“The Nazis” as a Showpiece

Recently, I have covered historical white washing propaganda and Allied boasting by looking at three films about World War II. However, this propaganda technique is actually more prevalent on the peripheries of the media/information sphere. There are actually many more films that merely reference the Nazis than are actually about them specifically. Kamerad Elysium made an interesting point in a comment on my Battle of Britain article:

“The West generally, but particularly the Anglosphere, and to a lesser degree Russia, made ‘the Nazis’ an integral part of the national mythos, becoming even more important than any other myths surrounding the nations’ histories. It is for this reason that today we see ‘the Nazis’ and NS Germany as merely the context of the storytelling of the West. It is only a reference point to demonstrate the victor’s moral superiority and vision for a liberal future for the world. I believe this is why NS Germany has been stripped of its place as a historical period to become something of a showpiece; like the Romans reenacting their victories against Thracians, Gauls, Germans, etc., in gladiatorial contests. Increasingly, especially since the focus on Israel and the Middle East has been important to foreign policy in the eyes of the public, ‘the Nazis’ have come to form THE pivotal reference point for Westerners.” ~Elysium

The “Nazis as a showpiece” idea can be seen practically everywhere, it is so prevalent that people by now take it for granted. Remember the “Soup Nazi” from the show Seinfeld? A stubborn restaurant owner refuses to sell Jerry Seinfeld soup after the two of them have a misunderstanding about what comes with the order. The Jew Seinfeld promptly starts to call the man “the Soup Nazi” and this is an example of some of the most potent ZC Propaganda: it is degrades National Socialism to the point of ridiculousness. Jews have been doing this on a regular basis. Note: the linked article contains much foul language, thus it ironically works for the Jews despite having information that also accurately criticizes Zionism. The end result is “plus one, minus one, back to nil.” No effect.

The Blitz Again
The same type of deal can be seen in the opening to the film version of Chronicles of Narnia: The Lion, the Witch and the Wardrobe. For some odd reason, the film starts with a whole scene of the Luftwaffe bombing London! This is indeed very odd, since in the source material, there is only a brief mention in passing of “air raids” and the story as C.S. Lewis wrote it starts with the main characters arriving at their countryside sanctuary.

The film version is just pure sensationalism that reinforces all of the common ZC approved myths about the Battle of Britain. There is ominous music, men speaking a language that most children watching would not understand, and just as the bombardier pulls the switch to drop the bombs, the shot cuts to an external of the bombers and we get a quick, almost semi-subliminal, glimpse of a swastika on a bomber’s tailfin as it flies by. Then, in a quick shot-reverse shot combo we see the bombs fall and impact the city below. Only after this brief scene, that is utterly pointless within the film, do we first see the main characters.

Given the focus of the whole story, the London Blitz should have been a tiny part in the background, mentioned in passing at the film’s start. However, the big film studio just couldn’t resist showing a scene with ominous music, a flight of grey planes and the symbol of “absolute evil” to set the mood. The story then goes on to a fantasy world with a good vs. evil motif and we can bet that young viewers will make the appropriate mental association of what “real evil” is. The whole point of the first scene is to continue the subversion that Allied and Soviet propaganda began in the early 1940s. Or probably even earlier than that, after all, Judea did declare war on Germany in 1933.

The message from Hollywood is: “Hey kids! We’re going to show you a fantasy epic about good and evil, but first, we must remind the Germans in our audience of what their nation did in 1940.”

Kids will eat this hogwash up without knowing better, and should they ask any questions, their long since deluded parents and teachers will likely just confirm all the Zionist mythos for them. This even goes for German kids who would understand the non-subtitled dialog, but likely not receive the proper historical clarification from an adult. Interestingly, it is probably those German kids that would ask about why there are Germans in that first scene and not in any of the others. Thus, the chessboard has been set up to deceive all, but especially them.

About Miecz Elizejski

Kindling a Kampf deep in Zionist-occupied territory.
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