Sunday, February 1, 2015

Iconic "Holocaust" imagery and mass mind control

In previous blog posts, I've emphasized the central role that the iconic imagery associated with the fake "Holocaust" narrative plays in instilling and perpetuating this entirely fabricated, manufactured aspect of our collective history, which has resulted in mass mind control and manipulation.

Horrific images of piles of dead bodies and emaciated prisoners, along with emotionally exploitative "Holocaust survivor" testimony, have been shown to literally billions of people since 1945 to implant the false Jewish "Holocaust" story. Countless Hollywood films based on the official "Holocaust" narrative have been made since WWII, films which are elevated, promoted, and rewarded by the Jewish-owned and controlled movie industry centered in Hollywood.

This psychologically traumatizing and terrifying imagery is never properly put in context or explained, and some of it is deliberately distorted in order to promote the insidious and quite preposterous "Holocaust" narrative. However, due to the traumatic nature of the imagery, the vast majority of people are unable to entertain alternative perspectives or explanations about what really happened at the various concentration and labor camps administered by National Socialist Germany during WWII.

An article recently appearing in The Jewish Daily Forward expounded upon the central importance that various Allied film-makers, many of whom had direct connections to Hollywood, and later Hollywood films played in promoting and perpetuating the fake "Holocaust" narrative. The author, J.J. Goldberg, begins his report with a discussion of the Oscar-nominated 1965 television documentary "Let My People Go: The Story of Israel."

[...] One-fourth or more of the hour-long film is raw footage of the Nazi horror: long shots of Jews being shoved into boxcars, lying dead in the streets of the Warsaw Ghetto, herded toward gas chambers or simply staring at the cameras of Nazi tormentors or Russian, British and American liberators. And endless mountains of bodies, stacked outside crematoria or dumped into mass graves like rag dolls, faces twisted in the rictus of death, often barely recognizable as human beings. I remembered watching the movie on television as a kid with my family when it came out, but I’d forgotten what it felt like.

It’s not as though the Holocaust hasn’t been on my mind all these years. Even if I wanted to ignore it, America doesn’t let you. Our screens are flooded year after year with movies and television programs about it, each attempting some new angle or untaught lesson. They’ve ranged from Oscar-winners like “Schindler’s List,” “Life Is Beautiful” and “The Pianist” to thrillers like “Escape from Sobibor” and blockbuster miniseries like 1978’s “Holocaust.” As for documentaries, for a while it was news when the Oscar went to a documentary that wasn’t about the Holocaust.

Strikingly few films, though, ever showed — even in reenactment — the grotesque reality of the Nazi killing machine itself. Mostly they’ve looked for individual human drama amid the inhumanity. The monstrous underlying truth usually has been merely hinted at. Only a tiny handful have included live footage of the death camps.

By coincidence, I saw a longer collection of live death camp scenes... when HBO premiered its new 78-minute documentary, “Night Will Fall.” It tells the story of the making and abrupt suspension, due to emergent Cold War politics, of a planned 1945 British government documentary titled “German Concentration Camps Factual Survey.” The HBO film, released this year in observance of International Holocaust Remembrance Day, dovetails well with the oft-taught lesson that’s become a key part of our collective narrative: that the memory of the Nazi genocide was suppressed for decades after the war, reawakened only in 1967 by the shattering events leading up to the Six-Day War, when Israel’s neighbors were threatening her with extermination. Ever since then, the Holocaust has risen to the forefront of our collective consciousness.
But that doesn’t explain the acclaimed national broadcast and Oscar nomination for “Let My People Go” in 1965. Nor a whole host of movies that came before it.

Memory is a tricky thing. When “Let My People Go” first aired, the Holocaust footage stunned critics. The New York Times, called it “remorseless” and noted that much of it “had not previously been seen” — what reviewers are now saying about “Night Will Fall.”

It wasn’t new even then. In late April 1945, while war was still raging in Europe, movie theaters across America were screening a six-minute Universal newsreel that graphically displayed the horrors greeting General Dwight Eisenhower, Allied supreme commander, when he visited liberated Buchenwald.

Later that same year, 1945, the U.S. War Department produced a documentary short, “Death Mills,” directed by famed Hollywood auteur Billy Wilder, with an unbroken 21 minutes of horror filmed in the camps by American soldiers just after liberation. The footage appeared again in 1961 in “Judgment at Nuremberg,” which won three Oscars. By the time “Let My People Go” aired in 1965, American audiences were reasonably familiar with the insides of death camps.

Not that Hollywood-style Holocaust drama was lacking in the early years. It emerged immediately after the war. “The Search,” about a Jewish child separated from his mother in the death camps, won two Oscars in 1948. In 1952 Kirk Douglas starred in “The Juggler,” which tells about a broken Holocaust survivor who’s restored to life in the new state of Israel. Another film about a traumatized survivor, “The Pawnbroker,” won Rod Steiger an Oscar nomination in 1964.

