Burn After Reading

[brainpanhandler]

The latest Coen Brothers film. Due out September 12.

Osbourne Cox (John Malkovich) is a CIA analyst who quits his job at the CIA after being demoted because of his drinking problem. He then decides to write a memoir about his life in the CIA. His wife, Katie Cox (Tilda Swinton), wants to divorce Osbourne and, at the counsel of her divorce lawyer, she copies all his personal financial files off his computer along with his work-in-progress memoirs. This disk eventually finds its way to Hardbodies, a workout gym. Chad Feldheimer (Brad Pitt), who works at the gym, finds the disc and intends to blackmail Cox with his former employee Linda Litzke (Frances McDormand). George Clooney appears as Treasury agent Harry Pfarrer who is sleeping with Katie, Osbourne's wife.

http://en.wikipedia.org/wiki/Burn_After_Reading

Tagline? Intelligence is relative




Focus Features owns the distribution rights. Same distributor as for Miss Pettigrew Lives for a Day.



http://en.wikipedia.org/wiki/Focus_Features


A bit of digging around for Osbourne Cox has not lead to anything obvious, at least not obvious to me.

Cox Enterprises is the 10th largest media conglomerate in the US. A cursory google search did not turn up any obvious scandals.

Inoculation against impending ex-cia expose?

Link to wiki intriguing bio of Cox Enterprises founder James. M. Cox -
http://en.wikipedia.org/wiki/James_M._Cox

The surviving kids are all billionaires. Anne Cox Chambers owns a controlling interest in Cox Enterprises, is worth 14.6 billion, and is reportedly a big Obama backer.

http://en.wikipedia.org/wiki/Anne_Cox_Chambers

Maybe this?

http://en.wikipedia.org/wiki/Archibald_Cox

[Hugh Manatee Wins]

The latest Coen Brothers film. Due out September 12.
.....
Focus Features owns the distribution rights. Same distributor as for Miss Pettigrew Lives for a Day.
.....

Good subject. Especially noting Focus Features.
The poster for this movie is at my local psynema.

The Coen brothers have been doing CIA subtext decoy movies since 'Blood Simple' which had Jack Ruby all over it.

Focus Features is owned by General Electric, one of the biggest weapons manufacturers in the US. As you probably noticed, I just looked at three of their movies that smell of psyops.

So it seems that women are security risks in this movie all about male spies and cover stories. (Gee, how does that apply to Valerie Plame and (s)Election 2008?)

The 'dangerous woman' is a standard theme in Warfare State psyops movies warning men away from the less violent gender as a way to encourage them to stay in the testosterone gang.
"Stay on the team, boy. Chicks are just cheerleaders."

We are coming up fast on Nov. 22, Lee Harvey Oswald Patsy Day.
So "Osbourne" phonetically evokes "Oswald" along with Robert Ludlum's keyword hijacking project starring his CIA agent, "Jason Bourne."

Randolph Bourne exposed war as a social control and economy back during World War I in an essay called 'War is the Health of the State.
But today's recruitable youth are a lot less likely to know or remember that with all these CIA agents running around in pop culture hijacking Randoph's name.

[DrVolin]

The 'dangerous woman' is a standard theme in Warfare State psyops movies

It is also a standard theme is Icelandic Sagas, Greek Drama, and any number of other traditions. Far from "warning men away from the less dangerous gender", it warns them of the danger of female wars by male proxy. The simplest explanation for the presence of the dangerous woman in the American film tradition is that it is inherited from western literature in general.

Unless you would like to argue that Njall's Saga is a psyop, and Snorri Sturluson was a spook. Of course, it can't be ignored that he actually was the equivalent of a Bush or a Kennedy. Hence, he had reasons for prefering a certain version of the classic stories and disseminating them. But he probably didn't memetically engineer them.

