Against Hollywoodism, Revisionism
The
term Hollywoodism refers to the transformation, often mendacious, of
reality by the spirit and practices of a whole sphere of American
cinema. At first, I shall discuss the evil in general done by
Hollywoodism. Secondly, I shall describe the wrongs of Hollywoodism in
the shaping of the imposture of “the Holocaust”, that is in building the
myth of genocide, gas chambers and six million Jews killed by the
Germans during the Second World War. Finally, in a third and last part I
shall speak of Revisionism as the antidote par excellence to
Hollywoodism and its incessant, aggressive publicity for the religion of
“the Holocaust”.
1. Hollywoodism and the evil that it does
According to the American Heritage Dictionary,
“Hollywood” may signify “the US film industry” but also “a flashy,
vulgar atmosphere or tone, held to be associated with the US film
industry”. Used as an adjective the word stands for “the US film
industry”, as in “a Hollywood movie, a Hollywood producer,” or means
“flashy and vulgar”, as in the dictionary’s illustrative sentence
“Flashy and vulgar, their clothes were pure Hollywood.”
A
well-known facet of the ideology propagated by this film industry is
the basic division of the world between the Good and the Bad. The Good
are the United States and the Bad are those whom the United States
decrees as such. The Good are fundamentally Good and the Bad are
fundamentally Bad. The United States is always in the right and always
wins, whilst the “Bad Guys” are always in the wrong and always
lose. Thus there cannot, there must not be any pity for the vanquished:
their defeat proves that they were indeed criminals. The winners will
themselves assume the right to try the vanquished in court or to have
them put on trial by others.
Everyone
can bring to mind what are known as “the Nazi atrocities”, especially
the images of walking corpses or corpses proper. For the past 67 years
Hollywood has presented them as evidence that the Germans had death
factories wherein the SS spent their time killing, especially Jews. In
reality, those corpses were proof that because of the systematic
destruction of German cities by the Allies, Germany in 1945 was in its
death throes: the inhabitants who had survived the deluge of steel and
fire were living in rubble or in holes in the ground, exposed to cold
and hunger; often there was hardly any food or medicine; the hospitals
and schools were destroyed; practically no trains and convoys were
running any longer; the refugees from the East terrified by the invading
Red Army’s murder and rape numbered in the millions. In 1948 the
Italian director Roberto Rossellini faithfully described this situation
in Germania, Anno Zero. Therefore one must not be
surprised at the fact that in 1945, in the labour camps or concentration
camps, famine and disease (typhus, typhoid fever, dysentery) reigned,
whilst medicines and disinfectants such as Zyklon B were sorely
lacking.
Hollywood,
along with British cinema and Soviet propaganda, had a terrible and
direct responsibility both in the lies attending what was called the
discovery of the German concentration camps (1945) and in the ignoble
“lynching party” (the phrase is that of Harlan Fiske Stone, Chief
Justice of the US Supreme Court at the time) that was the Nuremberg
trial (1945-1946), where the winners of the war, in coalition, made
themselves judges and jury to try the defeated. It is altogether true
that in 1945 even a privileged concentration camp like that of
Bergen-Belsen offered a nightmarish vision. But the horrors discovered
there were not created by the Germans. They were due to the war and, in
particular, an air war conducted mercilessly, to the end, by the Allies
against… civilians. It took a fine cynicism to show those horrors and
point an accusing finger at the defeated when the ones mainly
responsible were the US Air Force and the Royal Air Force. In April
1945, no longer able to manage, the commandant of Bergen-Belsen, SS
captain Josef Kramer, sent some men to meet the advancing troops of
British Marshal Montgomery and warn them that they were approaching a
terrible den of infection, and that they should not immediately release
the prisoners lest they contaminate the civilian population and the
British soldiers. The British agreed to work with the Wehrmacht. Once on
the site, they kept the detainees there and tried to treat them but
mortality remained appalling high for a long time. The British wanted to
know how many inmates were buried in the mass graves. They extracted
the corpses and counted them; then, using a bulldozer, a British officer
pushed the bodies towards six large ditches where the soldiers forced
female SS guards to cast them in with their bare hands. But this reality
was very soon transformed by the film propaganda services, which had
people believe that the bodies were those of people killed in an alleged
extermination programme. A photograph taken from a plane and showing
the bulldozer from afar made it possible to convey the impression that
the vehicle was driven by a German soldier performing his daily work as
an employee of a death factory. In one case, a photo taken from up close
showed the bottom of the machine pushing corpses but “beheaded” the
driver so that, with him not appearing as a Briton, it was reckoned he
was a German. The Americans went on to make more and more falsifications
of this kind. The American general Eisenhower, supreme Allied
commander, was the impresario of this intensified Hollywoodism. The famous Hollywood film director George C. Stevens was brought to Germany in the uniform of lieutenant-colonel. His
team shot 80,000 feet of film from which 6,000 feet (or 7.5% of the
total) were selected for General William Donovan, special assistant to
the US chief of counsel at Nuremberg. It was those parts carefully
selected by the American prosecution which, on November 29, 1945,
practically at the lifting of the curtain of the loathsome “Nuremberg
Trial”, were projected to a stupefied world; some of the German
defendants, most disturbed at what they saw, deduced that Hitler had
carried out a gigantic crime behind their backs. In this sense it can be
said that the “Nuremberg Trial” marked the triumph of Hollywoodism.
