At the most primordial intimate scale, rape is an integrated act of sex and violence, of one acting upon another. A person’s body is her most private environment, and rape is the terrorism of privacy at any scale. The common thread that stitches together acts of rape, most frequently acts terrorizing women, is the action of territorial ownership. In human civilization, territorializing behavioral systems form the beginning stages of terrorism. These behaviors spread as a dangerously composed disease, a dissonant composition, into the civilized environment at multiple scales. Rape is indeed a terrorist act, when cumulative, weaving a tapestry of entrainment. At the core of this entrainment is the stimulation of fear.

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In modern civilization an entertaining trilogy of mechanisms generates this psyche. Composed of three organized mechanisms that could have supported the protection of Nature; instead entertainment via modern film, technology, and religion has generated an ownership policy upon the cultural psyches of populations with articulated subliminal messaging harbored behind a veil of entertaining amusement. At the core of this territorial ownership is the ownership of women, at the most private scale. This territorialization is the disease of civilization. Civilizations defined by territorial behavior, versus protective behavior, always end.

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Rape begins with the invasion of privacy. When privacy in the uncivil civilized environment is undermined, women and girls become exponentially vulnerable to rape; perceptually, physiologically, and physically. For the female, privacy determines safety. Whether privacy is owned or protected, determines a woman’s sanctuary. It also determines the success of the human species. Invasion of privacy is equivalent to terrorism, in the modern human environment, as a civilization continues to generate a structure of property ownership; a psyche of territorial ownership instead of protection. This increases the terrorist socio-psyche within a society. The woman becomes objectified, an object to be owned, no longer a subjective environment to protect. Instances of violence and sex increase, at the most intimate and global scales, and perceptual manipulation translates into a dangerous physical reality. The invasion of privacy gets personal.

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The advent of film happened during the hyper progression of technology during the 20th century. The sense of image being superior to sound opened the door for film to go viral throughout modern culture, with the evolution of the modern camera obscura, having become portable during the early 19th century. Camera obscura means dark room. The photographic recording of one moment in time by the obscura eventually became combined into the cellulose film strip, with the integration of the experiential train ride, a highlighted innovation of the industrial revolution during the 1800’s. The staccato experience of moving pictures envisioned through the window frames of the moving train, connected movement with the photographic still taken by the camera obscura. Although, this was a mere silent picture. The tactile vibration of the train across the tracks remained unrepresented in film recording. Yet the entrainment of riding the train translated. Enter the train. Entrainment and entertainment crossed paths.

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Film Example 1: Rosemary’s Baby ~ Invasion of Privacy

Film case study Rosemary’s Baby is a record of articulated evidence of the psychological projection of the film producer’s ultra egoist use of the camera, utilized as an instrument, to reproduce a reflection of himself. In this film, the reflection of the producer is essentially the antichrist. At the end of the film, the mother whose womb carried the offspring, embraces the child. The producer is projecting an idea about the womb environment as a room of darkness within which offspring reflecting darkness grows. While exposing what he knows himself to be, the producer is also projecting a notion of the camera, the mechanics of the camera obscura, a term which literally means dark room.

The original camera obscura instruments were physical dark rooms, within which the scenery from the outside was projected through a pinhole onto a surface on the inside. The producer of the image stood on the inside adjusting the obscura to protect his image. It was his image, his view conveyed. He owned, the territory in the scenery, it as he embodied the womb. He could own the natural scenery, the Nature around him, as he nested within the dark room of the camera obscura, as if it was his mother’s womb. He projected.

In the making of Rosemary’s Baby the producer projected himself into the womb, often taking camera filming into his own hands, while the mother character sang the lullaby to the offspring, a recurring theme throughout the film. This introduces the trilogy of film, technology, and religion and how they work together to generate a culture of rape with an inversion of the public and private spheres. While the global public watched en masse, the womb, the most private sacred environment of human kind, became the public scrutiny projected in theaters around the world. The womb was literally and figuratively demonized. The music of the lullaby supported this agenda. Religious history defines the lullaby as an extension of Lilith abi, a figure in ancient religious history depicted in a specifically demonic way in Jewish tradition. Lilith was the woman who came from the earth before Eve, the parable of the false story of Eve coming from Adam’s rib. Lilith was demonized in religious text because she was an equal to Adam, versus an extension is his ribosomal composition. Film meets real life, as the inherent demonic diseased existence of the real life producer became clear ten years later when he was convicted for no less than raping and sodomizing one little girl, to start.

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Film Example 3: Heathers ~ Terrorism

Writer’s quote, “This is the first movie to make fun of date rapes and AIDS jokes. I’m pretty proud of that.”

Terrorism as personal revenge was the core message of Heathers, a film produced in 1988. Perhaps the most dangerous part about the film Heathers was the writer, producer, and actors’ desires to tap a young vulnerable audience with an intentionally dark message about terrorism. From an unintentional post structuralist standpoint the movie was about the death of linguistics, nature, and women all-in-one generated by a degrading derivative of the modern trilogy of film, technology, and religion. The terrorism became personal. Reducing the female body to a corpse condition was a continuous theme throughout, suicide a recurring mechanism for achieving the corpse. Unfortunately young female suicide has been on the incline since, actually having tripled from the late 1990’s to 2014. Also unfortunate is the gross increase of mass murder in school environments. The film, although not directly orchestrating real life events, ubiquitously contributed to the culture of child violence that led to male child terrorism. Facilitating death was the desired end game of the film Heathers. The unfortunate consequence of the film was the perpetuation of terrorist conditioning in an entire generation of children, globally. The act of terrorism was integrated with the psychology of personal revenge, further amplifying a psychology of rape.

There is a built in perspective about the use of language on multiple levels, specifically linguistic uses, in the film Heathers. The word heather also means ling. This relates to potent ideas about culture and religious philosophy, on multiple levels. Aside from noting the obvious burning bush reference in the name, an almost literal metaphor, heather represents the notion of healing nature and of the healing vibrating quality of linguistic sound. Across multiple languages ling relates to the idea of vibrating calibration between object and subject, a healing balance.

It is the resonance and residence of the goddess figure in ancient Chinese philosophy. It’s important to clarify these were ancient cultures. Remnants of these cultures in modern civilization have ceased to exist. In southern India, it relates to ancient lingayat culture, and lingam symbolism of the balanced egg resonating in suspense. This is the culture of the tantra, based on human body energy centers, with ideas sourced from the linguistics of the ancient sounds from the Sanskrit language. The Linga is the resonant invisible goddess embodiment of the god Shiva, the healing translation intended to guide a people across the desert mirage resonating between one and two point perspective, on a journey of never-ending healing repentance. The natural organization of the organic shape of the heather, the ling, is generated from chiasma of the blooms on the plant. Nature is the origin of this decussation, not man. The film Heathers is about the terrorist destruction of nature.