Nathaniel Metz's Blog

JacquesEllul

#horror #filmanalysis #capitalism #theology #Moltmann #NickLand #Deleuze #JasonHickel #JacquesEllul #SpiritualWarfare

In this article, I'm going to create a rough sketch for a modern notion of spiritual warfare by providing a narrative of the networks and systems in our world that auto-create themselves through a traumatic parody of divine providence. For lack of a better term, I will refer to this auto-organizing system as “Capitalism,” while also acknowledging the limitations of that term, given that what I will say applies also to Sovietism and Maoism. Again, this is a blog where I experiment because I find that often it's only through writing that I'm able to make connections and study new ideas.

What is Spiritual Warfare?

The Christian concept of spiritual warfare generally refers to the belief that there is a realm phenomenologically experienced but outside of our direct perception in which believers are engaged in a constant battle against evil forces, who are trying to oppose the will of God both through systemic superstructures of oppression and violence as well as through more individuated “temptations,” such as corruption, vice, greed, and not loving others the way one ought to. This concept is based on various passages in the Bible, such as Ephesians 6:12, which states “For our struggle is not against flesh and blood, but against the rulers, against the authorities, against the powers of this dark world and against the spiritual forces of evil in the heavenly realms.”

Christians have interpreted this in a variety of ways. Some think Satan and demons are, in some sense, real. Others take this language to be more metaphorical about how corruption, oppression, and violence can be destructive forces in the world, moving us toward a different end than the Kingdom of God.

Why am I Talking About This?

Reinvoking the language of spiritual warfare might seem like an odd and slightly crazy decision. After all, it’s an old Christian concept that, unless you are in certain Christian circles, is not talked about very much. But I have a hunch that the language of spiritual warfare might be fruitful for a narrative of Capitalism as opposed to the Kingdom of God.

I think we need a deeper sense of myth and narrative in our world today. However, by using the language of spiritual warfare, we might be able to build a bridge for conversation with more evangelical or even fundamentalist Christians, for whom critiques of Capitalism sound like Marxism, which immediately turns them off and prevents dialogue. Furthermore, the language of spiritual warfare allows us to bring in more scriptural resources to talk about the state of the world today, which could help preachers more easily address issues like climate change from the pulpit. Finally, I think our cultural analysis and critique could potentially be bolstered by spiritual warfare theory.

Opening Illustration: Stranger Things and the Upside Down

In the TV show, Stranger Things, there is a parallel dimension called the Upside Down harboring evil creatures against which the main characters must fight, which occasionally requires the characters to traverse inside the strange new dimension. The Upside Down is a decrepit parody of the real world, where, instead of humans, the town of Hawkins is filled with monsters, toxic air, and rhizomatic vines. This dark, parallel dimension is tethered to the real world but is also distinct from it. It is a conditioning force in the real world, but most people don’t have direct experience with it except for rare occasions. But even when people don't experience it directly, the Upside Down still lingers as an outside force breaking into the real world, creating violence and trauma. Several monsters within the dimension, such as Vecna and the Mind Flayer, want to break into our realm and corrupt or 'de-create' all of reality to be under their control — kind of like Lord Sauron with the One Ring of power in Lord of the Rings.

The Upside Down itself is somewhat confusing and the rules of how it works are not fully parsed out. Visually, it’s full of rhizomes, vines, and creatures that humans don’t fully understand, who exhibit strange powers not accessible to (most) humans.

While watching the show, part of me couldn't help but think of Gilles Deleuze's and Nick Land's transcendental materialism. Deleuze was a French philosopher who developed the concept of “transcendental materialism” as an alternative to traditional forms of materialism and idealism. Deleuze's theory is a form of ontology that asserts that reality is composed of an interrelated and constantly flowing multiplicity of immanent, dynamic processes or “flows” rather than fixed, substantial entities. Deleuze argues that traditional materialism, which posits that there is a single, underlying physical reality that can be objectively known, is limited in that it does not account for the ways in which reality is constantly in flux and shaped by human perception and thought. Similarly, he argues that traditional idealism, which posits that reality is a product of mind or consciousness, is limited in that it does not account for the ways in which the material world shapes and constrains human perception and thought. Instead, Deleuze's transcendental materialism posits that reality is a constantly flowing multiplicity of immanent processes that are both shaped by and shape human perception and thought. He emphasizes that reality is not a fixed, objective thing, but rather a constantly changing process that is both shaped by and shapes human subjectivity. He also emphasizes the importance of understanding how these flows or multiplicities are connected, relational, and mutually affecting each other, which he calls a “rhizomatic” structure.