[brainpanhandler]

The 'dangerous woman' is a standard theme in Warfare State psyops movies

It is also a standard theme is Icelandic Sagas, Greek Drama, and any number of other traditions. Far from "warning men away from the less dangerous gender", it warns them of the danger of female wars by male proxy. The simplest explanation for the presence of the dangerous woman in the American film tradition is that it is inherited from western literature in general.

Unless you would like to argue that Njall's Saga is a psyop, and Snorri Sturluson was a spook. Of course, it can't be ignored that he actually was the equivalent of a Bush or a Kennedy. Hence, he had reasons for prefering a certain version of the classic stories and disseminating them. But he probably didn't memetically engineer them.

We can of course add Eve to the list of examples of evil women in mythology. Hugh's standard response to this sort of critique is to simply parry with the notion that the evil woman cultural motif has been co-opted for psyops purposes. That is not an unreasonable response. No doubt you are correct though that the vast majority of examples of the dangerous woman in American cinema are the result of a centuries long traditional archetype. The origins of that archetype would be interesting to explore. Camille Paglia's, Sexual Personae, has stuck with me ever since I first read it and has served to inform my understanding of the clash of anima and animus, both within myself and the drama of my nuclear family, as well as within the broader cultural context I live within. I'm not sure I can recommend it, unless you have the time and interest, as it is an enormous undertaking. The following is from a review on Amazon -

Imagine some monstrous 600-page addenda to *The Birth of Tragedy*, deploying the Apollo vs. Dionysus doublet ad vertiginem, putting the proleptic insights of Pater, Jung, and Frazer to work in new and frightful ways, invoking a faux-Gorgonic eye to peer into the heart of culture High and Low, from empyrean edifice to paganized Pop void, and you'll have a distant impression of this cocky, gumptious, explosive treatise, a book that takes so many risks its grating weaknesses never quite catch up to its prodigal greatness. You just gotta read this.
*Sexual Personae* starts out strong. Its promises are manifold. By the time Paglia is done ravishing us with her visionary Egyptology and impudent synoptic judgements on the failures of feminism to give us an authentic sexual politics, the reader feels primed and whetted for the perilous night journey ahead. For the next 550 pages, however, our expectations are both whippingly indulged and (sigh) left flaccid, limp, and befuddled. Mistress Camille begins to flounder beneath the weight of her gushing, declamatory syntax, pounding and thrashing us with repetition and overemphasis, the voice of an S/M dominatrix sliding mushily into self-parody.

As John Updike soberly put it, "It feels less a survey than a curiously ornate harangue. Her percussive style -- one short declarative sentence after another -- eventually wearies the reader; her diction functions not so much to elicit the secrets of books as to hammer them into submission.... The weary reader longs for the mercy of a qualification, a doubt, a hesitation; there is little sense, in her uncompanionable prose, of exploration occuring before our eyes, of tentative motions of thought reflected in a complex syntax." Paglia throws around the word "chthonic" like Heidegger pimping "Dasein." The Nietzschean parabolic of Apollo vs. Dionysus is often stretched thinner than Calista Flockhart fed through a saltwater taffy dispenser. But when Paglia is good, she's good. When fiery intellectual hubris finds its phantom gemini in the anguished erotic gravity of high art and literature (even when this gravity seems a willful projection of the critic's own manic preconceptions), the book simply rocks.

Paglia's energy and brilliance open up fresh horizons of speculation, at times verging on the ridiculous (why, even crankish) but always delivered in a high operatic style, with a strident sense of humor. Even so, her formulations can seem oddly reductive, everything draining out into the proverbial "chthonic swamp" of (all together now) Sex and Death. "One author after another is made to confess to sexual crossover, androgyny, and sadomasochism" (Updike, 607). For better or worse, her Nietzschean cold-water brutality keeps things grounded in the Freudian mother-earth we thought we'd deconstructed into oblivion, returning us to a dark, punishing realm of synoptic deities who tear men's lives to shreds without batting an eyelash, sending the phallic ego on greased skids to Hell while maintaining their crystalline serenity. Like the dark heart of a jewel, the gods refract all light as we transients of the flesh go down to feed the worm.