And “The Diary of Anne Frank,” which won three Oscars in 1959, has arguably done more — together with the Pulitzer Prize-winning play and the international best-selling book both were based on — than any other depiction to tell the world the truth of Nazi depravity. [...]
When the Allied armies were "liberating" the various labor, industrial, and detention camps administered by the Germans during WWII, they did in fact discover horrific scenes of dead bodies and malnourished, emaciated, and sick inmates at some of the camps. But these individuals were not murdered, starved, and/or mistreated in a systematic German-led campaign to genocide the Jews and other "undesirable" groups in Europe. The horrific scenes the Allied propaganda units discovered and filmed were a direct result of their own governments' barbaric and cowardly war policies, which included the deliberate bombing of critical German infrastructure, industrial facilities, and civilian centers.

The people who died in the various concentration camps administered by the Germans died largely from disease (typhus in particular) and malnourishment towards the very end of the war because the Germans were having extreme difficulty properly supplying the camps and providing critical services and sanitary living quarters. None of this was deliberate German policy; it was all a result of the ruthless war policies prosecuted by the Allies against the Germans.

The organized Jewish community and their gullible, traitorous non-Jewish allies had been propagandizing the Western world with shocking and grisly stories of Jewish persecution (including the "6 million dead Jews" figure!) going back to 1915 during WWI, and even before.

Of course, we now know that this narrative - horrific, unfathomable persecution and murder of Jews carried out by "fascists", "Nazis", and other "racist, bigoted, irrational anti-Semites" - was entirely manufactured and sold to the public via the mass media. It was essentially a public relations campaign carried out, quite successfully unfortunately, by the organized Jewish community to gain sympathy and political support for their various agendas, both in the Middle East and in the West. The institutionalization of this fake narrative was officially adopted by the West following WWII as the Jewish "Holocaust" story.

The horrific imagery captured by the Allied propaganda units, led by the Jew Sidney Bernstein who collaborated with various Hollywood producers and directors, was presented at the Nuremberg show trials and in various newsreels and reports from the era. Children and mass audiences are still traumatized by the horrific imagery captured by the Allied propagandists. Of course, the imagery is never properly placed in its correct context, and is used instead to support the fake Jewish "Holocaust" narrative. The vast majority of people are not even able to critically think about this important aspect of WWII because of the trauma that has been instilled in their minds by the gruesome imagery associated with the "Holocaust".

The Jewish "Holocaust" narrative and the manner in which it has been manufactured, sold, and implanted in the minds of mass audiences exploits basic human psychology and emotions. It is essentially a mass mind control program used to serve and advance international Jewry's global agenda of world domination. It is time for the world to recognize this fact.


  1. In listing Jewlywood's nonstop Holohoax propaganda, don't forget the movie "Exodus" starring crypto-Jew, Paul Newman. Since then Jewlywood has been hard at work substituting Adrien Brody's Jewish "good" looks (a nose with a face) for Newman's Jewish blue-eyed Aryan looks (a face with a nose).

    The movie, "Exodus," was based on the novel "Exodus," one of Leon Uris' series of sadistic, lurid, pornographic novels, selling the usual "Jew-as-sole-victim" version of the concentration camps of WW II.

  2. I was six years old when the war ended. My father employed many ex-servicemen, mostly from the European campaign, and I never heard one speak of death camps. I do recall some of the soldiers speak of DPs" which were most likely the displaced persons who had been bombed out of their homes. And I can recall that there were orders not to offer food to the DPs. I never heard them express any hatred of the "Krauts," and most of them respected their honor as soldiers.

    1. Look up what Patton thought of these "DP's." They were carpetbagger Jews. Reading between the lines it sounds like he began to realize we fought on the wrong side - then he was mysteriously killed....

    2. I am an ex-DP, all of four years old when I became one. The DPs were from many nations. Almost all had fled to Germany or elsewhere in the West (where your father was stationed), because they dreaded the brutality of Soviet Communists, who had taken over their homelands. They refused to be repatriated. Among the DPs were Jews, yes, and they did tend to get preferential treatment.

  3. BBC radio has been all about the Holo recently. Andre Singer, director of NIGHT WILL FALL, was interviewed here in the second half of the showa:

    Free Thinking - Holocaust 27 Jan 15


    Quite candid, really (footage collected under the auspices of the Psychological Warfare division, constructed as propaganda directed against the German civilians; 'liberation' footage re-enacted; 'survivor's' dressed-up to look like authentic prisoners and so on).

    This would never have been admitted 50 years ago and would not be admitted now but for outlaw revisionism.

  4. It is high time that people be educated by the Holohoax.

  5. We have certainly all heard about "holocaust denial". Can organized Jewry now be accused of 'holocaust' exageration? You betcha ! !


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