The idea that reality is a constantly flowing multiplicity of immanent processes that are both shaped by and shape human perception and thought is (with some exception) a decent metaphor for the Upside Down. The rhizomatic vines, storms, and sludge of the Upside Down are constantly flowing, fluxing, and transforming; however, the work of humans also impacts what goes on in the Upside Down. I'm sure Deleuze would object to how easily distinguished the two realms are from one another, but the inter-penetrating and mutually corrupting nature of the realms might be satisfactory enough. The Upside Down is thus, in a sense, a sinister aesthetic depiction of a transcendental materialism that has gone into darker territory, especially when we consider how Nick Land (and the CCRU) developed Deleuze's theory.

Nick Land is highly influenced by Deleuze’s transcendental materialism and coined the term “fanged noumena” to describe the monstrous, destructive, and uncontrollable forces that he believes are unleashed by the acceleration of technological progress and the intensification of global capitalism. Fanged Noumena is a combination of Marx, Kantian transcendental philosophy, and H.P. Lovecraft. For Marx, capitalism is vampiric: “Capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks.” In the writing of H.P. Lovecraft, cosmic, extra-dimensional monsters exist in a manner that is beyond the comprehension of humans, which is like the Kantian concept of “noumenous,” the reality that exists independently of our phenomenological experience and thus cannot be “known” directly but only inferred (according to Kant). In Lovecraft, this outsideness and beyondness leads to madness, destruction, or both. Land combines these notions and thus theorizes capitalism as a type of Lovecraftian monster rearranging our world in order to be devoured; it is fanged noumena.

Even more broadly, fanged noumena refers to the idea that the world contains monstrous entities that exist beyond human comprehension and control. These forces are not only beyond human understanding, but they are also hostile to human life and well-being. Land sees these forces as emerging from the acceleration of technology, capitalism, and the intensification of global processes, representing a growing threat to human civilization. Fanged noumena are a product of the intensification of global capitalism, which creates a situation in which the economy, technology, and culture are all in a state of constant and rapid acceleration. Land believes that these forces are breaking down traditional forms of social organization and creating a new reality that is fundamentally different from anything that has come before. These forces are pushing humanity towards a state of hyper-modernity and a new form of barbarism — a situation in which traditional forms of morality, ethics, and humanism will be no longer applicable.

As he said in his famous essay “Meltdown,” “The story goes like this: Earth is captured by a technocapital singularity as renaissance rationalization and oceanic navigation lock into commoditization take-off. Logistically accelerating techno-economic interactivity crumbles social order in auto-sophisticating machine runaway. As markets learn to manufacture intelligence, politics modernizes, upgrades paranoia, and tries to get a grip.” For Land, capitalism is a cybernetic, self-organizing system created by a Lovecraftian Artificial Intelligence from the future.

Wow. Yeah, I know, but stay with me. Again, this is narrative-building, and whether or not Land truly believes this as a literal picture is beside the point.

What’s interesting to me about Land’s theory-fiction is that it is a type of parody or “shadow” of eschatological ontology. In the eschatological ontologies of theologians like Jürgen Moltmann, God’s transcendence is not primarily one of space, but of time. The total and complete redemption of all things being reconciled to God in Christ (Colossians 1) is a future reality that is breaking into the present, shaping our world to bring about the Kingdom of God. It’s like the common saying in theology: The Kingdom of God is both here and not yet. God’s Being — the highest form of reality, reality itself — is both immanent and transcendent to Creation, and is the ground of our being providing the ultimate conditioning factors upon our existence.

Now, compare Moltmann to Land.

God’s Kingdom is manifest through peace, justice, reconciliation, and, above all, the work of the Holy Spirit. Contrarily, Land’s Lovecraftian AI kingdom is manifest through destruction, death, acceleration of autonomous technique and technology, as well as the meltdown of reality into the control of the transcendental monster of techno-capitalist singularity. To quote Land's Meltdown essay again:

“The body count climbs through a series of globewars. Emergent Planetary Commercium trashes the Holy Roman Empire, the Napoleonic Continental System, the Second and Third Reich, and the Soviet International, cranking-up world disorder through compressing phases. Deregulation and the state arms-race each other into cyberspace. By the time soft-engineering slithers out of its box into yours, human security is lurching into crisis. … Converging upon terrestrial meltdown singularity, phase-out culture accelerates through its digitech-heated adaptive landscape, passing through compression thresholds normed to an intensive logistic curve: 1500, 1756, 1884, 1948, 1980, 1996, 2004, 2008, 2010, 2011 ... Nothing human makes it out of the near-future.”

