Symbolic imagery refers to images within an artistic work, often including novels, poems, films, and other works, which are symbolic in nature. Imagery is the use of language or other facets of storytelling that appeal to the senses of a reader or audience, usually through descriptions of sights, sounds, smells, tastes, and feelings. This type of imagery is often used in fiction and poetry to create a more dynamic scene for the reader, often by showing the reader what is going on rather than telling him or her what happens. Symbolic imagery, however, is imagery that serves a symbolic purpose, rather than a strictly literal one.
The use of symbolic imagery is not necessarily difficult or complicated, though it can be a vital aspect of creative writing or storytelling. Symbolism and imagery can be used independently of each other, and they are neither mutually inclusive nor mutually exclusive. A storyteller can use symbolism to have something within a story represent more than it literally or directly seems to, while imagery refers to descriptions that appeal to the senses of a reader. When symbolic imagery is used, however, descriptions are created that appeal to the sense of a reader and represent more than they may seem to.
The book empire of their own, was originally subtitled, How Zukor, Laemmle, Fox, Cohn and the Warner Brothers Invented Hollywood, but later shortened to, How the Jews Invented Hollywood. The book however detailed how and what Jewish producers did to move very quickly from owning a few nickelodeons to controlling complete monopolies, consisting of production, distribution and exhibition facilities, in the movie industry. These men acquired this control because of an excellent sense of what the public would buy, intense personal drive, group solidarity as Jews, a willingness for hard work-and — a lot of shady dealing. Gabler describes how Adolf Zukor and Carl Laemmle illegally used Edison cameras without paying the royalties and how Louis B.Mayer cheated the producers of Birth of a Nation by falsifying his bookkeeping, thereby making as much as $500,000 on the exhibition of that one film in 1915.
These Jewish producers moved to Hollywood from the East Coast in the teens and twenties because of the abundant sunlight, cheap non-union labor and distance from the enforcers of the Edison Patents Company. Zukor and his associates arrived relatively late in Hollywood. A woman from Illinois had given Hollywood its name in remembrance of her native state’s holly bushes; several Englishmen, the Horsley brothers and Charles Rosher, created the first film factory in Hollywood, the Nestor Studio, in 1910. In reality, the Jews did not invent Hollywood, but they certainly did come to dominate it to the point where Hollywood…or hollywierd is now associated with them.
One of the things the Jews were knowing for in Europe, was that wherever they went, they eventually used up the patience of their hosts and was unceremoniously kicked out of one country or another. This was due to a combination of them separating themselves from other white people, plus their affinity for intrigue and behind the door dealings against non-Jews. Hell, if his-story is any indication, they also dealt harshly with each other, once there is no gentile to interfere with.
I would not be repeating tales out of school, if I referred to works like, the Secret Relations Between Black and Jews and other Jewish authored articles and books, that detailed the Jewish relationship with Afrikans in amurdikkka and how they used us as buffers between themselves and the Anglo Saxon, Viking elements of Europe. It is in this context that the Jewish involvement and control of hollyweird and the images portrayed of Afrikan people in the movie industry, that played a significant role in how we are viewed world wide today. Being that they controlled a nearly all aspects of the enslavement trade in black bodies, one can also rationalize that the notion of the inferior Afrikan, as a beast of burden, dumb as fuck and dangerous as an undomesticated pet, while first promoted by the Catholic Church and Islam, was taken to another level by the Jews. A level that is sustained today in the digital age.
In Hollywierd….which does influence our social outlook, black people are viewed as criminals, sexually promiscuous, violent, irresponsible, disposable and often none existent. The only redeeming quality of the black person, mirrors the Meritorious Manumission of the slave acts of the 1700s. That is the only acceptable kneegrow is one who saves massa’s house or his life. Or who was a snitch or a side kick. Interesting enough the kneegrow side kick in hollyweird has been all four, sometimes in the same person and in the same movie.
