Humor Nazis – 10

The first video episode!

Episode #10: eLIE wiesel

You can’t spell “Elie” without “lie.”

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Triumph of the Will: Kampf & Folkism in Action

One of the best glimpses into the ideas at the core of National Socialism is Leni Riefenstahl’s revolutionary film, Triumph of the Will. In fact, just by watching the film, one can see many mainstream lies about Hitler and the NSDAP debunked right before their very eyes. This is likely the main reason why the film is made to be hard to access. It also contains Hitler and many other National Socialists in their own words, no footnotes, slyly guided text or other elaborate sophistry that has otherwise pervaded all official information on this subject.

Riefenstahl the Documentarian and Artist
The first and most important fact about this film is that it is both a documentary and art. Leni Riefenstahl and her crew were involved in the planning and overall coordination of the 1934 NSDAP rally, though this was mostly so that they could plan the complex camera moves amidst the multitude of events. The result is a film essentially transcendent of any conventional category. Riefenstahl guided the camera to be a participant in the events, a reporter on them as well as a near omniscient observer that offers the film’s most interesting points of view. Together, these three motifs, with the third being the strongest in this regard, elevate the film far above mere reporting on the events and into the realm of the immortal. The results are as enthralling as they were when the film was first shown.

This is a film against time.

The overall theme for the film is Kampf and Folkism in action. The city of Nuremberg becomes a microcosm for a united Reich that has triumphed over its chaotic and corrupt predecessor, the Weimar Republic. In the opening sequence, there is a message of hope for a Germany no longer obliged to feel the shame that was thrust upon it and from amidst the now parting clouds, Hitler arrives at Nuremberg as a version of the Horst Wessel Song plays. Down in the streets, people from the city are already coming out to greet the Führer. When the plane lands we see that it’s the people of Nuremberg as well as all those who came from other corners of the country for the event, citizens and soldiers. Nuremberg is now the Reich, and the parades and the marching, the formations and uniforms are a victory over the decadence that had sprawled and engorged itself during the previous decade. Hitler’s speeches then show that this new order has purpose: to fill the vacuum of leadership so that the people can once again be part of a greater structure that allows them to work for the benefit of their fellow citizens and country that is no more a mere nation state or name on the shadow banking industry’s client list. It’s a free and prosperous realm where citizenship is earned and productive labor and public service are the path to it for those born within the realm’s borders as well as those not.

Triumph of the Will_2

Riefenstahl and her crew used film making techniques revolutionary for their time to document the 1934 NSDAP party rally – aerial shots, dissolves, wipes (also in conjunction with pans), fades, symmetrical shots, music on cue and all integrated with each other – to craft a living and breathing work of film art that’s skillfully captured and masterfully edited. The grand patchwork of the various shots and film techniques employed are symbolic of the Folk itself as all cooperate for the common and even greater good. Triumph of the Will is a timeless artistic expression of Idealism and the Folk idea for future generations. The film’s production itself was revolutionary as its leader and visionary was a woman at a time when Western film was male dominated purely out of traditionalist gender roles, and largely still is to this day. Thus, the film’s mere existence is an example of transcendence, and this is only force multiplied by its content.

“Posts are awarded only with regard to talent, not in virtue of titles that are often no more than valueless pieces of paper… Priority for talent, that’s the only rule I know!” ~Adolf Hitler, Table Talk

Hitler the Leader and Radical
In today’s Zionist Correct sphere of debate, both liberals and conservatives very frequently try to liken their political opponents to “the Nazis.” This emotion-stirring and divisive accusation is meant to keep very lively debate within a limited sphere that misses the point of what Hitler did with German society and politics. Instead of the countless divisions and endless futile discussion fomented by parliamentary systems, Hitler went to the root of the German populace. He went to the one place where all citizens were the same in their national identity and ultimate aspirations, and with this he ultimately encouraged the formation of the Folk, the radical alternative to the previous foppery.

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The sequence that best demonstrates this is the start of the second day of events in Nuremberg and at the NSDAP rally. The sun rises to bring a new day as the city’s people awake. Apartment shutters open revealing the historic city that is now taking a new direction as can be seen in the Swastika flags that are draped from certain buildings. These flags, seen through windows, are juxtaposed in the film’s edit with plants on windowsills signifying newly planted life. Then we see a montage of the city and a fade from the cathedral towers to the tents of the SA and SS encampment near newly built stadium where activity has also started. This fade from an old religious building to the troops of the new order draws a spiritual connection, as the NSDAP’s goals were never just political and were also more than just social.

Amidst the tents, the morning drumbeat begins, as the troops get ready. Boots are polished, faces are washed and shaved, hair is combed, and fellow troopers wash each other’s backs. Lastly, the uniforms come on and before it’s time for the morning meal. The troopers receive soup from large vats. The communal soup meal, “Eintopf” in German or “one pot,” was a favorite meal of Hitler’s as it perfectly reflected the Aryan community spirit. There is no dialog in this sequence, just a joyous music, which includes human voices, as both music and a Folk spirit can create happiness all by themselves and even more so when they are in cooperation. The result in this sequence is a true harmony of sound and image, and of two mediums, film and music. Included in this sequence are also children and farmers, which where held in highest regard by Hitler and he is seen greeting them personally.

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The scene that demonstrates the core and axis of the Folk idea is the “Kamerad, where are you from?” scene. For much of its history, Germany was a realm of many competing territories that were loosely bound by a general culture and language. After a long series of ups and downs culminating in the rotten morass of the Weimar Republic, Hitler inspired the varied German citizens to stand together and overcome their previous qualms and/or indifference towards each other. Now the Reich’s citizens stand together as is symbolically demonstrated at the Nuremberg Stadium with uniformed Reich Labor Service workmen in formation. The leader of the formation asks one member, “Kamerad, where are you from?” and he uses the informal you, “du” in German, to sow a spirit of closeness and cooperation. The first member answers, then another and another, each in their regional accent.

“From Friesland, from Bavaria, from Kaiserstuhl, from Pomerania, from Königsberg, from Silesia, from the coast, from the Black Forest, from Dresden, from the Danube, from the Rhine, and from the Saar.”