To bring us back to Stranger Things, there's a sense in which, Capitalism, from a Landian narrative, is like the Mind Flayer — a monster from another realm breaking into our world to re-create the Earth according to its own vision. It is a type of fanged noumena conditioning our world through violence, destruction, and trauma. Just like how creatures from the Upside Down want to break into the world and transform it according to their own purposes, capitalism wants to manifest itself through the acceleration of horror. In the virtual sphere, television displays more horrendous material than we could imagine through cable news coverage and some forms of popular entertainment. When this wasn’t enough, the internet pushed the pedal to the floor, showing us every form of depravity and violence known to humanity. Imagine what could be next.

In the non-virtual spaces, the fanged noumena system exerts its manifest destiny through trauma and violence in even more hideous forms. It is not just the traumatization of humans via colonialism, slave labor, alienation, etc., but also the traumatization of the non-human facets of Creation via slaughterhouses, factory farms, deforestation, and climate change. All of Creation gets reterritorialized into these new traumatizing and brutalizing systems. This is also why Soviet and Chinese communism ultimately fell into similar plights: they exerted a manifest destiny of trauma via mass executions and brutal, merciless rule. The communist goal for the end of Capitalism ( a type of immanent and materialist Kingdom of God or heaven on earth) was sought after through means and techniques similar to the techno-capitalist system itself, such as mass violence and brutality. Thus, it’s no wonder that “brutalist” architecture was one of the core icons of Soviet communism. In this sense, we can see that “capitalism” isn’t a broad enough term because both Stalinism and Capitalism operated under this “traumatic providence.” Both are instances of spiritual warfare.

Objections

I’m sure many are rolling their eyes right now, which is fine. Again, I’m writing this more experimentally than dogmatically to see if this line of thought is fruitful or not. There are, of course, the obligatory notes about Land not being a good person and who should not be idolized, and I should note that I denounce his racism, political views, and his gun-ho endorsement of these traumatizing forces. It’s as if he sees the horror of techno-capitalism, but then endorses it, which is crazy to me. He's like someone who learns about Cthulhu and then joins the cult to worship him. Likewise, I’m skeptical about whether one should introduce Landian theory to American White Evangelicals, who, at least at this time, are quite prone to losing themselves in conspiracy theories.

Putting Land’s misanthropic character aside, the first object to all of this techno-capitalist fanged noumena mythos is simply that it is more like science fiction than actual analysis. One can get so caught up in a mythology of capitalism as a monster from Lovecraftian fiction that one ends up ignoring the real world around us.

I’m sympathetic to this objection. After all, Nick Land lost his mind worshiping what he thought was the coming techno-capitalist singularity as if he was in the cult of Cthulhu. Plenty of impressionable people on the internet follow in Land’s footsteps, and it seems that many of them are losing grip on reality, which can be seen in how they so willingly give themselves into every kind of conspiracy theory. It’s a type of self-induced schizophrenia (which, in a way, almost proves their theory).

Nonetheless, I don’t want to entirely dismiss this line of thinking only on the grounds that it is mythological and narrative-driven. I think humans need more myths, if by “myth” we mean something like our deepest meanings and understandings of the world set in narrative form. Developing a myth allows one to relate to complex phenomena, and myth is especially important when trauma is involved because trauma is, by its nature, difficult to talk about. (Neurologically speaking, trauma shuts off or slows down many of the language-making parts of our brain, which then makes the traumatic event difficult to verbalize).

However, even if we insist on more empirical analysis, it seems to me that the fanged noumena myth of techno-capitalism isn’t too far off from the truth. If we look back on the history of capitalism, from the death of feudalism, through colonialism, slave labor, industrialization, and to the present day, we see enormous amounts of death and destruction. Of course, death and destruction existed before Capitalism, and many important and life-saving innovations have come about through Capitalism, but it certainly has not been a peaceful walk into utopia.

Jason Hickel in his book “Less is Moore: How Degrowth will Save the World” provides a fantastic analysis of capitalism and its history of violence. Hickel’s work is quite empirical and I recommend it as a companion piece to this writing. As a general summary, Jason Hickel wrote that the origins of Capitalism can be traced back to the 16th century, after the violent suppression of peasant revolts during the death of feudalism and when European colonizers began to extract resources and labor from colonized territories. He argues that the accumulation of wealth and resources through colonialism and imperialism created the conditions for the rise of capitalism as we know it today. According to Hickel, the wealth generated through colonialism and imperialism allowed capitalist economies to grow, and this in turn led to the development of new technologies and the expansion of markets. To feed these expanded systems, Capitalism utilized a foundation of systemic racism and exploitation, particularly through the enslavement of millions of people of African descent, and the genocide of indigenous people in the Americas, Africa, Asia, and Australia. Furthermore, as an example, the colonization of British imperial capitalism led to the death of around 100 million in the years 1880 to 1920, which is greater than all the famines that occurred under communist governments combined (https://www.sciencedirect.com/science/article/pii/S0305750X22002169?via%3Dihub). The legacy of imperialism and exploitation continues to shape the global economy today, and it is a major factor behind the persistent inequality, poverty, and devastating environmental conditions that exist in the world today.

