The Hollywood Agenda

Waking Up

Waking Up

 

Pan’s Labyrinth

I’ve got the key.

 

Most fictional stories depict the hero’s journey, which Joseph Campbell calls the “monomyth,” having taken the concept from James Joyce’s Finnegans Wake (1939). For determining the sequence of events of the monomyth, Campbell has drawn upon the major stories of classic fiction (and non-fiction) such as the Passion of Osiris and the Passion of the Christ, as well as the stories of the Buddha, Moses, Prometheus, etc. He summarizes the fundamental structure of the monomyth on page 23 of his The Hero with a Thousand Faces (1949) as follows:

A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.

 

In creating the outline for the present book, we had enumerated about 15 stages that comprise the hero’s journey before searching for a corroborating literary theory and finding Campbell’s. Campbell, however, has accounted for 17 stages. The majority of these are detailed descriptions of the main stages, and not necessarily present in every hero adventure story. Campbell lists the main 5, which are always present, as 1) the call to adventure, 2) the road of trials, 3) the goal or boon, 4) the return to the ordinary world, and 5) the application of the boon. While we have different ideas concerning some of the others (which are not covered in this context), we have found this short list most agreeable with our own short list, and in fact each of these “coincidentally” corresponds with a chapter in the present book.

 

 

 

According to Campbell, anywhere from these 5 major themes to all 17 are always included in the monomyth. We have already begun to examine the first of the main 5 stages (the call to adventure) by covering the fact that the hero is either “sleeping” or being put to sleep, and must either “wake up” or stay awake in order to keep his life and freedom intact. Campbell, writing just prior to the cinematic period under our observation, would have expected to see this “waking up” theme as prominently featured as it is in the motion picture industry. Yet it is doubtful that he would have expected such a deliberate use of it represented over and over again in the particular motif of Lewis Carroll’s white rabbit which leads Alice to Wonderland (which we examine in the next chapter). For now it is sufficient to say that the hero’s quest begins when the hero “wakes up” to a different reality than the one he was just in, even as Alice has to fall asleep before she can visit Wonderland in her dream. According to Wikipedia’s article on the monomyth:

This great story relates to humanity’s search for the same basic, unknown force from which everything came, within which everything currently exists, and into which everything will return. This elemental force is ultimately unknowable because it exists before words and knowledge. As this basic truth cannot be expressed in plain words, spiritual rituals and stories refer to it through the use of metaphors, a term Campbell used heavily and insisted on its proper meaning.

 

So we see again that metaphors convey spiritual truths, whether intended by the people who invented them or not, because we are all aware of them and influenced by them on a subconscious level. That is to say that the ineffable God uses them to convey himself to us. This we can plainly see in the heavens themselves, as in the case, for example, of Canis Major (Alice), which chases Lepus (the white rabbit), or of Canis Minor which rides on the back of Monoceros (the unicorn, i.e. Israel) and is poised to serve Pollux in Gemini (the twins, i.e. the Two Witnesses of Revelation), who stands at the crown (seat of power) of Monoceros, which itself if poised on one side to attack Orion (Lucifer), while Taurus (the bicorn, i.e. Judah) is poised to attack from the other:

 

 

 

We see the very same imagery as described above shot from no less than half a dozen angles, for instance, in The Secret of Moonacre (2008), where Judah is represented by a lion instead of a bicorn, as well as in the royal coat of arms of the United Kingdom:

 

The Secret of MoonacreThe Secret of Moonacre

 

[Nemo me impune lacessit = No one wounds me with impunity]
[Dieu et mon droit = God and my right, Honi soit qui mal y pense = Evil be to whoever thinks evil]

 

Given that these symbols are used and carefully arranged by God himself to represent spiritual truths, and known by the people who have the most power to make their wills manifest, it is no wonder that the metaphors would be so prevalent in the films we are examining, as they are deliberately intended to appeal to our subconscious desires. Our subconscious minds automatically associate with the protagonist of any given story and make us believe, if only implicitly, that the hero’s quest is the story of our own lives. As with government and education, entertainment and education are intrinsically linked. This should already make sense if we understand that the universe itself is merely an illusion, a representation of ideas (i.e. a metaphor) using light and sound, in exactly the same way that a movie is. In fact, contemporary philosophers often liken the nature of our existential reality to the image of a movie being cast on a screen via a projector. In Dune (1984), it is understood that sounds are the representations of thoughts, so sound manipulation is the basis of some of the most advanced technologies, including the Bene Gesserit (Jesuit) martial art which the Messiah and his Fremen warriors use to overthrow the galactic Empire. According to the Messiah (Paul Atreides, played by Kyle MacLachlan), “My own name is a killing word.”

