Tinfoil punk

 Tinfoil punk

Tinfoilpunk as a Subgenre

Tinfoilpunk is a subgenre of dystopian and pulp fiction, defined by conspiracies meant to subjugate or end humanity. Unlike the harsh examination and critique of society in dystopian literature, it takes a more lax approach to it, while the sensational elements taken from pulp fiction are more grounded.

In Tinfoil Punk, pulp fiction fears (the vast unknown, science and technology, aliens, occult & forbidden knowledge, end of the world etc.) are secondary to dystopian fears (totalitarian control, loss of individuality, manipulation of truth, isolation, censorship, inescapable system etc.); these dystopian elements are superimposed on the sensational elements of pulp fiction as an explanation to the dystopia.

As with all subgenres, some elements belong to both (mind control, loss of free will, propaganda etc.).

Abbreviated etymology of the colloquial use of the words Tinfoil and punk. Tinfoilpunk is the combination of words Tinfoil and punk:

Tinfoil: comes from Tin foil hat, originating from the short story "The Tissue Culture King" (1926) by Julian Huxley, wherein the protagonist uses a wire mesh as a cap for its supposed anti-telepathic properties. The concept evolved during the Cold War era, with the conspiracy theory of voice to skull (V2K) that targets individuals through radio waves. Today used colloquially as: tinfoil hatter, tinfoil theory, used interchangeably with crackpot theory, conspiracy theorist, unwarranted paranoia and the like.

Punk: originates from the original punk movement, which was all about rebellion, anti-authoritarianism, and subversion of the mainstream. When added to different genres, "punk" usually signifies a world or aesthetic that is countercultural, rebellious, or questioning authority in some way, such as in Cyberpunk or Steampunk.

Its Origins and Evolution

The beginning of the 60s is where dystopian and pulp themes really start to meld. At this time, George Orwell's 1984 book had been in circulation for about 10 years, and it was 10 years post the end of the golden era of pulp fiction.

Dystopian and pulp works of Kurt Vonnegut (Harrison Bergeron - 1961) and Ray Nelson (Eight O'Clock in the Morning - 1963) and similar stories of the era, more clearly defined by later movies like David Cronenberg's (Videodrome - 1983) and John Carpenter's (They Live - 1988), cemented that consumerism is an integral part of the subgenre.

These stories primarily focus on a protagonist learning of a conspiracy meant to control humanity, mostly ending badly for them, while they are not able to make a big impact if at all.

Key Characteristics List:

• Reality shattering – A complete paradigm shift that comes with knowledge of a conspiracy meant to control, change, or eliminate part or all of humanity

• Dystopian in nature – On the verge of dystopia or unknowingly in one, strongly mirroring elements of our world

• Pulpy in nature – Dystopian themes are explored and are caused by the sensational elements of pulp fiction

• Unrestrained social structure – Unrestrained capitalism/socialism

• Passive society – The malice and stupidity of human passivity is explored

• Secret Insight – Can give a sense of escapism and simple explanation to

  multifaceted problems that mostly cause empathy distress

• Justified paranoia – A powerful entity is out to get its dissenters

  Examples and Analysis

  Example Analysis in Media: "Eight O'Clock in the Morning" (1963): after completely becoming awake from a hypnosis treatment, the protagonist discovers that an alien race called "fascinators" are secretly controlling the world with subliminal messages and mind control, while the rest of humanity has no idea that their behavior is a result of the aliens' mind control. Similarly, John Carpenter's adaptation of the story into the movie "They Live": the protagonist obtains a pair of sunglasses able to show him these subliminal messages hidden in plain sight. In both these stories, most of the key characteristics of Tinfoil Punk are present.

  Sensational journalism: Tinfoil Punk also serves as a framework for journalism as some of its origins started as sensational newspaper articles, one of the main ones being about G. Warren Shufelt, in 1930s trying to convince the people of Los Angeles that he had devised an X-ray machine with which he uncovered an incredible underground city, covered in gold, made thousands of years ago by a race of lizard people.

  In modern times, some notable names of sensational reporters working within the framework of Tinfoil punk are Alex Jones, David Icke, Dan Diaconescu amongst others. As in Secret Insight, it may be used as a tool to mislead or miss the forest for the trees, easily answering complex social, political problems.

  Impact and Relevance

  Conclusion: Tinfoil punk remains a powerful yet mostly undefined sub-genre. It's powerful because it taps into humanity's fear of losing its humanity in the near future — it gives us a palatable way of exploring dystopian concepts of human suffering, mostly caused by modernity, with no requirement of putting our prior biases aside, doing so by transferring the cause of the suffering to a pulpy concept. It continues to prove that the fear of harm we may cause ourselves en masse is timeless.

Undefined because it continues to evolve as society evolves; for example, voice to skull conspiracy theory (V2K) is now the 5G conspiracy theory. In addition, it encompasses many other well-defined genres that bleed into one another.

It endures in pop culture with familiar concepts of Lizard people and so-called psy- ops such as Area 51, tin foil hats and more.

As a story framework, it's extremely malleable and can fit most political or religious leanings.