What I like about Hickel’s work, in contrast to Land, is that Hickel sees Capitalism as related to systems of production and the manner in which resources are extracted and then commodified within an economic system that demands constant growth. A system that requires infinite growth using finite, fragile resources — including transforming colonized humans into resources — is bound to generate major problems, such as the current climate crisis. Hickel notes that phenomena such as markets and trades existed well before Capitalism and are not necessarily the problem. So the whole objection of “You don't like Capitalism and yet you bought something from a store” is beside the point. The point is not engaging in trade or purchasing items, but the systems and supply chains behind the construction of those items. Land, however, seems to ascribe the label of Capitalism to anything that is rationally organized and generates a surplus, which I think is too broad a definition.

Nonetheless, the narrative of Capitalism as spiritual warfare is useful because it can transform the empirical facts of the devastation wrought by techno-capitalist systems into a narrative, grounded in familiar scriptural motifs, which is easier for us average folks to relate to. As the scholar Rune Rasmussen often argues on his “Nordic Animism” channels and writing, the mass public desperately needs such meaning-making myths in order to properly orient themselves to these problems. When scientists, for instance, talk about the science behind climate change, they are doing great work and producing great science. However, the language of scientific studies is often quite technical and difficult to understand. One struggles to build a relationship with it. What is needed, Rasmussen argues, is the transformation of such technical material into a broader story — a myth if you'd like — to which average people can relate.

A Literal Myth?

One probably wonders: Is the spiritual warfare language literally true, or is it a type of fiction that is merely good at expressing other factual statements? I think either option is reasonable, and I’m sure some people, who don’t believe in something like actual demonic entities, would want to follow the latter position. Admittedly, I bounce back and forth between the two. Nonetheless, as I’m writing this article, I’m increasingly intrigued by the picture of demonic, satanic forces as a dark, shadowy, “upside down” transcendental that is wreaking havoc in our world through traumatizing systems of destruction (deforestation, climate change, slavery, colonialism, factory farms), which is like a privation of divine providence. If Satan exists, I think that’s a more compelling picture than what one hears of in conspiracy theories like QAnon or the motifs often depicted in Christian movies.

Finally, I think such a narrative of Capitalism as spiritual warfare presents interesting implementations for our spiritual lives. When evaluating different religious practices, we can now ask: Which kingdom does this practice benefit? Additionally, I think it holds insight for our religious services. By participating in liturgy, we are taught to live into a different narrative — i.e., the “true myth” of God’s future redemption which is breaking into our present.

Furthermore, the spiritual warfare of Capitalism mythos provides intriguing insights for the spiritual practice of prayer. One such example is the book “Prayer and the Modern Man” by Jacques Ellul.

Jacques Ellul was a French philosopher and sociologist who wrote extensively about the role of technology in society and the impact it has on individuals and communities. Ellul argued that modern society was characterized by the proliferation of technology and the growth of bureaucratic structures, which reduced individuals to mere cogs in a larger machine. He claimed this threatened to rob people of their ability to think for themselves and act freely, leaving them feeling disconnected from each other and God.

Ellul saw prayer as a form of resistance against the technological and bureaucratic structures that dominate modern society. Prayer is a way to connect with the divine, reclaim one's humanity, and resist the often dehumanizing forces of technology and bureaucracy. He saw it as a form of meditation that allows individuals to disconnect from the distractions of the world and focus on their relationship with God. Through prayer, individuals can find peace and solace, and they can gain a deeper understanding of their place in the world and their role in society.

In his view, prayer is also a form of social resistance because it allows individuals to challenge the dominant ideologies and values of society and reject the status quo. He believed that by praying, people can reclaim their autonomy and challenge the structures of power that threatened their freedom and dignity.

Now, I'm not saying we can just pray away Capitalism. We do need broader systemic change, and here, I'll point back to Hickel who offers many concrete suggestions for change. Nonetheless, if Capitalism is, in some sense, partially a spiritual battle, we will need to invoke spiritual weapons like prayer and worship in order to combat it.