Furthermore, the archetypes which set the basis for the heroes and villains of our stories are already present in our racial memory, according to the analytical psychology of Carl Jung, the man who invented the word ‘synchronicity’ and posited the idea of the collective unconscious, and upon whose writings Campbell relied heavily. The “unknowable” force described above in Campbell’s literature is represented by Jung’s unus mundus. It was Jung’s belief that psychotherapy brings about healing when a person integrates with his unconscious self and achieves individuation through it. It can therefore be said that reading or seeing the story of the hero’s quest has the potential to be therapeutic on a spiritual level, if we are able to recognize the truths being conveyed and apply them to our lives.

Put another way, in that part of us which can be called religious, or perhaps merely sentimental, whether it is our collective unconscious (as supposed by Jung) or the unified human conscious (as supposed by Campbell), humans generally strive to find enlightenment inwardly, and to find God outwardly, by way of attaining consciousness. This process is the basis of popular fiction, and not only is this how the monomyth begins, but the monomyth itself is also the story of the lives of all who strive for consciousness. The story’s structure appeals to us because it is based on our deepest psychological need, while the story itself relates information which is useful for fulfilling this need in the only way possible for it to do so, which is to say, by way of metaphors. We would therefore expect to see the same motifs and archetypes depicted over and over, as the film studios make films with the intent of making money and can only succeed in doing so by appealing to the popular imagination.

That being said, let us examine this monomyth, or hero’s quest, and see what spiritual truths we can identify from the metaphors in the films which have the potential to enhance our understanding of the universe, by way of demonstration. To do so, we must see the world as it is, but to do that, we must see it as it is not. There must be two different objects to make any kind of a comparison. In the world of fact, this means creating fiction. In the world of fiction, this means creating a world of fact, and then moving it into a world of fiction. So in the first stage of Campbell’s monomyth, the hero begins in the ordinary world and receives a call to adventure, which requires him to enter into a world of fantasy, so that he can ultimately come away with a better understanding of his own world. This is represented either by the hero (or someone close to the hero) being asleep and being told to wake up, or by the command to wake up being employed as a metaphor to someone who, while awake, is unaware of something important. When the hero realizes he is asleep, he makes the decision to wake up, while those around him refuse to do so and are still sleeping. This is essentially what makes him the hero by setting him apart from the sleeping or unconscious masses and empowering him by way of his newfound consciousness.

 

The Matrix

Ever have that feeling where you’re not sure if you’re awake or dreaming?

Moon

[Wake me when it’s quitting time]

Wall StreetWall Street

-This is your wake-up call, pal.
-We’re going into a New Age, pal.

Wake up. National security isn’t the only thing going on in this country.

BladeBlade

You better wake up. The world you live in is just a sugarcoated topping.

MegamindMegamind

You’re living a fantasy. This is the real world, and you need to wake up!

SkylineSkyline

Well, it is real. You better wake up.

Fantastic FourThe Matrix

The Day After TomorrowThe Day After Tomorrow

After.LifeAfter.Life

Spider-ManSpider-Man

RevolverRevolver

Wake up.

Knocked UpSkyline

X-MenOn Her Majesty’s Secret Service

RevolverRevolver

From Russia With LoveFrom Russia With Love

Kung Fu PandaStar Trek IV: The Voyage Home

Wake up!

Indiana Jones and the Temple of DoomIndiana Jones and the Temple of Doom
Stone

Wake up! Wake up!

Finding Nemo

Wake up. Get up. Come on.

The MatrixThe Matrix

Get up.

From HellFrom Hell

Get up. Get up!

Indiana Jones and the Temple of DoomIndiana Jones and the Temple of Doom

Oh, mister, wake up! Please, mister, oh wake up, please!

Shutter Island

You have to wake up.

GoldenEyeGoldenEye

Wake up! Pull yourself together! We’re going to die!

The Imaginarium of Doctor ParnassusBedazzled

-Wakey, wakey.
-Wake up, fella. There you are.

Heroes Season 3, Episode 15Heroes Season 3, Episode 15

You have no idea how big this mission is and what these people will do once you’re on their radar [conscious].

Heroes Season 3, Episode 14

Wake everybody up.

Kung Fu PandaKung Fu Panda

Guys? Guys? They’re dead! No, they’re breathing. They’re asleep. No, their eyes are open.

Legend of the Guardians: The Owls of Ga’HooleLegend of the Guardians: The Owls of Ga’Hoole

We are now asleep. We continue to fall asleep.

The Fifth ElementThe Fifth Element
The Fifth Element

-Not a moment to lose. Wake her up.
-Wake up. Hey, wake up!

Blade: TrinityBlade: Trinity

-Rise and shine, sleepyhead.
-Wake up. This is your rescue.

PandorumTron: Legacy

-It’s safe to wake up now.
-Hey, it’s okay. We’re safe for now.

 

As it represents knowledge or illumination, the symbol of the eye is very often used to show that an individual is waking up or becoming conscious, normally at the very beginning of a film. The following images are taken only from scenes showing the camera zoomed in on the right eye of a person who is waking up, or an artistic depiction of someone else’s eye in the background while an unconscious person is becoming conscious.

 

PandorumPandorum

[Hypersleep Standby Mode: Awakening Initiated]

Aeon FluxDante 01

The DaVinci CodeDonne Darko

Heroes Season 3, Episode 24

 

 

These images all demonstrate use of the right eye as the symbol of waking consciousness. However, in every case the person is waking to his own death or great peril, or from a dream in which he has died. The right eye represents ignorance, and ignorance leads to destruction. It is the left eye which represents knowledge, as Odin had to sacrifice his right eye, and therefore became conscious with his left only. Thus for over 3000 years the Illuminati have used the Eye of Ra as a symbol of ignorance, and replaced it with the inverted Eye of Horus (as the Eye of Providence) to signify their own supposed enlightenment, with the supposition that everyone else in the world who doesn’t use their symbol is foolish, ignorant and sub-human. Of course, Ra is the true sun god no matter how one looks at it, and superior to the impostor Horus in every way, just as each of God’s prophets is superior to each and every Illuminist.

 

Lara Croft: Tomb Raider

-This is the true eye.
-It’s not, actually; it’s a mirror image.

 

In anti-establishment films, when the hero wakes the focus is on the left eye. With the exception of the last one, each of these images is the very first scene of the film, signifying that the hero’s journey has just begun (though not all are the heroes of each of the respective films). Notice that the color is also consistent.

 

Donne Darko

CubeCube²: Hypercube

Resident EvilResident Evil Apocalypse

Pandorum

Sunshine

 

 

This “awakening” procedure includes a simulated calamity as part of the “Heisenreich experiment” to test potential recruits for scholastic aptitude. For the global initiation, only an “end of the world” scenario will do, but we can apply it to any doomsday scenario, ranging from the truly paranoid conspiracy fear-mongering disinformation to the Y2K hype. The idea is to get us thinking how fragile our lives really are so we might seek a spiritual solution and turn to the Church and the State for guidance. If we fall for the hype it means we are deemed unfit to be recruited, and if we fail to see the truth it means we will not be prepared for the real events.

 

Hellboy

This one’s awake.

MoonMoon
Moon

There was no crash [Y2K]. You were being awakened. It is standard procedure for all new clones to be given
tests to establish mental stability.

Ocean’s TwelveOcean’s Twelve

-Let me guess. He pulled a Lost in Translation on you.
-How do I not see these things?
-Don’t get down on yourself.

 

Once the individual is awakened, he is told not to tell anyone else what he has just learned. Of course, the hero must refuse to obey. If he didn’t, he wouldn’t be a hero—he’d be a pawn of the system he intends to fight against.

 

Donne Darko

So we can’t tell anyone what nobody knows?

PandorumPandorum

“In the event of mild memory loss resulting from extended hypersleep.”

The Chronicles of RiddickThe Chronicles of Riddick

Some of us still remember the true crime that happened here on Furya. And once you wake …

The Chronicles of RiddickThe Chronicles of Riddick

truly wake … you’ll remember too.

