光明會錫安長老會聖羅馬帝國和NWO 及森遜密碼驗證

The Illuminati, Learned Elders of Zion, Holy Roman Empire & the NWO plus The Simpsons Code. 禍哉、那些以虛假之細繩牽罪孽的人、他們又像以套繩拉罪惡。說、任他急速行、趕快成就他的作為、使我們看看．任以色列聖者所謀劃的臨近成就、使我們知道。〔賽 5 18－19〕禍哉、那些向耶和華深藏謀略的、又在暗中行事、說、誰看見我們呢．誰知道我們呢。〔賽 29 15〕禍哉、這悖逆的兒女 ...要靠法老的力量 ...〔賽 30 1－2〕禍哉、那些下埃及求幫助的...那作惡之家...〔賽 31 1－2〕那撒但一會的、自稱是猶太人、其實不是猶太人、乃是說謊話的 ...〔啟 3 9〕

2010年9月6日星期一

為什麼迪士尼增恨父母？曾注意你最喜歡的電影經常殺死爸爸和媽媽

為什麼迪士尼增恨父母？曾注意你最喜歡的電影經常殺死爸爸和媽媽
Why does Disney hate parents? Ever noticed your favourite films always kill off Mum and Dad
By Vigilant
September 3rd, 2010

Last week, as the rain lashed outside, my daughter and I settled down for an afternoon of family nostalgia. The type that Walt Disney films excel at.
上週，由於雨水衝擊外面，我的女兒和我安定下來作一個下午的家庭敘舊，那一種迪士尼電影擅長的。

The kind that has given Disney a special position in our house. To us, the brand suggests a world of family values and bygone traditions. A place where, no matter the adversity faced, good WILL triumph over evil.
那種已給予迪士尼一特殊地位在我們的家中，對我們來說，那品牌提出了一種家庭觀念的世界和過去了的傳統。一個地方，無論是否面對逆境，邪不能勝正的良好意願。

Disney films speak to our heart and embroider the lives of our children with a sense of security in an uncertain world.
迪士尼電影說中我們的心和繡出我們兒童的生活，以一種安全感在一個不確定的世界。

Toy Story 3: The film features Andy who is brought up by a single mother
Toy Story 3: 電影講述安迪被單身母親養大

So it was, this rain-soaked day, we laughed and cried our way through a hat trick of Disney favourites: the heart-rendingly beautiful Bambi, the gloriously regal Lion King and the eternally charming Finding Nemo.
所以它是，這雨浸透的日子裡，我們以我們的方式笑和哭，通過最愛的迪士尼帽子戲法：心儀美麗的小鹿斑比、光榮帝王的獅子王和永遠迷人的海底總動員。
But later, I realised something else that binds Disney films, other than good old nostalgic charm: an absence of parents.
但後來，我意識到別的和迪士尼電影有密切關係的東西，除了良好的老懷舊魅力：缺乏父母。
Bambi, abandoned by his father before birth, experiences the hunting and subsequent shooting of his mummy. A tragedy that still reduces me to uncontrollable sobs four decades after I first saw it with my own mother.
班比，在出生前被他的父親遺棄，經驗他的木乃伊狩獵和隨後的射擊。一個悲劇，仍然迫使我作無法控制的哭泣，在 40年自我第一次與我自己的母親看它後。
That’s not all. In the Lion King, Simba is implicated in the death of his father and runs away in a vain attempt to escape his misery.
那不是全部，在獅子王，辛巴被牽連到他父親的死亡，和徒然企圖去逃離他的痛苦。
While Nemo - the rebellious fish - is the sole survivor of a violent barracuda attack on his mother and siblings and spends much of the story estranged from his father.
雖然海底總動員 - 反叛的魚 - 是在一梭魚暴力攻擊他的母親和兄弟姐妹時的唯一倖存者，及花很多從他父親疏遠的故事。
The realisation that these three films all drew on a parent-less theme made me reel. Surely it was only coincidence?
認知到這三部影片都借鑒無父的主題，使我滔滔不絕。當然它是否只是巧合？
Apparently not. For Disney, that most child-friendly of organisations, appears to have something of a parent problem.
顯然不是，對於迪士尼這最兒童友好的組織，似乎有一些單親的問題。
Since its formation in the Twenties, Disney’s output has featured a steady supply of dysfunctional and broken families.
自它在20世紀 20年代形成，迪士尼的生產已以穩定供應功能失調和破碎家庭為特色。

Orphan: Mowgli in the care of Baloo in the Disney film The Jungle Book 2
孤兒：在迪斯尼電影森林王子2，莫格利在巴盧的照顧中

Dumbo, like Bambi, still devastates audiences, as the fatherless baby elephant is separated from his mother after she is locked up for her apparent psychosis.