2. Hollywoodism’s part in creating the myth of “the Holocaust”
“The
Holocaust” of the Jews then became a sort of religion whose three main
components are the extermination, the gas chambers and the six million
martyrs. According to an article of faith of this religion Hitler
ordered and planned the methodical slaughter of all European Jews; in so
doing he committed a crime without precedent, a specific crime, later
called genocide. Then, in order to commit this specific crime, he had a specific weapon developed, a weapon of mass destruction, the gas chamber,
operating especially with a powerful insecticide, Zyklon B, whose
active ingredient was hydrogen cyanide. Finally, the result of this
enormous crime was the death of six million European Jews. The
Auschwitz-Birkenau camp was the focal point, the apogee, the Golgotha of
that horror. After the war a whole propaganda developed around this
holy trinity of “the Holocaust”, a whole industry of “the Holocaust”, a
whole business: the “Shoah Business”. In the United States the film
industry has fed on this belief and spread it throughout the Western
world. It is especially since 1978 that such propaganda has been
developed, particularly with the four episodes of the U.S. miniseries Holocaust recounting
the saga of the Weiss family. It is no exaggeration to say that the
showing of that series became, as of 1979, practically mandatory in an
entire portion of the world. It triggered a torrent of films including,
by Steven Spielberg, Schindler's List, by Roberto Benigni, Life is Beautiful, by Roman Polanski, The Pianist. In France, in 1985, Claude Lanzmann honoured us with a documendaciary running for over nine hours: Shoah. The
number of Emmy Awards, Oscars and other prizes given to films like
these is staggering. A mogul of the Entertainment Industry, Andrew
Wallenstein, once stated in The Hollywood Reporter: “Let’s
just say it: the real reason we see so many of these movies is that
they’re awards bait.” It is such observations that have given rise to
the saying “There's No Business Like Shoah Business,” inspired by the
refrain of the song, sung by Liza Minnelli amongst others, “There’s No
Business Like Show Business.”
3. Revisionism is an antidote to the poison of Hollywoodism
Revisionism is not an ideology but a remedy for the temptation of ideology. It is a method. Whether in matters of literature, science, history, the media or any human activity whatsoever, it prescribes that the reality of a fact be established prior to any considerations on that fact. One
must again see, hear, read what is believed to have been seen, heard or
read. One must be wary of first impressions, of emotions, rumours, and
must not rely on anything or anyone until one’s own thorough
investigation has been conducted, all the more if one is studying a war
rumour for – let us not forget –, in wartime the first casualty is the
truth.
In
the little time I have left here I cannot, unfortunately, describe how
and at what price in fifty years of research I, along with a good number
of other revisionists, have come to the conclusion that “the Holocaust”
is decidedly but a gigantic imposture, as I was able to convince myself
after a few years. Already on December 17, 1980 I had summarised this
conclusion in a sentence of sixty French words of which I do not see a
single one that needs removing today. Here is the English translation: “The
alleged Hitlerite gas chambers and the alleged genocide of the Jews
form one and the same historical lie, which has permitted a gigantic
political and financial swindle whose main beneficiaries are the State
of Israel and international Zionism and whose main victims are the
German people – but not their leaders – and the Palestinian people in
their entirety.”
To
get an idea of the spectacular victories won against that imposture
thanks to the revisionists’ work, one may refer to two studies appearing
in my blog: “The Victories of Revisionism” (conference paper for Tehran, December 11, 2006) and “The Victories of Revisionism (continued)”
(September 11, 2011). It is no exaggeration to say that currently, in
France and elsewhere, the authors who used to defend the “Holocaust”
thesis are in complete disarray. The trouble is that censorship and
repression still prevent the general public from becoming aware of this
good news, but with the Internet, times are changing, and quickly.
Conclusion
The
general belief on the part of the Western world in “the Holocaust” has
long been the sword and shield of Zionism. But today Revisionism is
putting this belief in peril. This conference on Hollywoodism will mark,
I think, one more step in our common struggle, a struggle for the
rights of all – especially the Palestinians –, a struggle for the whole
world to free itself from a tyranny based on the Greatest Lie of modern
times.
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