Theater of Cruelty: Alcàsser & Other Unsolved (SRA?) Cases

[guruilla]

Double-posting this in case it's getting overlooked outside of the GD zone.

Depressingly relevant doc, on what could have been the Spanish equivalent of the Dutroux case in Belgium, if it hadn't been headed off at the pass at every opportunity, including this documentary, as the final nail in the coffin, which manages to turn all the smoke of SRA organized crime snuff murders in Valencia into one more case for #MeToo gender-based sex crime legalization.




full doc, no subtitles:



Almost impossible to find a torrent for this, tho I managed it by searching for the Spanish title El Caso Alcasser and DL-ing subtitles separately. Available on Netflix, obviously.
**

Also recommended, tho if this is also organzied satanic crime then it's much more buried and a lot weirder:



Wiki summary:

Grégory Villemin (24 August 1980 – 16 October 1984) was a French boy from Lépanges-sur-Vologne, Vosges, who was abducted from his home and murdered at the age of four. His body was found four kilometers (2.5 miles) away in the River Vologne near Docelles. The case became known as the Grégory Affair (French: l'Affaire Grégory) and for decades has received public interest and media coverage in France.[3] The murder remains unsolved.[4]


From September 1981 to October 1984, Grégory's parents, Jean-Marie and Christine Villemin, and his paternal grandparents, Albert and Monique Villemin, received numerous anonymous letters and phone calls from a man threatening revenge against Jean-Marie for some unknown offense.[5] The communications indicated he possessed detailed knowledge of the extended Villemin family.[6][7]
Murder

Shortly after 5:00 pm on 16 October 1984, Christine Villemin reported Grégory to police as missing after she noticed he was no longer playing in the Villemins' front yard.[6] At 5:30 pm, Gregory's uncle Michel Villemin informed the family he had just been told by an anonymous caller that the boy had been taken and thrown into the River Vologne.[8] At 9:00 pm, Grégory's body was found in the Vologne with his hands and feet bound with rope and a woolen hat pulled down over his face.[4][9]
Aftermath
The Vologne, where Grégory Villemin's body was discovered

On 17 October, the Villemins received another anonymous letter that said, "I have taken vengeance".[3] From then on, the unidentified author was referred to in the media as Le Corbeau ("the Crow"), French slang for an anonymous letter-writer, a term made popular by the 1943 film Le Corbeau.[3][9]

Bernard Laroche, a cousin of Jean-Marie Villemin, was implicated in the murder by handwriting experts and by a statement from Laroche's sister-in-law Murielle Bolle. He was taken into custody on 5 November 1984.[10] Bolle later recanted her testimony, saying it had been coerced by police.[10] Laroche, who denied any part in the crime or being "the Crow", was released from custody on 4 February 1985.[10] Jean-Marie vowed in front of reporters that he would kill Laroche.[4]

On 25 March 1985, handwriting experts identified Grégory's mother Christine as the likely author of the anonymous letters.[3] On 29 March Jean-Marie shot and killed Laroche as he was leaving for work.[10] He was convicted of murder and sentenced to five years in prison.[4] With credit for time served awaiting trial and a partial suspension of the sentence, he was released in December 1987 after having served two and a half years.[11]

In July 1985, Christine was charged with murdering Grégory.[12] Pregnant at the time, she launched a hunger strike that lasted eleven days.[13] Christine was freed after an appeals court cited flimsy evidence and the absence of a coherent motive.[13] She reportedly collapsed and miscarried, losing one of the twins she was carrying shortly after being questioned by authorities.[14] She was cleared of the charges on 2 February 1993.[15]

The case was reopened in 2000 to allow for DNA testing on a stamp used to send one of the anonymous letters, but the tests were inconclusive.[16] In December 2008, following an application by the Villemins, a judge ordered the case reopened to allow DNA testing of the letters, the rope found on Grégory's body, and other evidence.[16] This testing too proved inconclusive.[16] Further DNA testing in April 2013 on Grégory's clothes and shoes was also inconclusive.[4]
Later events

On 14 June 2017, based on new evidence, three people were arrested: Grégory's great-aunt and great-uncle, as well as an aunt—the widow of Michel, who died in 2010.[17] The aunt was released, while the great-aunt and great-uncle invoked their right to remain silent.[18] Murielle Bolle was also arrested and held for thirty-six days before being released, as were the others who had been detained.[19]