Cities and regions are now all joined into the German Folk: “One people, one Leader, one Reich, one Germany.” Each section of this last bit of dialog is placed with its own onscreen image: the RLS workmen, Hitler, the Reich Eagle, and the Swastika flag. This is very telling, as at the time of the film’s production these were all new elements and symbols introduced by Hitler and the NSDAP. Hitler inspired the citizens of Germany to look at their roots and see that the best thing that they can do, despite their differences, is cooperate and build a new and common future from their varied pasts and using their various talents.

Hitler’s speeches in the film are powerful and passionate. While some other NSDAP members speak from a podium inside a large hall, Hitler speaks outside in the sunlight from a large stone post to a massive formation of uniformed workmen. The speech starts calm and steady, and by the end the entire stadium resonates with that titan voice exemplifying unparalleled dedication to a cause and an unmatched charisma. Hitler wears his Chancellor’s uniform and it’s in perfect form down to the smallest crease, as he is a leader that never expects from his people what he hasn’t already done himself. In the Nuremberg stadium, the microcosm of the Reich, both Citizen and Leader stand in impeccable form. Previously, outside in the city of Nuremberg during his arrival, Hitler too stood with that same ideal posture as he greeted the gleeful city residents who had come out to see him. Thus, we can see that Hitler holds himself to a much higher standard of self-discipline than he expects from his people, the same as Jesus, Mohammed and Siddhartha did in times past. The scene ends with a cross fade between Hitler and marching members of the Reich Labor Service showing a leadership symbiotic with its citizens.

The next day, day three, we see perhaps the most vital element of the new German folk and it is with this that Hitler guided Germany out of the false dichotomy of conservatism and liberalism, of capitalism and communism, of traditionalism and progressivism. On this day, the NSDAP shows its appreciation for the youth of Germany, and in particular the next generation that will grow up on the new social model of the Folk and not in the traditional family clan/tribal-based system. Hitler’s key words here are the ones that start the core of his speech.

“We want to see no more class divisions. You must not let this grow up amongst you.” ~Adolf Hitler, Triumph of the Will

Hitler was well aware of the kleptocratic and oligarchic systems that had gripped and suffocated much of the world, and he was also keenly aware of the barbaric Bolshevik reaction in Russia that soon spread to other parts of that world and was financed by the shadow oligarchs of capitalism. If Hitler’s goal had been mere survival, he would have found a comfortable place for Germany within this violently expanding bi-polar system, however he chose to defy it and this meant making sure that the next German generation sees something else and something much more profound. Thus, Hitler stressed the country’s self-reliance, the class cooperation of its citizens, the diligence to shun material excess, and the will to keep them all going. To some it up into one word: militarism, or organized function with purpose.

A brief spectacle follows including formations of horse riders and armored cars, showing a progression of technology. It is a lighthearted example of what Hitler was talking about earlier. In the next scene, a massive march of all rally attendees with flags to a podium under a huge illuminated eagle banner from which Hitler, once again, speaks. The NSDAP revolution was not to create a newer and better state order, it was to transcend the old nation state and replace it with something better. And this is not something that can be understood by those locked in the nation state mentality. Clearly, Hitler is speaking of things other than just economic growth, national interest and human rights, which are some favorite terms of the capitalist-communist dichotomy. And it’s established fact that National Socialist Germany created things that it’s parliamentarian predecessor had no hope of doing, such as ending class strife benevolently by sowing the seeds of cooperation amongst good citizens and residents, ending unemployment, building critical infrastructure, promoting drug free living, and more.

The next and final day of the rally, we see the most famous outdoor scene with the epic symmetrical aerial shot of the stadium in full attendance. Hitler proclaims the unity and integrity of the National Socialist movement despite rumors that have been spun to the contrary. A parade begins in the Nuremberg Stadium, which was a building designed by Albert Speer as an example of NS architecture, and then it goes out into the streets for all to see. From Hitler’s regular public speeches, to NSDAP commissioned art and architecture, to publically promoted events such as the Bayreuth Festival, the message of National Socialism is always outward and Folk oriented. There is no secretive Politburo (Communist oligarchs) meeting behind closed doors or bank/financial elites (Capitalist oligarchs) meeting at a posh private resort. In National Socialism, there is Kampf and Folkism, and here we see it in action.

The Impact of the Film
The single biggest lie that a viewing of this film can dismantle is the Zionist peddled notion that National Socialism is hateful or in some other way(s) negative. Upon viewing the film, one can see that the German National Socialists are in no meaningful way like current neo-Nazi groups, which the Zionist Correct media never fails to underscore as current representatives of National Socialism, yet the only similarity is a purely superficial one: use of same and similar symbols. While the core of National Socialism, meaning its revolutionary rhetoric, its transcendence of false dichotomies, its powerful drive to reform a nation into a Folk and the rigor and discipline with which it proceeded are all missing from those most vocally indicated as “followers of National Socialism” today. Ergo, by seeing this film, you can see that the mainstream media and academia are lying about Hitler and the NSDAP.

Another big lie that a viewing of this film can unravel is the Zionist force-fed notion that “the Nazis” were obsessed with Jews, whether it was to ostracize them, steal from them, expel them, or kill them. The mainstream makes it seem as if that’s all Hitler ever wanted, yet all that is just another example of Jewish arrogance that insists on putting itself at the center of attention and asserts that all those who criticize Jews and stand against their methods are hateful or in some other way(s) negative. Upon viewing the film, one can see that neither Hitler nor any of the other speakers even once mention Jewry, as it was never their intention to be obsessed with the scourge of their fellow citizens. On the contrary, the NSDAP leadership’s intentions were positivism and improvement, and this meant a focus on the citizens and workers of Germany; on their working conditions, their ability to fairly earn a livelihood, their ability to utilize their talents, and their ability to use their hard earned livelihood on healthy leisure.

A famous positive reference to Triumph of the Will, though one that’s not entirely obvious due to Triumph of the Will’s limited availability, can be seen at the end of Star Wars. The reference appears as the victorious rebellion’s soldiers stand in formation and the heroes march down the center to receive accolades. The framing here is taken directly from the scenes in Triumph of the Will that take place in the concert hall where the NSDAP Rally is formally opened and where it’s closed, meaning both Triumph of the Will and Star Wars end on the same visual cue. Additionally, the theme of overcoming of an oppressive empire is also relevant, as Hitler rebelled against the shadow financiers that hold nations by puppet strings. The superficial aspects of Star Wars appear to be anti-authoritarian, yet the deeper aspects are anti-British Imperialism and it is out of the British Empire that shadow finance dominated by the Jewish Rothschild clan emerged. For one, all Imperial Officers speak with British accents, but none of the rebels do. Second, the logo of the Galactic Empire is a six-pointed icon just like the symbol of Zionism. Perhaps, it’s no surprise that Star Wars creator George Lucas largely works outside of Jewish-dominated Hollywood.

