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Yet within the colonial mindset, black people do not have a culture of their own, and are understood only in terms of racist stereotypes invented by white people. These stereotypes are conveyed through books, movies, and other elements of culture, and their impact is to trap black people within a false image of themselves. Black people who defy these stereotypes—for example, by being highly intellectual—are treated with suspicion. One of the major themes of "Black Skin, White Masks" is the idea that black people are excluded from the category of humanity within the colonial mindset and are thus not treated with the basic decency and respect that all humans deserve. Indeed, this becomes something of a vicious cycle, because the more whites treat black people as less than human, the less convinced they become that black people are human. White people fear that if black people are well-educated, they will revolt against white supremacy (particularly if they are reading authors who challenge existing power structures, such as Marx).

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Mi-sun has gained knowledge from contact with a dead form which rose from a black puddle in one of the carriages and tells them that they are both dead, and that they now inhabit the bodies of other people. Also that their father and his wife planned to kill themselves and the children on that train 15 years ago but the poison he was going to use was ruined by a stewardess JUNG Jin-sook ( Kim Hyeon-suk) when she accidentally kicked the jar it was in, so he got into the driver's cabin and put the train on a collision course with another train, causing the terrible wreck over a decade ago. In anger the brother smashes Mi-sun's head hard four times against the window causing her to collapse with bleeding to the head but he knows it is true as his sister regresses to a little girl again. Mi-sun's (dead) father comes into the driver's cabin and pilots the train harmlessly through the train that it was on a collision with and the crazy man reverts to a scared child comforting his sister. As the trains, natural and supernatural begin to part, things start getting back to normal on the train with the ghosts disassembling, the old carriages becoming normal again and the human passengers start coming out of hiding.

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No está documentado que William Randolph Hearst llegara a ver alguna vez la película o solo se la contaron, pero su enfado quedó patente en los medios que controlaba, que eludieron cualquier mención a «Ciudadano Kane». La película, una de las mejores de la Historia del Cine, a punto estuvo de no ver la luz, por los tejemanejes de un magnate que intentó evitar a toda costa su distribución y proyección en salas. Con su propaganda y «fake news» –crítica nada velada también en la película de Netflix–, llegó a acusar de comunista a Welles y atacó a Hollywood por contratar a inmigrantes como Herman Mankiewicz para trabajos que podías ser de estadounidenses. Se llegaron a meter incluso grandes nombres como Louis B. Mayer, que presionó a la RKO para cubrir las pérdidas económicas si destrozaba la película. De poco sirvió para evitar el atronador éxito de la cinta, considerada una de las mejores en la historia del cine. El hombre que provocó una guerra inventándose noticias terminó humillado por su propio juego.

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