The moggies in the Aristocats - a personal childhood favourite - are also fatherless. Neither Ariel (The Little Mermaid) or Belle (Beauty And The Beast) have a mother.

Even more recently, fans worldwide have delighted in the final instalment of Toy Story, as Andy - the film’s main character - is raised by a single parent mother.

Not to worry, though, in the total absence of his father, Andy’s key male influence is a wooden cowboy.

And it’s not just Disney’s cartoon output that is subject to this parental peculiarity; its non-animation TV shows and movies are, too.

On Disney’s TV channel, the popular Hannah Montana - played by the precocious Miley Cyrus - learns the teenage ropes from her single parent father because her mother is AWOL.

On the big screen, The Game Plan chronicles a ten-year-old girl searching for her long-lost father after the untimely - although not entirely unpredictable - demise of her single parent mother.

And the Grammy- nominated Enchanted captures Giselle, an archetypal Disney princess, adapting to the harsh environment of New York as a motherless young girl.

By this point in my research, I was becoming increasingly disturbed by the absence of parental role models in the world of Walt Disney. And there was more.

Some Disney characters aren’t even fortunate enough to have one parent and are orphaned before the opening credits are over.

Baby Tarzan was abandoned in the jungle after the savaging of his parents by a leopard. And there’s Tod in The Fox And The Hound and Arthur in The Sword In The Stone, who are left to pursue their destinies without parents.

Fatherless: Dumbo devastates the audience when he becomes separated from his mother in the 1941 hit
無父的：在1941年流行時，小飛象令觀眾一蹶不振，當牠變成獨立而脫離他的母親

I wonder, is this distinct lack of parental care in Disney productions used for dramatic effect?

Is it there to give the main protagonist an opportunity to face their personal challenges without the guidance of a parent - or is there more to this?

Might the death of Walt Disney’s mother - and the lifelong guilt this left her son with - be the catalyst for the death of parents in Disney?

In 1938 and riding high with the proceeds from his first big screen movie Sleeping Beauty, Walt bought his mother, Flora, and his father, Elias, a house in LA as a golden wedding anniversary present.

Within days of moving in, Flora complained about the stultifying temperatures coming from the central heating boiler and her doting son arranged for a swift replacement.

Days later, Flora died from asphyxiation caused by the new, poorly-installed, boiler.

Might Walt Disney’s misplaced guilt over his mother’s death have led him to airbrush parents - mothers in particular - out of his works?

And has that motivation, after his death in 1966, become a Disney blueprint?

Certainly, it would explain the types of folk stories and fairytales that Disney has acquired for adaptation, even when there are numerous other traditional tales that feature a mother and father.

The company animated Cinderella (no mother), Snow White (no mother or father, but a wicked stepmum) and The Jungle Book (orphaned Mowgli, raised by a bear and a tiger).

But perhaps most audacious in this regard was the purchase of J.M. Barrie’s epic Peter Pan, where the boy-child not only had responsibility for a whole island of orphans (The Lost Boys) but Wendy’s parents socialised constantly and left their children in the care of the family dog.

There is a third way to explain Disney’s apparent downer on parents.

Might the company - and its output - be a true reflection of our disparate society and the obvious disintegration of the traditional nuclear family?

Or might it be the other way around? Might Disney have played its own part in the demise of family values given that we - and our children - have fallen for this wholesome entertainment for decades?

Have we subconsciously imbibed this airbrushing out of parental figures from its films?

If nothing else, Disney stands accused of failing to honour that most sacred of bonds - that of the mother and the father to their children.

Now, that is hardly family entertainment, is it?
現在，那難以是家庭娛樂，是嗎？

http://vigilantcitizen.com/?p=4840

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潛意識的性訊息和廣告及卡通中的色情西元2008年08月08日