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NEUROTRANCER was a Director Movie of samples taken from the Alien Autopsy Footage, Bride of Frankenstein (who was actually the reluctant and destructive Bride of the Monster and second creation of Frankenstein's, made to keep the monster company) and other 'femme fatale' imagery - Mata Hari and Pandora's Box.  It is an exploration of the tragic, yet powerful role of the female in movies directed by and for men, whereby at the end she faces death as punishment for 'leading him astray'.  Mae West was a brilliant example of a powerful woman, who wrote, directed and produced her own films and was hammered down by the censorship of the Hayes Code, which was  brought in specifically to deal with her saucy verbal double entendres.  She launched the career of Cary Grant, and although ultimately feminine, she lost her womanhood by the travesty of becoming a gay icon.  This was an audience led move, as gay men explored camp feminity, and women moved into a less sexual more active role in the world.  She instigated those changes.  It's the 'catch 22' trap - just when you think you're winning, you've lost.  You can't do this and you can't do that, cos either way they've got you where they want you, even if it's just in your head.  Mae West is a heroine of her time, but just like the word, leading ladies are portrayed as loaded with poison.  A great high and a high price, so many standards to meet - great skin, great hair, great figure, great attitude, great sex appeal, great face.  Compare that to male protagonists: rough, rugged with unquestioned authority.  So Mae gave us Carry Grant, sauve, attractive, charming - but he was gay.  The sad thing is the amount of hatred portrayed against women in the cinema, nevermind the porn industry.  For example David Lynch's daughter producing Boxing Helena, one of the sickest mainstream movies, whereby the heroine has her limbs removed by the protagonist so that she can't leave him.  Unrealistic and treacherous the movie denies the pain, and features her with beautiful hair and cosmetically made up face - How?  With no hands?  Then there's Terminator - Rise of the Machines, finally a female Terminatrix, but all she says is "I like your car", "I like your gun" and she is pure spectacle, without any of Arnie's charm, dialogue or identity.  The film enjoys watching her destruction, her punishment for being powerful  and independant.  Terminator II was infinitally better, especially for the hideous fearful depiction of  what would happen in the event of a megaton bomb.  The Stanford Research Insitute seems to be the white front of the black budget industry, meddling with mind, body and space through dimensional passage.  Apparently a co-founder is Russell Targ (Limitless Mind  2004) who would have an argument for sure with Arnie, as he thinks that "What cannot happen, however, is a future event changing the past.  Nothing in the future can cause something that has already happened to not have happened...'intervention paradox'." (p. 79).  [How would he know?] But influence can stretch both ways into our anticipation of the future and back into our perception of past events.  History can be revisionist, you can choose to remember the good or hark back to the bad, you can prepare for disaster or for triumph.  Sometimes actions which punish what has already happened, become worse than the original event - as in the example of 911, which instead of being mourned respectfully, was punished with rage and became the Iraq bombardment, a much worse situation.  When a whole bunch of people have died, is there any point in killing more to make up for it, especially when it was a suicide attack and the perpetrators died in it.

Look at the harm this does to our society - Fatal Attraction - should have taught men that having an affair and messing about with women's reproductive capabilities is wrong.  But no, it just left women with the stigma of wishing not to appear as a 'bunny boiler' - a self determining woman.  Which was a stance only taken to wreek revenge for incredible psychological and mental torture (not to mention making her pregnant) - his infidelity and disavowal of her feotus.  His disrespect in casting his affair aside traumatized both women, but only because the non-wife took matters into her own hands did the event become known, otherwise he would have been an undiscovered traitor and home wrecker.  

Big Brother 2004, the love of Michelle and Stu was obvious, but for loving him physically and passionately Michelle got evicted, blamed and named a 'bunny boiler', a label which lasts, although only said in passing by one late night radio presenter.  Michelle's name for Stu was 'Chicken', this nickname was referred to everyday as a Northern term of endearment.   They were happily reunighted and her ultimate success in chosing and keeping her mate has won Michelle much fame.

Feminism and equality is about removing the centuries of blame and hatred women have had to struggle under, it is an ongoing journey.  A waving, spiralling whirling journey, of Mary Dalyesque frequencies in patriarchal reversal strategies.  Particles and waves flowing against and through the mainstream, backwards.  Talking of light waves, as in the Exorcist's "They're here!" moment of arrival - where the static white noise of the television signal brings in the spirit of the universe / cosmos / gallaxies - The Alien Autopsy was derided  as a fraudulent hoax, accused of fabrication and trickery -this position is unjustified and says more about the viewer than it does about the image.

Sylvia Plath was an American debutant who came to England on a scholarship.  She was a genius of wordsmithery and poetic artistic talent.  She dreamt of the Moon in the Yew Tree, and eerie and uncanny presence,  and frequently slipped into spells of depression like tidal eddies.  In New York while working on a Woman's Magazine she found that the Rosenburgh's would be fried in the electric chair.  This was the last time of an execution style as antiquated as her method of depression treatment which was electric shock therapy.  Meeting Ted Hughes when he lived in a 'chicken shed' as a well known English University Campus dropout, she bit him on the cheek at a party, or else their mouths collided in a mixture of tooth and cheek.  Married, years later on a cold winter's night - she realized he would not be coming home.  So Sylvia terminated and left us to her famous and poignant description of a condition which can lessen anyone's life to a tight, viscious circle of evidence which cannot be escaped.  


Ted went on to be rewarded for The Iron Man, with the title Poet Laureate and began to write for children.


Recriminations were never made public, and his fame overpowered hers.  Yet it is Sylvia's voice which echoes through the years.  Her crisp, succulent accent in radio interviews.  Her shining face below a blonde bang, red lips smiling.


Johnny Panic and the Bible of Dreams (1952)

interpreted by Tab (Rosunwell Society Copyright 2004)



From a poem

by Sylvia Plath


...A Sarcophagus

And a face on it


Round as the Moon

to stare up


I do no trust the spirit

It escapes like steam


In dreams, through the

 mouth-hole or eye-hole

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