Lauren Southern’s Farmlands: A Glance Beneath the Hood
by Andrew Hamilton
THIS IS a short follow-up to my National Vanguard review of Lauren Southern’s independent Internet documentary Farmlands about the plight of Whites in racist South Africa.
Farmlands is the first “mini doc” or longer documentary “with high production values” Southern said early in 2018 she wanted to start making. These would be in addition to her usual short YouTube videos and comedy sketches.
She observed, “We’ve never made a documentary before, and aren’t experts.”
Because Farmlands is a (comparatively) small-budget film produced independently of the media/political complex, it is worth thinking about from a technical perspective.
Probably the easiest way to do so is by watching the film’s two-minute trailer:
If you stop and consciously think about the mechanics of each element of it you will appreciate how much is really going on in this brief clip.
For example, the first three seconds display a shot, taken from high above, of a vehicle climbing a twisting gravel road toward the top of a mountain. Note the way the road is centered in the screen, the partial view of the sky, etc. Everything had to be visualized, thought out, framed, filmed, and ultimately selected for specific placement in the clip during the editing process. After just three seconds this opening scene fades and we transition to the next one.
The trailer is professional in presentation, narration, photography, musical and audio soundtracks, messaging, and even length. It is short overall and each shot is brief, visually conveying movement and change — unlike the 15-, 30- or -60 minute long films consisting of static shots of men talking dryly and stiffly into a camera that have typified right-wing audiovisual fare since the days of 16mm film and VHS tapes.
With the exception of its non-hateful point of view Farmlands’ trailer is indistinguishable from what audiences might see on television or cinema screens. As presenter, Southern resembles the young women that TV networks hire. The message is effective in a way mass audiences can readily relate to. As for sophistication and quality, most viewers will not be able to distinguish the trailer from expensive Establishment products.
Southern’s “professional production crew” for Farmlands and most of her other videos consists of her young homosexual cameramen Caolan Robertson and his partner George Llewellyn-John (they live together in England). Both previously worked for Ezra Levant’s Canada-based Zionist web operation The Rebel Media prior to a mutual falling out. Southern also worked for Levant, but left in 2017.
Robertson and Llewellyn-John also shoot videos for Tommy Robinson (real name Stephen Yaxley), former head of the Jewish-backed English Defence League.
Despite his English “Yaxley” surname and public persona, Robinson is not really English but at least half Irish. Recently he was railroaded into prison in England because he posted a Facebook video critical of Muslims charged with perpetrating heinous sex crimes against underage English girls. He has been released, but the government is still pursuing charges against him, apparently determined to lock him up. On top of his philo-Semitic and Zionist zealotry, Robinson advocates multiracialism and sexual degeneracy.
As an aside, I have seen many right-wing commentators state that Robinson is employed by Ezra Levant. This is incorrect. He worked for Levant for a short period of time, but is not currently employed by him. That said, Robinson’s funding has always come from Zionist-Jewish sources and no doubt still does.
Caolan Robertson’s and George Llewellyn-John’s contributions to Southern’s videos are substantial. Here is a tweet from April 2018 showing Robertson demonstrating a video camera stabilizer acquired after their South Africa trip. Click on the little speaker icon to turn the sound on.
Post-production editing of Farmlands was an intensive process. Caolan Robertson said that “industrial scale” computer power is required to edit a 40-minute documentary of this type. (Farmlands is 73 minutes long.) Therefore a special computer was required to manage 10 terabytes of raw digital footage. In other words, Farmlands could not be edited on a standard laptop or PC.
After Farmlands’ release Southern made the decision to add closed caption translations, greatly enhancing the film’s cross-cultural appeal. She invited viewers to submit captions in foreign languages: “If you would like to contribute captions yourself I’ve made it so the public can add them! Just click the little gear button—it will credit you below the video for your hard work.” Captions were held back for review before being uploaded.
Several enterprising and altruistic individuals accepted her invitation. As of this writing closed captions are available in eight languages besides English: French, German, Spanish, Russian, Hungarian, Finnish, Brazilian Portuguese, and Hebrew. No Afrikaans or Dutch though.
For a century now Whites have passively consumed Jewish and Left-wing content created by people, corporations, and governments who hate and are murdering them. A radically different mindset and much hard, slogging work is necessary to reverse that situation.
Unfortunately, content distribution is just as critical. Society is totally dependent upon evil monopoly platforms like YouTube, Facebook, Hollywood, and the TV networks for everything ordinary people — and elites — see, “know,” and believe. Jews, Leftists, and governments ruthlessly censor alternative viewpoints — especially truthful ones — no matter how professional the content.
Nevertheless, without effective presentation even truthful messages will exert much less impact than they otherwise would. Among right-wingers Lauren Southern and her little crew is doing a good job of blazing new trails that others will hopefully follow.
* * *