In the Spirit of Socialist Realism: Sampling American Multikulti Cinema

On the new year day, searching on Youtube for something to watch, by chance, I stumbled upon a low budget and poorly made Western Yellow Rock (2012). By now, I watched enough of Hollywood products that were tailored to current “diversity” ideology and PC tastes. At least, some of them (e.g. Django Unchained, Black Panther, Dances with Wolves) were well crafted . But this Yellow Rock really “rocks.” It totally “overwhelmed” me. 

An official plot description is rather innocent:

“A man searching for his missing son hires a group of rugged cowboys to take him into territory controlled by the Black Paw Indians. When they come upon an ancient burial ground, their own greed tears them apart, as the posse turns on itself.”

Yet, in reality, from the first scenes, you are literally plunged into the “diversity pulp fiction”: caricature whisky-drinking and swearing white male rednecks (the posse) approach a camp of no less caricature noble American Indians who are taken care of by an all-female team of noble physicians and nurses. The head of the posse claims that he is looking for his missing son. Yet, in reality, they need to secure a permission from the tribe to cross Indian lands to reach an abandoned gold mine to get hold of some sacks with gold dust. Through their wooden characters, from the very beginning, producers defined clearly ideological sides: noble victims (Native Americans), allies (white women), and oppressors (white males). Not a single shade of grey. The only exception is a white male alcoholic scout who takes the posse into the wild. As a victim of his addiction, he is also somewhat qualified to be noble, and, in fact, he acts as an ally too.

nol_4The cliche plot is painfully predictable: the posse of the “whitey” wants to cross straight across Indian burial grounds, although the “Injuns” warn them not to do it. Of course, by violating the sacred land, the “whitey” offend local spirits, who send against the rednecks a pack of wolves who appear as grotesque caricature shiny silver wolves resembling their brethren from New Age postcards and posters. Finally, the evil posse, which en route harasses an accompanying female physician and a male Indian, finds the gold. Yet, driven by an expected greed, the members of the posse take on each other. The rest of them are finished by the physician who is able to snatch a gun and by Black Paw Indians who arrive just in time to commit the act of justice. The movie ends with a scene of a slow motion collective execution of the last greedy redneck by a group of the Black Paws who repeatedly shoot the guy holding tightly a sack of gold. When the justice warriors lean over the dead corpse, they find out that gold dust somehow miraculously turned into regular dust; elements of paranormal and New Age mystique are rather common in latter day Westerns.

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I would not have ventured into the description of this “movie” unless it had not provoked me to jump to an obvious conclusion: at times a trashy cultural product might serve as a good learning tool. Trashy stuff highlights dominant ideological cliches and sentiments more than any other more or less well crafted movie. Like an imbecile who mimics the behavior of surrounding people, such “masterpieces” clone the mainstream ideology that is superimposed on people in public schools and colleges. To me, Yellow Rocks demonstrated how deeply the educational system (film studies along with the rest of humanities) and print media has ingrained in the minds of movie makes the pillars of what people on the right label Cultural Marxism and that people on the left call Critical Theory. In its turn, this elusive theoretical “beast” served as a major fountainhead of the Multiculturalism ideology.

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Watching that particular movie, I suddenly felt catapulted to the “good old” Soviet Union. Replace noble Indians+female do-gooders with noble workers (proletarians) and greedy white evil males with greedy capitalists and you will get a solid Soviet movie tailored according to the cliches of Socialist Realism. For those who do not know what Socialist Realism is, I want to note that it was a Stalinist doctrine that required from movie makers, poets, writers, and the rest of the intellectual gang to depict the surrounding life not as it was but as should be in the ideal future. I have also realized that comparing old Soviet and communist Chinese movies with current multikulti products in European and American realms might have a pedagogical value. It will allow us to trace the genetic links between the Marxism of old that had been obsessed with political economy and class warfare and the current Cultural Marxism that is obsessed with racial and gender identity wars. In the 1920s and the 1930s, both in the Soviet Union and Western progressive subculture the ultimate noble savage was a metaphysical muscular male proletarian.

Since the 1960s, “noble savages” of old Marxism became replaced by the new cultural left with new “noble savages”: third world, people of “color,” females, gays….The list of victims who are simultaneously to act as redeemers from the evil Western civilization is not yet complete.

In a typical Soviet heroic movie a people-friendly misfit character without a stable class-based moral compass chaotically fought against oppression. He or she needed a solid back up form a wise muscular industrial proletarian who, with his working class salt of the earth wisdom, was to take this character to the highest level of consciousness. In Yellow Rock, the alcoholic scout similarly was upgraded by female and Indian wisdom. Incidentally, the same trope one can observe in the third part of the famous (and well made) Hunger Games trilogy that I watched again last night. The major character, Katniss Everdeen, a noble female warrior, was not complete without receiving an endorsement (in the final scene of that trilogy) from the victim/redeemer of a “higher caliber.” After Everdeen defeats dictator Snow, an aged cunning white male, a black female elder approaches Everdeen and gently leads her to the center of the new power, where masters of the multikulti paradise gathered to usher the new world.

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7 thoughts on “In the Spirit of Socialist Realism: Sampling American Multikulti Cinema

  1. “This movie rated SJ-13. Not suitable for viewers approaching adulthood or those educated in history or logic.”

  2. The problem with keeping things so literally black and white is that sometimes these tropes are true and sometimes they are false. Sometimes the bad guy really is a white male. But sometimes he is a she. Sometimes he is a black gay male. Sometimes the good guy really is a woman of color. But sometimes the good guy is a white male. I mean, anyone who is aware of reality realizes that all human beings are capable of evil and also of good – and that atrocities have been committed by groups of all colors and genders. It takes a lot of work, deep thought and understanding of human nature to create characters that are nuanced and realistic. It’s a lot easier to use cardboard cut-outs easily recognizable by skin color or gender.

    • You nailed it! So the best general approach in creative arts and humanities in general would be methodological individualism (pardon my bookish way of expressing this)

  3. Great article, I enjoyed it. Would you agree that The Shape of Water is a similar multikulti product in line with the views of Iris Marion Young? In sum, everybody is oppressed by the white male and we are afraid of the “Other”?
    This reminds me of Carl Schmitt’s idea that liberals can be totalitarian as well, adopting totalitarian means for the minority agenda.

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