Some of Paglia's paragraphs are (more or less) "chthonic" mush, an attempt to forcefeed her pet metaphors of sexual neurosis down the throats of younger readers eager for snappy punchlines and all the deferential sloganizing of feckless guru-worship. But just as often her quicksilver intellect hits us pleasurably below the belt, leaving the reader shaken and transfigured by a powerful, exotic cinema of the spirit, forcing us to rethink our whole battery of preconceptions on every artist and work under discussion. A powerful disciple of both Walter Pater and Harold Bloom (her Yale mentor), Paglia's sass and impertinence takes "critical personality" to new, er...depths? But while Bloom prefers the logocentric Bible to cinematic Homer, Paglia's prose is an awakening to the image-hungry pagan energies of the Graeco-daemonic visionaire, putting her in some strange middle ground between coquettish-but-cruel Art History professor and savvy-if-overconfident culture critic determined to put Euripides and Edmund Spenser in the same conceptual schema as Keith Richards and Madonna.

*Sexual Personae* churns and rumbles with this sort of audacity, shifting breakneck from meticulous, careful scholarship to wild conjecture and enthralling hearsay (often in the same paragraph) without so much as a by-your-leave, transfused with a fluid comedic irony that kept this reader chuckling softly to himself throughout. Paglia takes no prisoners. Her egotism is as caustic as it is unrepentant, as bludgeoning as it is cranky, as penetrating as it is monomanical. She polarizes her audience. At her strongest and most original, you either love her or hate her. I won't even try to compete with the wonderful media caricatures that have fulminated in the wake of her celebrity. This philosophic maneater knows all too well the sexual persona she has created for herself, the lesbian-vampire renegade academic deploying pungent barbs of wit from her sniper's nest at the University of Arts in Philadelphia. And when she hits her mark, that goon squad of poseurs, bureaucrats, pomo fiends, and power-obsessed Foucauldian politickers that saturate Academe seem to wilt into irrelevance when propped toe-to-toe against her loud, dismissive, polemical swath.

Despite its many hokey allegations, its fatuous overreadings, its easy-to-parody voice, its argumentative forcefeeding, and its jarring repetitions and overblown pretentions, *Sexual Personae* is a book I recommend to virtually everyone I meet. Just to see their reaction. To provoke a new, headier form of dialogue, a post-Freudian genital vernacular sashaying its way past crotchety feminist tightwads who cheerfully ignore human biology by trying to eunuchize that hoary "patriarchal" beast of art-producing obsessiveness. And, hopefully, a good cathartic guffaw every few pages or so. Not of condescension, but rather pure sensual joy of steamy, immoderate, intellectual conversation. For beneath it all, Paglia is a fork-tongued raconteur and comedienne of the Oscar Wilde school for tarts, an irresistable stud-leather vixen bringing the bullwhip of her sass down on our goosepimpled backsides.

So don't be a prig. Go get some.

[Pierre d'Achoppement]

I opened "Sexual personae" in a bookshop and the first page I read contained an error (It stated Raskolnikov murdered his mother).

[Hugh Manatee Wins]

...probably why Ozzie Osborn got a tv show...

Albert Osborne Bowen JFK - Google Search

1. The Nazi Connection to the John F. Kennedy Assassination by Mae ...
"26, 1963, his companion on the Red Arrow bus was Albert Osborne, alias John Howard Bowen. Bowen-Osborne had been running a school for highly professional ..."
www.maebrussell.com/Mae%20Brussell%20Ar ... ssass.html

2. Religious Groups connected to the JFK Assassination - The ...
"How does ALBERT OSBORNE AKA JOHN HOWARD BOWEN fit into all of this? ..... Most critics of the JFK conspiracy theories attack the New Orleans ..."
educationforum.ipbhost.com/index.php?showtopic=8289

3. Dick Russell's On The Trail of the JFK Assassins - The Education Forum
"Has Sprague made any recent comments on the JFK assassination? ... John Howard Bowen (alias Albert Osborne), Ronald Augustinovich, Mary Hope, Emilio Santana ..."
educationforum.ipbhost.com/index.php?showtopic=13575&st=45

4. Chapter 5, The Assassination of John Kennedy, "THE TAKING OF ...
"Oswald attended some of the meetings where JFK's assassination was discussed. ... These included John Howard Bowen (alias Albert Osborne), ..."
www.ratical.org/ratville/JFK/ToA/ToAchp5.html

5. The Black Vault
"(HSCA, vol 8, pg376; JFK F-505, B1-10). Although Grossi/Bowen lived in Ft Worth from at least ... A second such person had the real name Albert Osborne. ..."
www.theblackvault.com/convert.php?filna ... bowen.html

6. The Man who Knew Too Much: Hired to Kill Oswald and Prevent the ...
"1 Dick Russell 2003 Carroll & Graf Publishers ca-print-avalon-carroll_graf ISBN0786712422 0786712422 ISBN9780786712427 9780786712427 OCLC53248749 True Crime ..."
books.google.com/books?id=GDKvanJwbDsC&pg=RA1-PA531&lpg=RA1-PA531&dq=Albert+Osborne+Bowen+JFK&source=bl&ots=0oL4lQ5FpO&sig=gSHWcdj2yOm783qsv7uoK80K-cM&hl=en

7. NASA, Nazis & JFK: The Torbitt Document & the Kennedy Assassination
"1 William Torbitt, Kenn Thomas, David Hatcher Childress 1996 Adventures Unlimited Press ca-print-pub-5513459708218795 ISBN0932813399 0932813399 ..."
books.google.com/books?id=9YZxWU_VgnMC&pg=PA111&lpg=PA111&dq=Albert+Osborne+Bowen+JFK&source=bl&ots=oudqsRAKsD&sig=usLezOJkwa8cGIpKfEPld3b9rOI&hl=en

8. KGB: It was Johnson - President John F. Kennedy's Assassination
"That is the way John F. Kennedy met his death in Dallas. ...... Albert Alexander Osborne, alias John Howard Bowen, alias J.H. Owen, a charter member and ..."
www.freemasonrywatch.org/LATimes.html

9. William Seymour
"These included John Howard Bowen (alias Albert Osborne), .... William Seymour may have fired a second shot which may have struck JFK in the upper right part ..."
www.spartacus.schoolnet.co.uk/JFKseymourW.htm

10. Papers of Jim Garrison
"Also, includes excerpts from books regarding the JFK assassination and some issues of ... Mobile, ALA; Olsen, Harry; Osborne, Albert; aka Bowen, John Howard ..."
www.archives.gov/research/jfk/finding-a ... apers.html

11. Oswald and Third Parties | _REOPEN JFK CASE
"As the FBI would find out after the assassination, John Howard Bowen was an alias used by Albert Osborne. But what does all this have to with neocons? ..."
reopenjfkcase.dockearth.com/?q=node/40

12. Warren Commission, Volume XXV: CE 2443 - FBI report dated February ...
"BOWEN acquainted with ALBERT OSBORNE, from Canada, who Is about his same size and age, .... ALBERT OSBORNE . BOWEN explained that he has a copy of ..."
www.aarclibrary.org/publib/jfk/wc/wcvol ... E_2443.pdf

13. Miscellania, Errata, Et Cetera
"2G, 19G3, his companion on the Red Arrow bus was Albert Osborne, alias John Howard Bowen. Bowen-Osborne had been running a school for highly professional ..."
spot.acorn.net/jfkplace/09/fp.back_issues/06th_Issue/misc.html

14. Postmodernity, History, and the Assassination of JFK
"... used the aliases Howard Bowen, Albert Alexander Osborne, and Howard Osborne. ...... Plausible Denial: Was the CIA Involved in the Assassination of JFK? ..."
www.geocities.com/jeff_l_schwartz/thesis.html