Clips of Triumph of the Will were also famously inserted into Stanley Kubrick’s A Clockwork Orange, where a victim of a conditioning experiment is being psychologically and physiologically programmed to feel an overbearing sickness that is to accompany, and thus curb, his propensity for violence and perversion. The scene ends up playing out like a Zionist fantasy as the man is literally programmed against National Socialism, yet this man had shown no previous interest or emulation of anything National Socialist. And on top of that, the staff assume, since he was a violent man that he must in someway be interested in National Socialism! Ironically, the “doctor” in the scene has a Jewish and/or Soviet sounding name, Brodsky, and Jewish phenotypes abound in facility staff. Kubrick, himself a Jew, had no concept of healthy racialism, and also seemed to be conflicted about Zionism, and thus along with his inability to see past “the evil Nazis,” he was led to make this odd and telling scene about how National Socialism is presented: it’s presented inaccurately and in a way to intentionally churn disgust, since the broadcasters are all Jews or other Zionists just like the staff in the secretive medical facility! It’s practically an unintentional satire on the Zionist-dominated media.

Charlie Chaplin also saw Triumph of the Will when it was shown in the United States at the Guggenheim Museum in New York City. Reportedly, he found the film hilarious and the experience led him to make his Hitler-mockery, The Great Dictator. Unwillingly, Chaplin did his part in proving Arthur Schopenhauer’s famous adage: “All truth passes through three stages. First, it is ridiculed. Second, it is violently opposed. Third, it is accepted as being self-evident.”

The Progression of National Socialism
National Socialism was a great endeavor that Hitler himself admitted would only bare its best fruit some 25 or even 50 years after its initial implementation. It was a complete change in society and deeply rooted processes such as social norms and economics can take a generation’s time to change. This was the reason for Hitler holding youth in such high regard, as they were the idealists who would ultimately build the new order, while Hitler and the Old Guard NSDAP would just identify and assemble the initial building blocks. Also, in his time, and with the end goal in sight, Hitler made many strategic concessions to the conventional political spectrum and Riefenstahl’s film shows a few of these.

In the communal soup scene we also see some sausages. Hitler, a dedicated vegetarian (without the later established diet-related gradients, he was technically a vegan by today’s standards), would have shunned sausage, however cultural conservatives would have balked. Thus, in the early stages of being in power for just over a year, a nod to Nuremberg traditions was made. Nuremberg sausage remains popular to this day. However, the sausage is just given the “one shot” or included in one camera angle for a few seconds and then pretty much forgotten. The scene focuses heavily on the communal soup meal, including a shot of a cook tasting the soup to great satisfaction. The contents of the soup is not focused on at all, thus the soup may as well be a vegetarian one.

Some old Reich soldiers, the Weimar Era conservatives, were included in a shot and are mentioned at the rally’s opening, as is the late president Paul Hindenburg. The one shot is given here too as the whole of the rally then focuses on the new Reich Labor Servicemen, the SA and SS, and, of course, on the Hitler Youth, which were all NSDAP organized institutions. Old Reich flags and old model Stahlhelms can also be seen. The German Empire flag was phased out in 1935 in favor of the new Swastika Flag and that was the year the now iconic Stahlhelm model was introduced.

Thus, even by the film’s release, National Socialism had bore some new fruit.

When it comes to semantics, Hitler also says one particular thing that he would later go on to reconsider and reword. When speaking to the Hitler Youth, he speaks of obedience, “Gehorsam” in German, though later he mentions to the SA and the SS the much more important quality of loyalty, “Treue,” and it was this word that made it into the NS glossary. It was most famously seen as part of the SS motto, “Meine Ehre heisst Treue,” or “My Honor is Loyalty.” Obedience is related traditionalism and submissiveness, two traits that feature heavily in the lives of Tanakh adherents, being Jews, Judeo-Christians, and Traditionalist Islamists. Confucian Traditionalism also heavily banks on obedience. Loyalty, on the other hand, is motivated by conscience and can thus be readily applied to notions such as duty, which factor prominently into militarism as well as the original teachings of Jesus, Mohammed and Siddhartha.

Triumph of the Will remains one the most revolutionary films ever made in both technique and content. Hitler’s speeches in the Nuremberg stadium were the first time that a human voice could be heard from space. No leader in the modern human era has shown such ascetic dedication to his duty and certainly no leader has been so charismatic.

Triumph of the Will is also far superior in every aspect from the Marxist screed, Battleship Potemkin, directed by the Jew Sergei Eisenstein and shown in film history classes worldwide. Eisenstein’s film is permeated by a characteristically Jewish defamation and demonization of an ideological and political enemy, the Czar, and it is this negativity that ultimately brings down the film. However, Eisenstein’s film shouldn’t be avoided, it should be watched and right before or after there should be a viewing of Triumph of the Will to plainly see the higher quality and innate positivism of Riefenstahl’s National Socialist film art masterpiece.

“May the bright flame of our enthusiasm never be extinguished. It alone gives the creative art of modern political propaganda its light and warmth.” ~Joseph Goebbels, Triumph of the Will

Triumph of the Will on YouTube:
Version 1 – with comments disabled on Blood&Iron’s channel.
Version 2 – with comments enabled on DocumentaryTube’s channel. This version also has sharper contrast.

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Humor Nazis – 9

Episode #9: HO£A¢O$T€™


Pinocchio says Holocaust

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Anti-Zionist Graphics

All anti-Zionists, especially Aryanists, distribute!

Enough Zionist symbols for now, let’s end with something positive.




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Ambulans: The Power of Nightmares

Let’s take a look at Ambulans, a 1961 Communist Propaganda film that ideally served Zionist purposes. The broader story behind the film also demonstrates Jewry’s meddling in the post-war Communist regimes of Eastern Europe and how that played out in a false dichotomy along with the Western Capitalist states. The film puts forth one of the more absurd notions, even by the already overall absurd standard of Holocaust cult morbidity, and that is the homicidal gas van. In this film, the “gas van” is meant to look like an ambulance; the film’s title is the Polish word. First, here’s the full film. It’s less than 10 minutes long.