Conclusion

In conclusion, the spiritual warfare of Capitalism refers to a mythos of Capitalism as the fanged noumena of a dark transcendence that is breaking into our world and wanting to corrupt Creation through a traumatic anti-providence, which is a parody of God's eschatological providence of love and redemption that is breaking into our present from the future. By conceiving of Capitalism as spiritual warfare, we gain insight into how these techno-economic systems grow themselves through exploitation, brutality, and trauma, and we also see different insights for how spiritual practices can help play a role in resisting them.

Between Meritocracy and Marx: An Analysis of “Christmas Evil”

#movie #filmanalysis #philosophy #capitalism #christmas #advent #JacquesEllul #MartinLutherKing

If I had to pick a Christmas movie to list as my favorite right now, I think I would say the 1980 film, “Christmas Evil.” Because of the title and a few of the tropes related to slasher films of that era, many are quick to dismiss this film as another cash grab trying to imitate the success of John Carpenter's “Halloween.” Though I'm fine with this film sitting within the horror genre, and I'm not trying to minimize the artistic possibility of slashers, I think this film encompasses much more than people often give it credit for when they keep the discourse at the level of “cheesy Christmas horror film.” In fact, and this is perhaps my boldest claim, I think this movie is almost more related to a Shakespearean tragedy than a conventional slasher.

“Christmas Evil” follows the plot of an alienated, unstable, middle-aged man, whose delusions and identification with Santa Claus overtake him, ultimately leading him on a quest of mayhem, violence, tragedy, and surprising amounts of sincere love, kindness, and the true spirit of Christmas. Imagine Hamlet meets Taxi Driver meets Frankenstein, and you have “Christmas Evil.” This film was not released to critical or audience acclaim back in the 80s, though now it has received a bit of a re-appreciation, taking on something of a cult status amongst horror enthusiasts on the Internet. Some might find this movie campy or silly, but I personally think it is a well-made film with competent acting and unabashed sincerity, showing our main character as both hero and villain. In what follows, I will sketch out my interpretation of the film as depicting the tragedy of alienation and the need to form a collective movement beyond the meritocracy of capitalism.

Warning: Spoilers ahead.

Here is a more in-depth summary of the main plot points.

Harry Stadling lives on his own and works in an assembly-line toy factory for a large company. His relationship with his family is strained, and it seems as if he has no friends — often being the object of teasing by his colleagues in the factory.

Quite early on, we learn that Harry believes that he himself is actually a type of Santa Claus figure — even going so far as to spy on the neighbor's kids and keep his own “naughty and nice” list. In the first scene of the film, we learn that, as a young boy, Harry's father dressed up as Santa on Christmas Eve to surprise Harry and his younger brother, Philip. Philip understood that the man in the Santa costume was really their father, but Harry wholeheartedly believed it was the real Santa. To prove that it was the real Santa, Harry went back downstairs, whereupon he found Santa (his father) kissing and fondling his mother. Harry experienced this moment as the ultimate betrayal and came to believe that Santa Claus is of ill repute. For Harry, this betrayal is experienced as a “death of God” moment. To cope with this loss of his divine hero, Harry takes up the mantle of Santa for himself — to be the figure of good the “real” Santa could never be.

In the present, Harry is busy creating his own Santa suit and fake beard, becoming overjoyed that he has finally completed the ensemble and found his true self. As part of his new Santa identity, he discovers tremendous joy in making his own toys by hand rather than the cheap plastic ones at the factory.

For the rest of the film, we witness instances of great joy and horrendous tragedy. Harry finds out that one of the leaders of the toy company is making empty promises about donating toys to a children's hospital, using these promises of charity as a PR stunt to make more money without concern for the children. Enraged by this duplicity, Harry goes to the hospital himself, dressed as Santa Claus, and delivers the presents he made by hand (as well as some he stole from the factory). As an aside, I think this is a sincerely beautiful moment, and I’ll admit I actually teared up during this scene.

Soon after visiting the hospital, Harry finds the owner of the company at a Christmas Eve church service. Harry plans on killing the owner in revenge but ends up killing three other people in the crowd who harassed him. Harry then flees the scene and escapes to a Christmas party where he spreads Christmas cheer and brings joy to those around him. Again, a beautiful moment.

However, the police are out looking for him, and the next day while Santa Harry is walking through a part of town highly decorated with Christmas lights, families see him and suspect him to be the killer that the police are looking for. However, the children in the families sincerely believe he is the real Santa. One of the fathers tries to attack Harry, but Harry manages to escape.