On 11 July 2017, the magistrate in charge of the first investigation, Jean-Michel Lambert, committed suicide.[20] In a farewell letter to a local newspaper, Lambert cited the increasing pressure he felt as a result of the case being reopened as the reason for ending his life.[20]

In 2018, Bolle authored a book on her involvement in the case, Breaking the Silence.[19] In the book, she maintained her innocence and that of Laroche, and blamed police for coercing her into implicating him.[19] In June 2017, Bolle's cousin Patrick Faivre told police that Bolle's family had physically abused her in 1984 in order to make her recant her initial testimony against Laroche.[21] Bolle accused Faivre of lying about the reason why she recanted her initial statement.[21] In June 2019, she was indicted for aggravated defamation after Faivre lodged a complaint with police.[21]

Monique Villemin, Grégory's paternal grandmother, died from COVID-19 complications on 19 April 2020 at the age of 88.[5] During the 2017 investigation, Monique was named by investigators as the author of a 1990 threatening letter sent to Judge Maurice Simon, who had succeeded Jean-Michel Lambert as investigating judge on the case in 1987.[5]

[drstrangelove]

thanks for posting this. the primary personality behind the conspiracy theory of a snuff network in the alcasser case appears to be a journalist named Juan Ignacio Blanco. He supposedly wrote a book, 'What happened in Alcácer?', though I doubt an english translation exists.

I haven't gone through it yet, but this blog seems to give an accounting of the snuff theory, similar as ISGP-studies did for dutroux: https://lawebdelassombras.blogspot.com/ ... aleja.html

The Spanish film Tesis was released a few year later in 1996, a much better 'snuff film' film than 8mm, which followed a few years after. although i wouldn't watch it again, 'a serbian film' is probably the most thematically realistic, as "modern performance art" which "pushes the boundaries" is used by libertines to moralise sadism. child pornography as an 'artform', anyone disgusted becomes a philistine. ethical behavior becomes uncool. schoolyard shit for adults.

[guruilla]

As a response to the above, I am posting excerpts from 16 Maps of Hell, mostly chapter 3.2., "Theater of Cruelty":

“Theatre develops out of sacrifice and the Greek genius was to turn sacrifice into tragedy—because what is sacrifice? It’s the re-living of the primordial murder—the myth—therefore tragedy is telling the story instead of having the victim. That is why when you tell the story you must not have a sacrifice. The big taboo is you must not even show the violence. You can only use language.”
—Rene Girard, CBC Radio, “Ideas”

In The Dark Knight, Ledger’s Joker sees himself as “an agent of chaos” who is “ahead of the curve.” Curiously enough, the Joker’s rationale—even his methodology—is firmly in keeping, not just with modern, self-mythologizing serial killers (and Ed Gein supposedly read a lot of comic books), but also with an artistic tradition with occult underpinnings, one that goes back at least as far as the avant-garde of the 19th century. This movement is comprehensively (though controversially) mapped in a 1990 book, Painted Black, by Carl Raschke, in a chapter entitled “The Aesthetics of Terror.” Raschke locates aesthetic terrorism’s emergence as “a surrogate for political radicalism” in French circles close to Baudelaire, at “approximately the same time the political momentum of revolution throughout Europe was waning.”

The concept of art as a revolutionary battering ram that flattens the old values of society and drives their opposite into the shafts of experience developed during the Romantic age. It became a favorite theory among the artistic radicals of the nineteenth century, whose fellowship frequently overlapped with the occult underworld. [T]he Illuminist yearning for world transformation through occult conspiracy played easily into the hands of aesthetic terrorists. The prestige enjoyed by the occult among artists in twentieth-century civilization, and by extension the interests of occultists in the use of artistic media, turned on the common bond of ‘magic’. . . aesthetics and magic have always been intertwined” (p. 103, emphasis added).

If Raschke’s thesis seems surprising, it may only be because, as with the hidden infrastructure of aggrandizers, the nature of the beast is self-concealment. ... Polanski—who saw himself as an heir of this same artistic tradition—once compared his encounter with Dada and Surrealism in college to “the discovery of sex in the Victorian era” (Cronin, p. 138). As I wrote in The Blood Poets: Polanski’s director credit in Repulsion “comes slicing across the middle of the eye like a razor blade, [in] a direct (none-too-subtle) reference to Buñuel and Dali’s Un Chien Andalou, with its famous eye-slicing scene. Polanski here acknowledges his influences and proceeds to uphold a specific tradition” (p. 59). Another influence that will become relevant to 16 Maps of Hell is that of Samuel Beckett.