The initial telling detail is that the titular vehicle doesn’t look anything like the one infamous photo of a supposed gas van that’s on display at Yad Vashem and other Holocaust cult sites. Thus, from the very start, we have at best a subjective impression of an event. As far as making a concise case for the extermination theory, it only gets worse from there.

A few things are shown to be going at once in the film, however let’s isolate the gassing process as it is shown in the film. The “ambulance” pulls up to the spot where the victims will be loaded. This is far out in an enormous open area at the end of what could be an airstrip for large aircraft. A section of this long stone way has been fenced and gated off with at least two guard towers standing in the corners of this loose and improvised looking arrangement. The officer in charge examines the vehicle, observes the fumes coming out from the exhaust pipe, and opens the rear doors. Then another SS man brings a hose, connects it from the exhaust pipe to another pipe, while the officer lights a cigarette. Then the engine is fueled and run for a bit, before the rear is opened once again to allow smoke that has accumulated in the interior to bellow out. Then the victims, children and a chaperone, are herded inside and the “ambulance” drives off.

This shows that a supposed top secret mass murder operation was so poorly planned that it could never be believed as being as effective as we’ve been led to believe. In fact, we must even doubt its existence, since when the absurd is pushed so hard, and when so many obviously fictionalized portrayals are used to represent it, we can only healthily assume that something is rotten in the state of Zion.

Here’s what reeks, point by point: The SS men in the film do not show any indication that they are operating on a military schedule and they even appear to test the engine of the truck. Then they fill it with fuel! That’s like putting someone before the firing squad only to then have the soldiers in the squad load their weapons. The location in the film is totally unbelievable since to get everybody – soldiers and victims – out there in the first place would use up more fuel than is then used for the killing. The victims do not show any sign of panic despite being shown what will happen to them, the kids have only some toys for distraction and their chaperone just silently accepts his fate, in fact he moves the kids towards the truck. Another “ambulance” is seen over the opening credits and this would imply that there is a schedule to the activities, yet that has already been shown as being unbelievable.

Then lastly, and most critically, revisionist researchers have scientifically disproven the homicidal gas van and this has been tacitly accepted the mainstream where this notion has been pushed off to the sidelines, though not outright accepted as fallacy and an intentional lie. Seeing things as they are, all things indicate that this bogus story would still be taught as fact had revisionists and freethinkers not disproved it.

“To date, no vehicle which clearly could have served as ‘gas van’ has ever been found. Allegations that the Polish town Konin near the former concentration camp Chelmno uses such a gas van as a memorial were refuted by the town’s officials. On the author’s inquiry regarding alleged photos of such vehicles, both the Yad Vashem Museum in Jerusalem and the Auschwitz Museum in Auschwitz, Poland, sent the author a copy of the same photograph of unknown origin, showing the front view of a damaged heavy-goods vehicle of the type Magirus-Deutz with no indication that it was modified and subsequently used for sinister purposes. Aside from this, a Magirus-Deutz lorry was never claimed to have served as a homicidal gas van. Since the license plate was removed from the van, it is not even certain whether this vehicle was really used by German authorities. The Yad Vashem Institute responded to an inquiry by stating that no other photo of a ‘gas van’ is known to exist and that if the author were aware of any other, the Institute would appreciate receiving it.” ~Ingrid Weckert, The Gas Vans: A Critical Assessment of the Evidence

Despite the total lack of verified evidence for the homicidal gas van notion, this film was actually shown as a documentary and at least one major mainstream media outlet, the newspaper Der Spiegel, ignorantly out of blind Zionist obedience misused stills from this film as supposed extermination evidence. Given the Holocaust hysteria and goy guilt complex, especially in today’s Germany, we can give Der Spiegel the benefit of the doubt. They were probably not intentionally lying in that article, however that’s only if the writer(s) has not actually seen the film, thus missed the openly displayed absurdities. The version of Ambulans used as the “documentary” was cut to remove the opening credits, though that still left the film’s editing, which clearly indicates storyboarded and staged film production with shot/reverse shot, reaction shots, cut-away shots and all the standard narrative film camera angles. This is in addition to the music and dubbed sound effects, which are also standard narrative film production techniques. The film’s opening music resembles a propaganda newsreel which was very common in the era of World War II, and that’s what this film is, a state sponsored propaganda film commissioned by the post-war Polish Communist government.

At the time of the film’s production, the First Secretary of the Polish United Workers’ Party was Władysław Gomułka who spearheaded an intentionally ineffective “anti-Zionist” campaign between 1967-68. Nominally, this was just a ploy to aggressively reshuffle his government and get rid of competing inner factions as well as being a part of the Communist Bloc’s response to the Western backing of Israel’s seizure of the Golan Heights. The nationalist-leaning Gomułka who sought to line his government with like-minded members dismissed many Jews, who made up the bulk of the internationalist and liberal faction. This move basically copied what Hitler did, and like in the early years of the Third Reich, the Jews now removed from their positions emigrated elsewhere. Facing the previously calculated Zionist backlash, Gomułka, who was married to a Jew, “opted” to save face instead of continuing defiance like Hitler. He publically announced that he despised the Third Reich’s measures against Jews and that many Poles tried to save Jews during the war. Here we see the end result of the “anti-Zionist” campaign: to publically restate on the World stage the orthodox lore developed during and after WW2, while allowing a large portion of European Jewry to leave and get rich elsewhere, a plunder opportunity that would have been impossible in stagnating Marxist states.

It was an orchestrated trick that, in the short run, satisfied identitarian factions in Poland, while in the long run, served Jewish interest and this was the only lasting effect: to reaffirm in the minds of the goys the idea that motivates all Jews, and that is those who work against Jewish interests are wrong, while those who work for them, even to their own detriment, are right.

The same manipulation is used in herding animals – obedience results in reward, defiance results in punishment. Zionist Correct think tanks continue to exploit this maneuver today. A false dichotomy is set up where good is pro-Jewish and bad is anti-Jewish, and in which the anti-Jewish side shown in the most primitive light possible by only showing example of poor and primitive anti-Judaic thinking, such as skinheads and other useful idiots. Zionists wail about “the Holocaust” while neo-Nazis says it was great and “Hitler should have finished the job.” And there is the false dichotomy, both sides are actually in agreement, they are both Zionist obedient, even if the latter half is ignorant of the matter being useful idiots.

These manipulations routinely distract from the sound anti-Zionist discussion that actually gets at the root of Zionism by pointing out the corruptions Jews cause, such as the two banks that blew a hole in the world economy in 2008, Goldman Sachs and Lehman Brothers, were founded and run by Jews, as well as the lies that they and their dogged gentiles continue to feed, and most importantly, the information that these very interested parties persist in shrouding, namely revisions of the extermination theory.

Back to the film and looking at the film’s credits we can see some Jewish names, most notably director Janusz Morgenstern. Thus people who had a vested interest in spawning the homicidal gassing myth and then keeping it alive all these years were directly involved in the making of Ambulans. The connecting of Hitler to the gassing story is done rather crudely. One of Hitler’s speeches is played over the opening credits the camera then pans to an exhaust pipe. In the speech used, Hitler talks about Jewish High Finance meddling in other countries’ affairs for its own benefit and the need to for the Jewish weed to be “uprooted” (the real meaning of the German word “ausrotten”), or removed with its root. With the pan over to the exhaust pipe, “uproot” becomes “kill” and the supposed method is shown. That’s not just pareidolia, the seeing of false patterns, it’s forcing it onto others, and once again, we are back to the Jewish herder mentality. And so, the only way to affirm that Hitler ordered the mass killing and gassing of Jews is to take his words out of context. Jews do it to support the Holocaust narrative and neo-Nazis do it to support the idea of white supremacy, and both are false.

Another detail to consider is the selective edit in both sound and image. The children and accompanying adult make no sound, not even foot falls, and sad music plays when they are on screen, especially the adult who seems to know his fate. However, the sounds involving the SS men are all exaggerated, from the footfalls that sound like the man is stomping with every step, to the doors of the van opening loudly. The truck’s engine rumbling and the dog barking are over the top as well. The dog is even beaten for attempting to give back a propeller toy that one of the children launched earlier. Initially, a soldier held the dog on a leash, as one would expect with a guard dog, yet it is then able to simply run off and fetch the toy. Also, the SS uniforms look incomplete with missing insignia on the tunic and the belts are on crooked. In fact, it likes the uniforms for the film were made by hearing recollections of those who sometime ago heard what real SS uniforms may have looked like. Thus, in this film they are just as incomplete and forced as the homicidal gassing myth itself based solely off of recollections, rumors and hearsay, by people suffering from a disease, typhus, whose symptoms include delirium.

The Power of Nightmares
A common myth that today mainly survives as bit of harmless lore is that if you break a mirror, you will have seven years of bad luck. Looking from where this notion originates, we can see why it came about. Mirrors used to be rare and expensive, thus to encourage people and especially house staff in upper class residences to be careful around mirrors, a scare story was invented and people came to believe it. It’s the same with opening an umbrella indoors or by walking under a ladder. There is said to be an element of bad luck originating from each event, yet they are just spook stories. It makes sense to be cautious, however it can be done better by making people informed.

Another old myth is that trolls live under bridges and they eat children, which was invented to keep unsupervised and unsuspecting children from wandering out of sight and being taken by the tide or simply slipping into the river. It would have been so much better to try and be honest with the children and explain to them in simple terms what could happen. However, it is also said that speaking to children of death is cruel, yet death and danger are real and honesty isn’t always rosy. What was cruel was to frighten those children with tales of murderous creatures that don’t even exist to begin with.

These kinds of dogmatic tales are the fault of Jewish thinking that has spouted scare stories since its inception. From the Great Flood to the Plagues of Egypt to Sodom and Gomorrah, Yahweh is ever demanding total obedience and never hinting at compassion. Thinkers and leaders such as Jesus and Mohammed tried to remedy this, though even their efforts have been sunk by Zionist Correctness to create the bipolar entity known as Judeo-Christianity with mainstream Islam (at least in the West) suffering a similar degradation. Even Buddhism has been lured to follow suit.

Today, we have the dogma of “evil Nazis” to coerce people into patterns acceptable for Zionist purposes. That is not to say that every man or woman who wore the NSDAP, Schutzstaffel or Waffen SS uniform was a perfectly honorable soul, not at all. What is to be said is the main reason that this group of radical reformers and soldiers has been so grossly misrepresented is because it was their organization that embodied the greatest threat to the traditions of the Tanakh and Zionism.

Groups interested in shrouding the truth are always the ones to uphold dogma. They use insidious myths like the Holocaust, which are pushed through and bored in by morbid propaganda in conjunction with by a corruption of scholarship to create the confines of Zionist Correctness. And ZC censorship actually gets people, those who push it as well as those who just believe it, to do what only psychotics do: that is to confuse reality with illusion. In the film They Live, Nada and Frank were faced with the same problem and the factions with a vested interest in keeping the illusory world, hunted them and others who saw and fought for the truth.

Ambulans is nothing more than an emotional manipulation just like all the “personal stories” of the Holocaust narrative. Over the decades these loose and morbid fantasy tales have been stitched ever tighter until the term “Holocaust” was finally adopted with the release of the 1978 Zionist propaganda miniseries on American television called, Holocaust. This time the word was used with an upper case “H,” though Jews used the term with a lower case “h” in addition to the “6 Million” mystical Kabbalah number as early as 1900.

Online Book: The First Holocaust A rational mind can only accept the Holocaust on faith and not on knowledge. It’s dogma and the worst of its kind as it creates nightmares and the power of nightmares prevents reasoned discussion and sets the boundaries that work for Zionist Correctness.


Above All Shadows
Previously, this blog had looked at how the truth of Holocaust skepticism can be seen through one of Arthur Schopenhauer’s ideas, that is the three stages of truth: ridicule, opposition, acceptance. Now, we can look at that same process from another point of view, one that is closer to those who hold the Holocaust narrative as sacred and have to deal with its death as the dogmatic hold weakens and peoples’ own intuition makes them skeptical about its claims. The Five Stages of Loss and Grief provide some light to explain the fanaticism and the accompanying monumental amount of energy devoted to upholding the Big Lie.