The first cinematic kneegrow side kick was Hattie MacDaniels of Gone with the Wind fame.
MacDaniels did such a good job as a domesticated pet, she became the first kneegrow to win an academy award. If I was to sit here and write about the plethora of kneegrow side kicks, turned out by hollywierd, I would be here for the whole day. However, I wish to point out some significant ones and how they became the standard for today’s, domesticated pets. Sidney Poitier’s turn in the Defiant ones, was sold as a film where men from two different worlds collided in prison and how their “friendship” and “respect” for each other developed.
However, despite what hollyweird tried to sell us on the film, the most telling part, was at the end where Poitier had the opportunity to escape, but decided to sacrifice his freedom, for his “friend”. Even cradling him like a female, during a Netflix and chill session. This scene also introduced the other aspect of the black buddy/side kick symbolism portrayed in hollyweird. The asexual, homosexual image. This homosexual/asexual imagery of the kneegrow domesticated pet became the full character of today’s and yesterday’s hollywierd’s portrayal of us. They will often put that out in reaction to us complain about the thug and promiscuous images.
They tell us to pick the poisons they feed us, and so we inevitably do.
Sidney Poitier did a lot to raise the profile of the black man in Hollywierd, and while apart from Defiant ones, he was “dignified” enough not to portray a flaming faggot, he did however, played the asexual side kick with gusto. From a Patch of Blue, to To Sir With Love, To The Heat of The Night, Lillie’s Of The Fields and even his last movie, where he portrayed the ultimate side kick….Nelson Mandela to the devil De Klerk.
Bill Cosby stepped it up with his I Spy series. Dianna Carol as Julia, another asexual single baby mamma in a white world. While Poitier and Cosby had enough clout to not be seen as an overt domesticated pet, the idea of keeping a black side kick to enhance the image of the white super star never faded from hollywierds calculations. From Eddie Murphy in 48 hours, Chris Tucker in Rush Hour, Whoopi “Jew” berg in Ghost and a host of others I wont name. The notion of the side kick as a domesticated, asexual/homosexual pet really registered in my mind after streaming the latest Avengers movie…Captain America civil war. The two main side kicks, War Machine, who sacrificed his ability to walk, in helping egotistical Billionaire Tony Stark, toe company line and Falcon, who sacrificed his freedom to support Captain America and his desire not to toe company line. It is telling that while Falcon ended up in Jail, while War Machine became a cripple, while Captain America went off with his boyfriend, Bucky to get rehabilitated by…yep, Black Panther. Now Black Panther is some one who has no need to be a side kick, since he is the King of the most technologically advanced country in the world. The richest man and one of the smartest most lethal combat fighters ever. Yet he was seen at the end of the movie rehabilitating the white super heroes.
Why because the black side kick is forever being sold as supportive of the white super star, whether they were wronged or not. The kneegrow must sacrifice his own freedom, or integrity to support yurugu.
In Star Wars: The force awakens, little has been written about the black storm trooper, John Boyega, outside of the animals that were upset he had a prominent role in the movie. In the movie most fail to see how he showed craven cowardice and the seemingly inability to get his head out of his ass when shots started firing.
What is even more egregious than watching the white hero or heroine defeat the enemy while the side kick either fights beside them or more often cowers behind them, is when the hero dies. Often for no other good reason than to have them die. Unfortunately you can’t find trailers of these side kicks dying or cowering, because that trailer is often the whole of the side kick’s presence in the movie. So they will not spoil the all too familiar script in a trailer.
However, the next time you watch one of these movies take a good look with your third eye and see how they portray us. In recent years, one of the cinema’s biggest side kick was Morpheus in the Matrix series. A man practically running shit. Smart, strong, a martial artist, a visionary and revolutionary, who ended up subverting his position and ceding authority to a computer nerd that he trained to be the ONE, who would lead his people to heaven…or Zion. Neo has often been viewed as a Jesus figure and you know how kneegrows love them some Geebus!