Polanski loved Waiting for Godot and in the sixties in France had met Samuel Beckett, who had always wanted to be a filmmaker and was interested in Polanski’s mounting an adaptation of Godot. The plans never went anywhere, but Polanski’s ideas about terror, like those of many of his peers in film, were shaped by the theater. He lived in London in the sixties when Harold Pinter, Edward Albee, and Beckett were all the rage. In 1966, Kenneth Tynan, the legendary critic then working at the National Theater, wrote the then artistic director Laurence Olivier, advising that he give Polanski a short-term contract: “He has exactly the right combination of fantasy and violence for us,” he wrote (Zinoman, p. 22).

...

Attention at any cost. Raschke describes aesthetic terrorism as “the notion derived from avant-garde artistic work, and applied to the occult, that power over things ultimately requires social revolution, which in turn demands a subversion of symbols . . . a blunt instrument in the war of values. It slices to the heart of what we mean by satanism” (p. 103). Ledger’s the Joker—with his call to chaos—would seem to closely approximate this same dark “revolutionary” spirit.

Raschke writes that the limits of aesthetic terrorism were (possibly) reached in 1960s Vienna, via Austrian playwright Hermann Nitsch’s “orgy mysteries.” These were stage productions that included drunken and drug-induced revelry by the performers, culminating in a bloody animal sacrifice on stage. The aim: “the liberated joy of strong existence without barriers” (p. 104). Rumors were rife that imitators of these theatrical rituals incorporated human sacrifice into their enactments. Since the goal being advocated was that of transcending all barriers, this would seem to have been an almost inevitable trajectory of Nitsch’s methodology, which itself would seem to be a deliberate inversion of the cathartic, community-based principles of Greek theater.

A few more relevant quotes:

“The Dadaists, unlike the artistic decadents before them, fancied themselves political magicians . . . Dadaism pulled its proposals for an art that would speak a ‘secret language’ of all humankind from musings of the earlier figures of the occult underworld”
—Carl Raschke, Painted Black

... Before the orgy mysteries—and possible human sacrifices—of Nitsch’s stagecraft in 1960s France, Raschke cites Antonin Artaud, the French dramatist working in the 1940s, for whom “The theater of cruelty stood for a spectacle that served to activate the ‘magnetism’ in the human organism. . . . The horrors perpetrated [on stage] are not concocted primarily to be watched; they must be ‘acted out’ in some way by the viewer, who because of their compelling strength is unable to remain a strict voyeur” (p. 106-7, emphasis added).

“The theater of cruelty is ‘sorcery’ in a very telling sense. As aesthetic terrorism, it amounts to a sacramental language for materializing the unwanted demons of experience.”
—Carl Raschke, Painted Black

In The Power of Ritual in Prehistory, Hayden uncovers what seems to be the identical core pathologies at the heart of these ancient sorcerous practices: “the main purpose of the secret society was to terrorize women,” he writes; and: “the secret society’s ‘simple purpose is to conjure up infernal terrors and render each other assistance in keeping their women in subjection’” (p. 89-90). As Carl Raschke observes in Painted Black,

to the Dadaists, civilization and the idealized imagery of womanhood that held it together was a fraud perpetrated by the death instinct. . . . The ‘secret language’ to be spoken amid the crypts of dead, ancient religions was violence and desire—in other words, the compulsion to rape. . . Dadaism imagined a great liberation and a great terror as virtually one and the same climax (p. 182).

“The aesthetics of terror has always been an ideological conspiracy to remake the world. And the power of media messages and symbols to activate the psyches of significant segments of the population brooks no dispute.”
—Carl Raschke, Painted Black

(I would add children to Hayden's prescription for social control via sorcery. Re-reading these segments, they also dovetail with the Myth of Progress thread in a number of ways, i.e., how "Progress" is name of Satan's game.)

[guruilla]

Alternate POV, looks like a deeper dive, only for Spanish speakers, alas: