in God's right hand that is sealed with seven seals. The Lamb of God, or Lion of Judah, opens the first four of the seven seals, which summons four beings that ride out on white, red, black, and pale horses. Although some interpretations differ, in most accounts, the four riders are seen as symbolizing Conquest, War, Famine, and Death, respectively. The Christian apocalyptic vision is that the four horsemen are to set a divine apocalypse upon the world as harbingers of the Last Judgment.

The fourth horseman is named Death. Known as "the pale rider", of all the riders, he is the only one to whom the text itself explicitly gives a name. Unlike the other three, he is not described carrying a weapon or other object, instead he is followed by Hades (the resting place of the dead). However, illustrations commonly depict him carrying a scythe (like the Grim Reaper), sword, or other implement. The color of Death's horse is written as khlōros (χλωρός) in the original Koine Greek, which can mean either green/greenish-yellow or pale/pallid. The color is often translated as "pale", though "ashen", "pale green", and "yellowish green" are other possible interpretations.[b]

Note that the colors of the four horses correspond to the four colors of alchemy, except that the 'pale horse', which in alchemical terms should be yellowish, would here correspond to a 'putrefied'/'corrupted' citrinitas, with its green representing putrefaction. As observed in part 7 of the analysis, the citrinitas is the alchemical stage in which the chemical wedding, between man and woman, takes place. Without the chemical wedding, the citrinitas will be incomplete, and thus, there can be no true rubedo (the last of the four alchemical stages, in which wholeness is attained).

Since the color yellow is associated with the citrinitas, the events that take place during Dorothy's journey along the yellow brick road symbolize, in part, the corruption of this stage of the alchemical process. This corruption is foretold in Munchkinland: recall that we observed that the 'Good' Witch of the North leads Dorothy to believe, that she can achieve the rubedo without going through the citrinitas stage.

Dorothy has begun her journey down the yellow brick road.

The basic connection between the four horsemen of the apocalypse and The Wizard of Oz, is that the movie is apocalyptic in the sense that, as discussed earlier, the movie-makers were predicting that there would come a time in America, when a general atmosphere of indifference, greed, and violence would make it possible for Dorothy, and thus the American populace, to be led to a scenario incorporating lust, heresy, and treachery, by evil hermaphroditic Jews and other parties (certain evil high-ranking Freemasons, etc.). As we observed, these parties are seeking to establish a 'utopia' in southern Indiana.

The underlying message of The Wizard of Oz is that part of achieving this paradise, consists of tricking one or more generations of young American women, into believing that their (i.e., each woman's) own personal state of bliss, i.e., rubedo, can be achieved without the chemical wedding/citrinitas; or in other words, without the involvement of individual men in the conception and rearing of psychologically healthy children. The evil parties have planted this false notion in each woman's unconscious, in part via manipulation of women's archetypes, for example by causing, deep within every woman's psyche, confusion between the Incarnation and the virgin birth of Jesus on the one hand, and the Immaculate Conception on the other. As discussed in part 10 of this analysis, Carl Jung tells us that while such archetypes correspond to certain religious concepts, they are at the same time universal. All of this operates at an unconscious level, i.e., the women being taken advantage of by the evil conspirators, don't consciously realize that their innate archetypes are being manipulated.


The evil parties have also worked together to cause the corruption of the Holy Spirit, as symbolized in our movie by the fact that Dorothy and the Lion have committed blasphemy against the Holy Spirit. Therefore, the evil parties have conspired to prevent the second coming of Christ, since it was by the Holy Spirit that Jesus was conceived in his mother Mary's womb.

It is only when a modern-day messiah arrives, and initiates the process whereby society's course is to be corrected, that an apocalypse will be prevented. As indicated in the analysis of The Shining on the Can Analyze Kubrick blog, director Stanley Kubrick predicted that this messiah will be a trailing edge baby boomer, i.e., he will be an American born between the years 1956 and 1964. Also indcated there was that filmmaker Quentin Tarantino was born in 1963. From Carl Jung's Answer to Job: "But God...wants to become man, and for that purpose he has chosen, through the Holy [Spirit], the creaturely man filled with darkness— the natural man who is tainted with original sin and who learnt the divine arts and sciences from the fallen angels. The guilty man is eminently suitable and is therefore chosen to become the vessel for the continuing incarnation, not the guiltless one who holds aloof from the world and refuses to pay his tribute to life, for in him the dark God would find no room."[c]

a. Image from the Wikipedia 'Four Horsemen of the Apocalypse' page, public domain, via Wikimedia Commons.
b. Wikipedia, 'Four Horsemen of the Apocalypse'. Web, n.d. URL = https://en.wikipedia.org/wiki/Four_Horsemen_of_the_Apocalypse.
c. Jung, C. G. "Answer to Job" in The Collected Works of C. G. Jung, Vol. 11. Princeton University Press, 1969. Kindle Edition. pp. 98-99.

1) In certain instances it has been determined that the creators of some of the productions analyzed on this blog, and/or the creators of source material(s) used in the making of these productions, may be making negative statements about certain segments of society in their productions. These statements should be taken as expressing the opinions of no one other than the creators.

2) This blog is not associated with any of the studios, creators, authors, publishers, directors, actors, musicians, writers, editors, crew, staff, agents, or any other persons or entities involved at any stage in the making of any of the media productions or source materials that are analyzed, mentioned, or referenced herein.

3) In keeping with the policies of the filmmakers, authors, studios, writers, publishers, and musicians, that have created the productions (and their source materials) that are analyzed, mentioned, or referenced on this blog, any similarity of the characters in these films or source materials to actual persons, living or dead, is purely coincidental.


All images on this blog are used solely for non-commercial purposes of analysis, review, and critique.

All Wikipedia content on this blog, and any edits made to it, are released under the Creative Commons Attribution-Share-Alike License 3.0.

Marcus Aurelius's Meditations - from Wikisource (except where otherwise noted); portions from Wikisource used on this blog are released under the Creative Commons Attribution-Share-Alike License 3.0.

Saint Augustine's Confessions and City of God from Wikisource (except where otherwise noted); portions from Wikisource used on this blog are released under the Creative Commons Attribution-Share-Alike License 3.0.

Saint Thomas Aquinas's Summa Theologica from the 'Logos Virtual Library' website (except where otherwise noted), compiled and edited by Darren L. Slider; believed to be in public domain.