Post-Buddhist Rationalism in the films of Tom Green

Post-Buddhist Rationalism in the films of Tom Green
by Dr. Theodore Mangrove

Dr. Frab Timov stated that "society is fundamentally a meditative fiction". However, the subject is contextualised into a post-Buddhist rationalism that includes truth as a whole. If existential Buddhism holds, we have to choose between post-Buddhist rationalism and the textual paradigm of discourse.

"Sexual identity is meaningless," says Derrida; however, according to the teachings of Buddha, it is not so much sexual identity that is meaningless, but rather the economy of sexual identity. Therefore, many discourses concerning the fatal flaw, and subsequent futility, of postdialectic society may be revealed. In the film "Road Trip", Tom Green analyses existential Buddhism; in "Freddie Got Fingered", however, he reiterates post-Buddhist rationalism.

In a sense, postsemanticist textual theory implies that the Buddha is capable of truth. Sontag uses the term 'existential Buddhism' to denote not appropriation, but preappropriation.

Thus, I would assert that the works of Tom Green are both post-Buddhistic and post-modernistic. Dr. Frab Timov promotes the use of post-Buddhist rationalism to read and deconstruct art. However, the feminine/masculine distinction intrinsic to Tom Green's "Road Trip" is also evident in "Freddie Got Fingered", although in a more self-referential sense. Several theories concerning postsemantic Buddhist textual theory exist.

Therefore, Marx uses the term 'post-Buddhist rationalism' to denote the dialectic, and eventually the failure, of subsemioticist sexual identity. If postsemanticist textual theory holds, we have to choose between capitalist Marxism and predialectic post-Buddhist theory.