Five Stages of Grief and Loss:
1) Denial – The Tanakh and obedience to Yahweh always motivate Jews, thus anything that opposes this is decried as wrong. Jewish tradition is devoid of militarism and heroic archetypes making its adherents initially passive, thus the first stage is denial. “Not believing in homicidal gas chambers, how could anyone think like that?”

2) Anger – Due to their herder archetype, Jews are masters of manipulation, from behavioral to emotional. Thus, after the initial stage is passed, the ones who made it here resort to cunning and conniving by spreading rumors and slander about their opponents. The goal is to never paint a clear picture. Rather, it is to amass an enormous and malleable blob that can be then used as to manipulate as desired. And so, we have a totally ZC corruption of reasoned discussion with the reductio ad Hitlerum, which states: if you disagree with them and can’t quite offer a counterpoint, just call ‘em the N-word. “That’s what Hitler did! You’re just an evil Nazi!”

3) Bargaining – The herder archetype continues as eventual concessions to rationalist revision of the Holocaust narrative are made, however these concessions must be coordinated so that the dogmatic hold can be recalculated into something that still serves Jewish interests, preferably still at the expense of non-Jewish peoples. A great amount of Allied/Soviet propaganda from WW2 about National Socialism has been debunked and quietly conceded to in this way, though some of it a bit more loudly and embarrassingly than other parts. The first of these concessions was even quietly admitted during the war. That was the Soviet mass murder of Polish officers and intelligentsia at Katyń. Unlike the supposed Jewish mass graves sites (Babi Yar, Treblinka) that show no disturbance of the soil, the ground at Katyń indicated a mass grave. The corpses were recovered and examined and only then was the German claim against the Soviets made. Additionally, since 1945, the Auschwitz grand total has also been reduced to less than 1/8 of its initial claim.

Just think: if what the USSR claimed to have happened at Auschwitz is less than 12% true and the Western Allies went with it completely, can any of their reports still be trusted or at least not merit serious revision?

Here’s the Zionist bargaining, “Ok ok! So homicidal gas vans, human fat soap, human skin lampshades, shrunken human heads, Mengele sewing twins together, Lebensborn Aryan baby sex factories, Germany’s plan for world domination, Hitler’s supposed diaries, the authenticity of Anne Frank’s diary and an ethnically all-European Wehrmacht and Waffen SS were not all entirely true… or were even outright lies… but gas chambers are still definitely real and you’re still an evil Nazi!”

4) Depression – Some Jews and other Zionists have reached this stage and they have attempted to reassemble the previous failed narrative in to something new by claiming that all those morbid and Tanakh-inspired stories from the war that proved to be untrue were just used to scare the Jews so that they could be more easily gassed. “The evil Nazis made up those human fat soap and other stories to scare Jews!” Only they didn’t, it was Zionist propaganda assembled to stir their goyim into hate against each other.

5) Acceptance – Jews will likely never get to this stage, though many non-Jews, if they have traveled this particular path, have wound up here. Due to the wide availability of information today, more intuitive and daring individuals are getting ever closer to this step. This means that they stop with nonsense like the reductio ad Hitlerum, they stop seeing their new found knowledge as shameful or heretical, and if they truly are of sound mind they don’t fall into Hitler worship or another reactionary mindset as that would just put them into a deadlock with the Zionists, a final lure and trap for those who see past the confines of Zionist Correctness.

Seeing beyond the confines is not enough, we must step out of them. As for Jews, they will probably just add another section to the Tanakh and/or Talmud. This will give the religious Jews, as well as Judeo-Christians and other Western traditionalists, one more death-obsessed fairy tale to their repertoire, while the humanist Jews will continue to push for total secular materialism. Don’t join them!


Related Information:
Messages in Auschwitz – an account of an unguided tour of the main Zionist Museum
Research – A list of sources to start your seeing past the Zionist Correct establishment

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Humor Nazis – 8

Episode #8: History

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Prisoners: The Illusion of Escape

Entrapment or enslavement can be rendered more effective by making the way out more complicated. Physically obstructing or convoluting the exit path, such as making it a maze, can accomplish this effectively. The movie Prisoners makes use of this technique. It sets up a False Dichotomy to limit our perception of the problem, though there is an additional ulterior purpose, and that is to ultimately make the audience satisfied with a False Solution, thus giving the illusion of escape.

As we’ll see, one of Plato’s classic ideas will serve as the real solution, and the one that the film intentionally avoids.

Two Main Players, Two Opposite Sides
First, we have Keller Dover, who is played as the model American Traditionalist Conservative. Dover is a Judeo-Christian, a self-employed business owner, a family man, a gun-owner and a “prepper” living in a suburban town. In the film’s first scene, Dover is with his son on a hunting trip, and he recites a prayer while his son holds a deer within a rifle’s sights; then “Amen” and the kill shot. The parallel to ritual sacrifice is quite obvious. They even eat the deer for a holiday meal. Dover is scruffy haired and has a bushy beard-mustache combo, making him look vaguely Jesus-like, and he’s a carpenter just to drive the nail all the way in and complete the implication.

Second, we have Detective Loki, who is played as the “enlightened” man. He is a dedicated professional public servant, and also a free thinker not bound by dogma nor usually compelled to be overcome by his emotions. Det. Loki is played by a good-looking and Aryan-phenotype leaning actor, but phenotype is just one thing, it’s not everything. Actor Jake Gyllenhaal is Jewish, which goes right with his character’s Freemasonry, revealed by a ring on his left hand’s little finger. Additionally, Det. Loki also has various esoteric tattoos that ultimately show he is bound by his own brand of dogma.

From an Aryanist point of view, both characters are a mix of good and bad. Dover is clearly a disciplined and skilled worker, a responsible gun-owner (by standard of the law, his hobby of hunting is not commendable) and the fact that he’s a “prepper” shows that he thinks long-term and is pretty well organized. However, his Judeo-Christianity gets the better of him and he goes down a path of Old Testament/Tanakh inspired vengeance and wrath. Det. Loki is also skilled at and dedicated to his job, which is a public service and thus can be commended. However, his Freemasonry is a false enlightenment in that it is just the same ritual and tradition-based convolution as Judeo-Christianity, though dressed up differently. These two characters set up the film’s False Dichotomy.

Symbolism of Names
The names for the principal characters in this film bear some significance.

First, there is the character with the name that is most likely to draw attention to this theme, Detective Loki. Quite the unusual name whether “Loki” is his given or family name. The name is an allusion to the Nordic god Loki who in one tale saves a child by outwitting the kidnapper. This name choice also suggests that Det. Loki has a higher, perhaps spiritual, element. In looking at the text of the tale, however, we can see that Loki triumphs over his opponent, a giant, by striking at his shins and at a time when the giant is stuck in a window. The bears a resemblance to the Tanakh tale of David and Goliath in which the Jew David defeats Goliath, a giant (or probably just a sizable human when one factors in the Jewish tendency to overstate for dramatic purposes), by striking at his ankles. Thus, we see Det. Loki’s true Jewish/Masonic identity unveiled.

Second, there is Keller Dover and his wife, Grace. Dover married a woman named Grace and this suggests that he was probably not raised religious, just adopted a religion just as he took “Grace” into his life. However, this quickly breaks down after the couples’ daughter is kidnapped. Dover gets viciously wrathful while Grace breaks down into depression. The fabric of the good life proved to be quite thin. Additionally, “Keller” is German for cellar, this suggests that Keller’s cellar is a part of his identity, which it of course is – he’s a “prepper” with a fully stocked basement. “Dover” bears the word “dove” within it, though this seems to be ironic as Dover hardly symbolizes peace, or his sense of peace is as fragile as a real dove.

Next, there is Franklin Birch who is Dover’s friend and whose daughter is also kidnapped in the same incident. The given name could be seen as a reference to Benjamin Franklin, a US Founding Father and Freemason. “Birch” suggests nature and not religious dogma, and Birch is decidedly more tranquil and is taken aback by Dover’s wrathful path. However, not all is well here as Birch’s wife has the name “Nancy” which comes from a Hebrew name meaning “grace,” thus we are back, in a not totally obvious way, at the Jewish/Masonic theme again. This kind of sleight of hand will matter later.

Also, we have Alex Jones, a name many in the alternate media have heard before. In the film, Alex Jones is initially believed to be the kidnapper of Dover’s and Birch’s daughters, however the police determine that, “Alex Jones has the IQ of a 10 year old” and thus could not have committed such a crime by himself. This proves true as it turns out that Jones is a pawn of the kidnapping mastermind. The real-life Alex Jones is the world’s most famous Zionist Correct “truther,” a supporter of the “prepper” sub-culture, and a noted critic of secret societies such as the Freemasons who are humorously settling a score with this film. The idea that Alex Jones, the film’s character, is merely a pawn is part of the films sleight of hand.

Double Whammy – False Dichotomy & False Solution
First, we have the False Dichotomy: Traditionalist vs. Freemason. This attempts to limit the realm of perception and our identifying of the problem. The film makes a strong case for this illusion as Dover is shown to be ruthless, brutal and totally overcome by his emotions, which mirrors his devotion to religious dogma. Additionally, Dover is shown going on recourse to alcoholic intoxication during the film. In one scene he states that he hasn’t had a drink for nine and half years. Given his character arc, this suggests he gave up alcohol, became a born-again traditionalist Judeo-Christian and married “Grace.” This works for a time, as he becomes a productive self-employed craftsman, but then falls apart after the kidnapping. He kidnaps and tortures the suspected kidnapper of his daughter. He uses his craftsmanship to create a torture chamber. In short, Dover becomes and inverted version of his self at the start of the film. This flipped version probably bears some resemblance to who he was before his being born-again. Dover’s obsessive search leads him to symbolically die as he literally finds himself in an underground space by the end of the film. The thing is that he actually winds up there out of his own free (albeit manipulated) will, and this is basically a continuation of his own decision to go on the destructive path, just that, in the end, it also proves to be self-destructive.

Trapped, alone and seemingly dead, who could possibly save him?

This is where Det. Loki comes in, the ever calm, cool and calculating professional. Even in his first scene with Dover, Loki retains his rational stance, while Dover becomes emotionally overcome and angry. This happens in virtually every encounter that the two share in the film. Loki has a few tense scenes, including one where he smashes his office computer’s keyboard, however these are short fits and doesn’t go on any recourse. This is humanism showing a disciplined human, who’s flawed, but ultimately collected, unlike Dover. The film doesn’t outright favor either character, but the stage is set.

Second, we have the False Solution: the “enlightened” Freemason saves the saves the delusional traditionalist. It is Det. Loki who figures out that Dover is stuck in a hole and thus we can speculate that he pulls him out. The film doesn’t actually show this, it cuts to black, however Det. Loki clearly hears the whistle that Dover is blowing and we can reasonably infer this outcome. It is what the film has been driving at the whole time. With this, the first graceless, then Judeo-Christian Keller Dover is born-again (yet again) this time as a Freemason.

The Illusion of Escape
The film’s key idea is that of a maze, or more specifically: a boundless, ever unfolding maze, one in which no matter how far an escapee navigates, turns or dead ends keep appearing. This idea is first communicated in the film’s main promotion poster seen at the start of this article. Note the tagline: “A Hidden Truth. A Desperate Search.” Also note that the maze shown in that image has no clear boundaries, no start and no finish.

The maze is symbol for brainwashing, or the preventing of a sentient mind from acting according to its individual will.

Back to the film: one evening, the town holds a candlelight vigil for the kidnapped girls and here Det. Loki spots a suspicious hooded figure that runs and escapes. Sometime soon after, that same hooded figure breaks into the homes of the two kidnapped girls, thus confirming his connection the crime. Grace Dover noticed the hooded man and provided enough information to Det. Loki about it so that the police can get a sketch produced, which is soon recognized by a store clerk. The store sells children’s cloths and the man would buy some in addition to spending some time admiring some small mannequins. As it turns out, this man, Bob Taylor, is obsessed with drawing mazes all over his house walls and recreating child kidnappings and murders. This is because he was once kidnapped as a child, but then inexplicably released. This experience has totally overcome him and he relives and recreates it as often as possible by stealing children’s clothes, drenching them in pig’s blood and hiding them in large trunks with live snakes. When in police custody, Taylor just draws unsolvable mazes and eventually shoots himself as police try and question him.

The kidnapping puppet master is an old woman, who used to be a committed mother and Judeo-Christian, however, her child died at a young age driving her to despair. This tragic event also made her lose her faith. Along with her then husband, she tried to make other parents go through the same suffering hoping that they too will turn their back on religion. It was an act of vengeance against the Judeo-Christian deity, Yhwh, using Yhwh’s own methods, thus it, the demiurge, became alive in her.

The proxy, Alex Jones, was for carrying out the actual crime. He was brainwashed and kept appropriately ignorant and thus would never tell the police anything. Or if he came close revealing the details of the crime, memories of his own kidnapping and abuse would surface and drive him crazy and also to suicide as we saw with Bob Taylor.

The film thus seems to be an indictment of dogmatic traditionalism, herding and continuing pain into the next generation, things that Judaism and Judeo-Christianity do very effectively. The puppet master of the kidnapping essentially acts like a herder, which is the archetype of Judaism, one who herds animals for personal gain. In Judaism this spills over into society and there are subjects blindly devoted to their faith and unilaterally respect the words of their elders. Related schools of though are Judeo-Christianity and Confucianism, with the former being a direct continuation of Judaism and the latter an independently developed, but wholly parallel, incarnation from East Asia. The unending cycle of pain is the unending maze shown in the film. No matter how far generations go, they are still left with the pain of the past, they cannot escape from it, and more importantly, they cannot imagine an alternative. So when confronted with any problem they look to the past. Dover repeats the violence of his religion, just like the old woman did. They were both prisoners in the maze.

Interestingly, Dover’s friend, Birch, refuses to participate in the torture of Jones for information. The character Birch was already linked to Freemasonry, his link was a subtle sleight of hand, and here it plays out in full. The film apparently indicts religious traditionalism, yet at the same time it shows Freemasonry to be the answer, and thus a new cult driven by traditions and rituals, by secrecy and elitism props itself in the place of the old one. This is not a real change, rather just a redressing. It’s the illusion of escape.

Perhaps an unintentionally revealing aspect of the last scene is that Det. Loki saves Dover at night. There is only artificial light shining, no Sun. Thus, the boundless maze is the film itself. Like in the cover image, there is only darkness and the turns keep appearing to keep society locked in the same patterns that have been slyly redressed.

The Aryanist Point of View
The film’s sleight of hand was the hiding of any possible third choice from the audience, that is the essence of any false dichotomy, which goes back to the Jewish herder archetype. The herder says to his cattle, “stay inside and be safe, go outside and be in danger.” Staying inside means slavery, going outside may very well mean danger, however, it does not take that much thought to imagine alternatives provided that we are willing to do so. For one, if slaves revolt in unity they can almost always overpower a slave master and his clique. That example is a bit dramatic compared to the choice we have here, which is to just imagine and alternative to the film’s solution: “Enlightened Judeo-Freemasonry saves outdated Judeo-Christianity.” Thinking laterally, if “Judeo-Christianity” is the problem, how much of a solution can “Judeo-Freemasonry” really be? Not much of a solution at all. It’s just a redressing of the problem.

Now let’s take the film’s problem, a kidnapping in a small town, and see how it would hold up in an Aryan society. Specifically, let’s just take the Aryan ideas of society and put them into a context of a small town, such as the one seen in the film.

Would a deranged kidnapper be able to nab two children in a society where citizens don’t live in isolated, fenced off capsules and barely know their neighbors? Or better, how could one possibly foster such anti-social views in an all-inclusive Folk Society?

Would a deranged kidnapper be loose for long in a society in which all citizens have had state-mandated military training, weapon skills and ownership, and take turns going on neighborhood watch duty in groups?

To put these few suggestions into practice, it does not take the complete Aryanization of society, just an organizational step at the local level. In a country like the United States, where gun ownership is high, if people got together on a neighborhood and town level for this effort, with perhaps some coordination from the county level, neighborhoods would be safe. Professional police could then actually concern themselves with actual police work (e.g. investigations, compiling reports, etc…), instead of monitoring citizens and filling arrest quotas. Obviously, this sort of organization only makes sense if everyone agrees to work within it honestly. And that takes a Folk mentality.

In the film, the woman behind the kidnapping specifically mentioned ruining other families as her main motive. Thinking laterally, we can see that kind of situation could be avoided by reevaluating our concept of the family unit itself. The traditional family – the current Western form of which only really began in the 1950s and is not holding steady as not many people marry as quickly as before – is the smallest unit of division in current society and it is promoted as the most desirable state of being, especially by tribalist religions. Thus, to combat tribalism and the notion of the bloodline, which leads to in-group favoritism and Mafia-style social and institutional structures, we can replace it the notion of the Folk, where the health of society as a whole is considered. With Folkism, society will be arranged to allow members to use their skills and talents to work for the betterment of the whole without distractions and extraneous commitments deemed sacred by Tanakh/Confucian/tribalist traditionalism. This way each individual will be able to stand out through their own achievements. This is not a utopian promise to end all crime or even all the motivation for it, however it is a promise to better the cooperation between honest and productive citizens, which will reduce crime. This is a key step to eliminating the idea that others are our property, whom we can tell what to do solely based on age and social status, such as the children of today.

This is a key step to creating a Folk structure where all members are seen a fellow teammates and learn cooperation from the start of their lives not obedience as is taught today. This was the idea behind the Hitler Youth program in National Socialist Germany.

“It is for this reason that I have formed the supplementary organization of the Hitler Youth and endowed it with the bold motto – Youth must be led by Youth.” ~Adolf Hitler, Table Talk

Judaism and it extensions impose the idea of Original Sin – all a born with a defect only Yhwh can forgive if you’re obedient enough.

Aryanism appeals to the idea of Original Nobility – all are born pure and this state should be lived in and explored as much as possible without interference of those already scarred by material reality, namely adults.

The key idea was to allow for the cultivating of a branch social structure within which adults do not interfere with children’s lives and activities. The organization of the Hitler Youth was the first step while the goal was a radical reforming of the entire social fabric, in other words, a society in which older children directly oversee care of younger children. Interestingly, this already occurs in certain orphanages in the developing world. The generational chain still there, albeit totally transformed and freed from Tanakh/Confucian notions of “respecting the elders.” The new arrangement is a genuine compassion-based arena of personal relationships.

In order to see how we can see something so radically different, we can consult one of Plato’s classic ideas: The Allegory of the Cave.

Plato’s classic metaphor is applicable to understanding a new worldview. To see a new worldview, it takes a more than intuition. We must also have the courage to reevaluate ourselves within the context of the world.

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