The police and town catch up with Harry, and he is chased through the streets like Frankenstein's monster. Harry tries to escape in his van, and he accidentally drives off a bridge. But instead of falling to his death, Harry's van flies in the air, and he glides into the night sky like Santa Claus. We are then left to wonder if this is merely Harry's final delusion or if he really was Santa Claus all along.

I left out a few elements from the summary, but that should be more than enough for us to talk about the themes and philosophy at work in the film.

Santa Claus is a deeply embedded archetype within American society. On the one hand, Santa reveals the ideological meritocracy of society — that the good should be rewarded and the bad should be punished without exception. But on the other hand, the figure of Santa stills holds an excess of quasi-liberatory principles outside of that ideology, which is perhaps grounded within the archetype’s origins in the St. Nicholas mythology. Let's break this down more.

Within the Santa mythos, those who are deemed good are rewarded with commodities. Those who are bad are punished with coal. However, the criteria of moral evaluation are left vague. What exactly is it that determines who is good and who is bad? What virtues should the children possess? Should they be following the categorical imperative or maximizing utilitarian good? Goodness and badness are simply assumed standards that perhaps are merely regurgitations of wider capitalist values like working hard, being obedient, submitting to authority, and not complaining. Furthermore, the reward and punishment system neglects material circumstances that might influence a child’s behavior. Growing up in abusive homes will often lead children to certain behaviors deemed bad. But to dismiss the child as merely a bad kid without working to end the abuse and bring healing to the trauma is grossly unfair and disingenuous. It seems that Santa’s evaluations are lacking in this essential nuance.

However, at the same time, there is something positive about the Santa archetype. Santa represents gift-giving instead of industrialized capitalist exchange. This is especially the case when the Santa lore is engaged with the more original and less modernized depictions of Santa in his toyshop making toys by hand rather than in a Fordist factory. There is a gratuity and excess within Santa in that, in its purest form, he wants to bring joy to children by giving them gifts that need no financial reciprocity. Perhaps this is the leftover sense of Christian charitable love from the original St. Nicholas mythos, in which Nicholas gave gifts to children in need. In the Christian understanding, gift-giving is a form of relation that mirrors the grace of God, who gives salvation freely out of God’s abundant love. Indeed, all of Creation is considered to be a gracious gift from God. Of course, charity in-itself is not the death blow to capitalism, but it perhaps shows a type of relation that could help us imagine a post-capitalist mode of relating to one another and to society as a whole.

Additionally, there is something admittedly appealing (at least to me) about Santa's insistence on goodness. The philosopher Immanuel Kant believed that freedom emerges from our knowledge of conformity to the categorical imperative — a universal moral law. In other words, we are free because we are moral agents. Freedom is linked to morality. There are certainly problems and objects to Kant's theory, but if one applies this to the Santa mythos, then there could emerge a possibility of helping children gain a deeper appreciation for their own agency. And helping children become empowered by understanding their own agency — especially that this agency can be used for good — seems to me like a necessary and good aspect of raising children.

But one of the main problems with Kant's theory, as well as the Santa mythos, is that Kant is too individualistic. In order to experience the true flourishing and freedom of a just society, we need each other's help. As Martin Luther King Jr. said, “In a real sense all life is inter-related. All men are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly. I can never be what I ought to be until you are what you ought to be, and you can never be what you ought to be until I am what I ought to be... This is the inter-related structure of reality.”

Santa’s failure is not exactly a call to virtuous living (albeit an undefined call), but a call to virtuous living without taking into account humanity’s interdependence upon one another and how moral living cannot truly flourish without communities addressing issues of material, emotional, or spiritual scarcity.

Santa is a naive Kantian, and so is our main character, Harry. But instead of the universal law of the categorical imperative, we have the universality of capitalism. This film hits hard on the alienating effects of capitalism. Toward the beginning of the film, Harry expresses the tragedy of how industrialization and Fordism have separated the laborer from the results of production, resulting in flimsy objects and planned obsolescence. As Harry says, “Nobody here is interested in good toys. ... You've never felt the thrill of making a good toy. And how could you in this (factory)? ... Don't you understand how useful rigidly constructed toys are? How inspirational? Their value goes way beyond making money.”

Capitalism within the film brings about an alienation within labor and a devaluing of craftsmanship, but the narrative also shows the devasting impact of alienation on mental health. There is an unfortunate trope in films (especially the horror genre) where neuro-divergent people and those with mental disabilities are portrayed as monsters or threats. One might initially assume that “Christmas Evil” falls prey to this same trope, but I think the film actually is critical of how capitalist societies treat neuro-divergent people. As we see in the scene at the hospital, it’s entirely possible for Harry to flourish in society. In a better society, Harry would have a community that supports him, helps him, and encourages his gifts, heart, and craftmanship. I’ve seen it happen before in a church ministry that fed the homeless. A neuro-divergent man was one of their top workers in the charity, and his unique gifting was able to flourish and be celebrated. Neuro-divergent people offer a unique gift that could be received by society, but, as we see in this film, more often than not, neuro-divergent people suffer the most from alienation.