TronTron

-I still don’t understand why you want to break into the system.
-Because, man, somewhere in one of these memories is the evidence.

Harry Potter and the Half Blood PrinceHarry Potter and the Half Blood Prince
Harry Potter and the Half Blood Prince

The memory is everything. Without it we are blind. Without it, we leave the fate of the world to chance.

 

Once the hero has drunk from Mímir’s Well, he can now see the past, the present and the future. He is now a threat to the conspirators and their agenda. They must stop him from spreading his message (his “gospel”) by any and every means available to them before he undermines their whole 5000 years’ worth of progress. Thus the conflict begins immediately when he has made the decision to do so. Also, sometimes those who have drunk from the well (the prophets) leave clues behind for the hero to follow.

 

Southland Tales

They are the Memory Gospel Dancers.

A View to a KillA View to a Kill

-Those wells are in the Hayward Fault.
-But if we knew how many wells were involved, we might get a clearer picture.

 

The 3 numbers with the most numerological significance by far in Norse mythology are 3, 9 (3²), and 27 (3³). There are 3 roots of Yggrasil, the World Tree which symbolizes consciousness, and 1 well at each of the roots in Niflheimr (the Underworld), for a total of 3 wells from which consciousness has its being: Urðarbrunnr (the Well of Happening), Hvergelmir (the Well of Cold, in the sense of primordial matter, i.e. water), and Mímisbrunnr (the Well of Memory). Basically, consciousness happens when memory is infused into matter, but first it must pass through the Underworld—death. In the case of people who are sleeping, it is already possible for them to awake. However, in the case of those who are living, the story is always the same.

 

SurrogatesSurrogates

-Alright, but don’t tell me how it ends.
-The way they all end: everyone dies.

X-Men

What do you do when you wake up to that?

Harry Potter and the Half Blood PrinceHarry Potter and the Half Blood Prince

You [Odin] have to keep drinking like you said, remember?

Scott Pilgrim vs. the WorldScott Pilgrim vs. the World

-I can read your thoughts. Your will is broken. You’re through.
-What say we drink to my memory?

Southland TalesSouthland Tales

SurrogatesSurrogates

The memory chip is completely fried.

 

Once you drink from the Well, you can never go back. The hero’s journey is long and hard, and beset with traps and all sorts of perilous challenges, but it is the only way to salvation and everlasting life.

 

Enter by the narrow gate. For the gate is wide and the way is easy that leads to destruction, and those who enter by it are many. For the gate is narrow and the way is hard that leads to life, and those who find it are few. Matthew 7:13-14

But their minds were hardened. For to this day, when they read the old covenant, that same veil remains unlifted, because only through Christ is it taken away. Yes, to this day whenever Moses is read a veil lies over their hearts. But when one turns to the Lord, the veil is removed. Now the Lord is the Spirit, and where the Spirit of the Lord is, there is freedom. And we all, with unveiled face, beholding the glory of the Lord, are being transformed into the same image from one degree of glory to another. For this comes from the Lord who is the Spirit. 2 Corinthians 3:14-18

Therefore, having this ministry by the mercy of God, we do not lose heart. But we have renounced disgraceful, underhanded ways. We refuse to practice cunning or to tamper with God’s word, but by the open statement of the truth we would commend ourselves to everyone’s conscience in the sight of God. And even if our gospel is veiled, it is veiled only to those who are perishing. In their case the god of this world has blinded the minds of the unbelievers, to keep them from seeing the light of the gospel of the glory of Christ, who is the image of God. 2 Corinthians 4:1-4

 

StoneStone

I don’t know. It just makes me see everything differently. It made me look at my life in a different way.

StoneStone

I’m saying that we’re all God’s co-workers and we don’t even know it.

StoneStone

Maybe there’s a plan that includes all of us, and we just don’t know it. How can we know?

RevolverRevolver
Revolver

You’re in a game, Jake. You’re in the game. Everyone’s in this game, and nobody knows it.

Transformers: Revenge of the FallenTransformers: Revenge of the Fallen

You wanted this, right? You wanted the real deal? ‘Cause that’s what this is. Wake up! You’re in the middle of it!

Pirates of the Caribbean: The Curse of the Black PearlPirates of the Caribbean: The Curse of the Black Pearl

You best start believing in ghost stories. You’re in one!