Furthermore, “Christmas Evil” shows how the marginalized and needy are neglected by society, and how easily charity can be co-opted for capitalism’s own self-interest. The children in the hospital are neglected on Christmas, and the toy company exploits this reality with pseudo-charity aimed at increasing their own profits. In the eyes of the factory owners (the purest archetype of the bourgeoisie), the children in the hospital are nothing more than a PR stunt to improve the company’s repertoire with consumers. I don't think charity isn’t wrong in-itself. In fact, as I said before, charity radicalized toward a gift-giving relation to society might be a virtue that could help move communities toward post-capitalism. But often, charity is reduced to merely treating symptoms without engaging with the structural causes of those symptoms.

When the alienation of capitalism and the death of God within society (as I mentioned earlier regarding the incident with Father-Santa) are combined, it leads to tragedy. Without a social support system or a wider vision of the Kingdom of God, Harry becomes a law unto himself. In Kantian philosophy, this ought to be a point of freedom: the individual gains autonomy by following the categorical imperative which is given to oneself through the faculties of practical reason innate within the human mind (or something like that). But instead of freedom, Harry becomes his own law is a form of vigilantism that merely radicalizes the meritocracy of his society. The good are rewarded and the naughty are punished. Harry takes that meritocracy and then flips it back onto the people who are most responsible for maintaining that ideological system (as well as some other bullies). If you want only the good people to live and the bad people to be resigned to death, then the exploitive greedy bourgeoise should be punished. However, the film also shows the perils of trying to maintain this revolution using the ideological forms of meritocracy — or, as Jacques Ellul often pointed out, when one’s means are not in accordance with one’s ends. One needs a revolution that no longer abides by the capitalist bourgeois ideology.

Meritocracy is empowered by structural and systemic violence against those deemed “naughty” or not fitting the cultural ideal. Thus, violence can be easily incorporated back into the ideological system. As Martin Luther King said, “You can’t reach good ends through evil means, because the means represent the seed and the end represents the tree.” The pleasure we get when Harry is about to kill that greedy capitalist who exploited children in the hospital shows just how internalized this absolutist and merciless meritocracy has conditioned our consciousness. When the other petty hecklers are killed instead of the factory owner, and their friend is left screaming in pure traumatic horror, we are forced to recognize the misguided ways of this form of consciousness.

All of this is why I think this film is better understood as a Shakespearean tragedy rather than purely a horror film. At the heart of “Christmas Evil” is a tortured soul who could’ve been a force for good. But instead, he is brought down by the tragedy surrounding him. And we are left to wonder what it would take to rearrange our society so that those facing similar plights to Harry might not fall into such tragedy but rather find communities of redemption.

#movie #horror #filmanalysis #theology #JacquesEllul #Christmas #Advent

“Anna and the Apocalypse” made a small splash in public awareness around 2017 for being one of the boldest (if not bizarre) genre mashups to date: a zombie horror Christmas musical tragicomedy.

The summary on IMDB reads as follows: “A zombie apocalypse threatens the sleepy town of Little Haven – at Christmas – forcing Anna and her friends to fight, slash and sing their way to survival, facing the undead in a desperate race to reach their loved ones. But they soon discover that no one is safe in this new world, and with civilization falling apart around them, the only people they can truly rely on are each other.”

Some have described this film as “Shaun of the Dead” (another zombie comedy film) meets “High School Musical” (the greatest musical of all time. Don't even try to debate me). I re-watched the film this year, and something about it really resonated with me. Upon second viewing, I was able to get over the initial shock of a zombie Christmas musical and actually engage with how the horror and musical genres coalesce to communicate the themes within the narrative and character arcs. In a fascinating way, two of the most predictable and gaudy genres work together to create a new form of apocalyptic art.

The word apocalypse is often thrown around to refer to the end of the world, but that's not necessarily what apocalypse means. In the biblical sense, apocalypse means a revelation. It's as if the curtain of reality is pulled back, and one sees into the divine realm, such as the heavenly host, spiritual warfare, etc. However, there is a tangential connection to the “end of the world” because often such revelations show how the present order of the world is coming to an end. For example, in “Shaun of the Dead,” zombies are used to depict the apocalypse of falling in love and how such an apocalyptic revelation can upend one's life, resulting in the rearrangement of how one is currently living. One receives a glimpse into a new type of modality (being in love), and this results in the present order of life coming to an end.

In “Anna and the Apocalypse,” the zombie outbreak is symbolic of the apocalypse of leaving one's hometown (and especially doing this while transitioning out of high school). Anna is a high school senior who lives with her single father after her mother passed away. After graduation, she plans on taking a year to travel the world instead of going off to university. However, her dad is livid about this decision and is instead insistent upon her following a more conventional life path.

The characters who survive the film are the ones who desire to escape the suffocation of their hometown: Steph, a lesbian woman whose concerns about the marginalized are dismissed, while at the same time being neglected and not accepted by her parents. The other survivor, besides Anna, is a young man, Nick, who has an abusive father. Conversely, the characters who die are the ones who wish to stay in their hometown. In this sense, the zombies are symbolic of the forces that keep one tethered to the sluggish suburban sprawl of “sleepy” hometowns that can zap aspirations or, in the case of minority groups, such as our queer character Steph, create oppressive conditions and even violence.

I must admit how impressed I am with how much work is done by the film's genre form. There’s a sense in which this movie is over-saturated by form. The characters and the narrative cannot escape the duel oppression of both the horror genre and the musical genre. Interestingly enough, this also turns so many people off from enjoying the film. It combines many elements that people would not like. There are many who cannot tolerate musicals for their cheesy and unrealistic and predictable structure. And there are many who cannot tolerate the horror genre for its display of the grotesque. But within the over-saturation of form, the very content of the film emerges. Just like the film cannot escape the clichés and rigorous structure of its dual genre, neither can the characters escape the suffocation of their hometown. Both horror films and musicals are prone to feeling “unrealistic,” which makes them harder to enjoy for viewers who prefer being more fully immersed in the movie they are watching. But in a similar vein, many of the characters within the film feel as if the life they currently live is unrealistic, and they feel as if they cannot be fully immersed within it. The way in which the form alienates many viewers reflects the alienation experienced by the characters within the narrative.

However, this film is, importantly, also a Christmas movie. Some commentators have objected that Christmas doesn't have much to do with the movie, but rather that the narrative just happens to fall on Christmas Day. But I disagree. Christmas spirit is an essential liberating force for the characters that allows them to hold onto hope and keep pressing on. When Anna's father is bitten by a zombie and she must say her final goodbye, he tells her, “Merry Christmas, Anna.” Symbolically, this is Anna's father finally accepting that she will move on and travel the world — that she will leave her hometown. Additionally, Anna's weapon of choice that enables her to fend off zombies successfully is a giant candy cane, which I take to be symbolic of her harnessing the power of Christmas. And furthermore, snow falling (the presence of Christmas spirit) often happens when the characters rediscover hope — such as in the final scene of the film.

To be clear: I don't mean “Christmas spirit” in a generic, Hallmark movie sense. Rather, I think the Christmas spirit at work in this film is the hope of Advent. In his book “Hope in a Time of Abandonment,” the theologian and philosopher Jacques Ellul argues that hope is not the absence of despair but rather a choice of faith made in the midst of despair. However, for Ellul, this choice is not vague, wishful thinking, but rather a recollection and proclamation of the promises given through God's self-revelation. Hope is thus holding onto the promises of God, grounded in the revelation of Christ, even during times in which God feels absent. A powerful illustration of this hope is the Advent narrative found within the New Testament. Mary chooses to give birth to and raise the Christ child even though the brutal reign of the Roman Empire seems omnipotent and her personal situation of poverty and potential social ostracization seem inevitable and unjust. In a sense, there is a resonance between the characters of Mary and Anna: both choose an apocalyptic hope even though the material circumstances around them are bleak.

Lyrics from the song “I Will Believe” from the movie:

As I look back over my yesterdays
I was so sure, certain I'd find my way
But now the world is such a different place
All of my dreams are gone without a trace

Where is the light that used to shine?
Oh, where is the life that once was mine?
But while there's hope, while I still breathe
I will believe

There was a time nothing could hold us back
Our days were bright before this earth turned black
But now my faith feels like a distant ghost
I lost the things I used to need the most

Where is the light that used to shine?
Where is the life that once was mine?
But while there's hope, while I still breathe
I will believe

All of a sudden the blood in my veins runs cold
Thinkin' about all the days that I just let go
If I had reckoned the seconds would slip from me
I'd have paid twice for the price of the memory
For the memory

Where is the light that used to shine?
Oh, where is the life that once was mine?
But while there's hope, while I still breathe
I will believe
But while there's hope, while I still breathe
I will believe