Monday, January 5, 2009

How kikes viewed the "holocaust" a mere 15 years after the war

Nothing says mourning, reverence and remembrance like jew Nazi porn

The holoco$t as fodder for pulp magazines similar to "The Shadow" and sexploitation "detective" magazines. Is dat da vey? Really?

JERUSALEM — It was one of Israel’s dirty little secrets. In the early 1960s, as Israelis were being exposed for the first time to the shocking testimonies of Holocaust survivors at the trial of Adolf Eichmann, a series of pornographic pocket books called Stalags, based on Nazi themes, became best sellers throughout the land.

Read under the table by a generation of pubescent Israelis, often the children of survivors, the Stalags were named for the World War II prisoner-of-war camps in which they were set. The books told perverse tales of captured American or British pilots being abused by sadistic female SS officers outfitted with whips and boots. The plot usually ended with the male protagonists taking revenge, by raping and killing their tormentors(a common fantasy of inadequate kikes who despise White people in general and White women in particular).

After decades in dusty back rooms and closets, the Stalags, a peculiar Hebrew concoction of Nazism, sex and violence, are re-emerging in the public eye. And with them comes a rekindled debate on the cultural representation here of Nazism and the Holocaust, and whether they have been unduly mixed in with a kind of sexual perversion and voyeurism that has permeated even the school curriculum.
“I realized that the first Holocaust pictures I saw, as one who grew up here, were of naked women,” said Ari Libsker, whose documentary film “Stalags: Holocaust and Pornography in Israel” had its premiere at the Jerusalem Film Festival in July and is to be broadcast in October and shown in movie theaters. “We were in elementary school,” he noted. “I remember how embarrassed we were.” (Wait, you mean these tawdry rags were the first holohoax images ever seen? Maybe because no such pictures existed until jews realised there was a cottage industry to cash in on and work the goy guilt?)

Hanna Yablonka, a professor of history at Ben-Gurion University of the Negev, says the film highlights what she calls the “yellow aspects of nurturing the memory of the Holocaust.”
“Are we taking it into the realm of semipornography?” she asked. “The answer is, we are.”

The Stalags were practically the only pornography available in the Israeli society of the early 1960s, which was almost puritanical.(Notice how the jews insulate themselves from the porn and filth they poison others with?) They faded out almost as suddenly as they had appeared. Two years after the first edition was snatched up from kiosks around the central bus station in Tel Aviv, an Israeli court found the publishers guilty of disseminating pornography. The most famous Stalag, “I Was Colonel Schultz’s Private Bitch,” was deemed to have crossed all the lines of acceptability, prompting the police to try to hunt every copy down. (Not because it’s offensive to jewish sensibilities. But because such light hearted treatment of the sacred holohoax would cast doubt on an already improbable tale.)

The Stalags went out of print and underground, circulating in specialty secondhand bookstores and among furtive groups of collectors. (Ya. Special deal just for you. Three issues only 100 shekels a piece. Ya. Dats da vay!!!)

Mr. Libsker’s 60-minute documentary puts the Stalags under a spotlight for the first time and exposes some uncomfortable truths. One is that the Stalags were a distinctly Israeli genre, created by Israeli publishers and penned by Israeli authors, although they had masqueraded as translations from English and were written in the first person as if they were genuine memoirs. (In this, they are no different from so called “survivor” eye witness accounts taken as fact, such as Elie Weisel’s “Night”, a novel that is presented as absolute historical truth.)

Until the Eichmann trial began in 1961, the voices of the Holocaust had hardly been heard in Israel(because it never happened?). The survivors sensed the ambivalence of the old-timers who blamed them for not having emigrated in time, and questioned what immoral deeds they might have done in order to stay alive.
The jewish Moloch of kike mythology reduced here to a mere comic book villain. Is this any way to treat a "sacred" and "serious" subject like the holohoax? Casts the whole thing in doubt, doesn't it?
In the movie, the publisher of the first Stalag, Ezra Narkis, acknowledges that it was the trial, in all its sensational and often gory detail, that gave momentum to the genre.
More provocatively, the movie contends that Stalag pornography was but a popular extension of the writings of K. Tzetnik, the first author to tell the story of Auschwitz in Hebrew and a hero of the mainstream Holocaust literary canon. K. Tzetnik “opened the door,” and “the Stalag writers learned a lot from him,” Mr. Narkis said.
(Like how to work a racket peddling this improbable tripe?)

K. Tzetnik was a pseudonym for Yehiel Feiner De-Nur. The alias, short for the German for concentration camper, was meant to represent all survivors, a kind of Holocaust everyman. One of K. Tzetnik’s biggest literary successes, “Doll’s House,” published in 1953, told the story of a character purporting to be the author’s sister, serving the SS as a sex slave in Block 24, the notorious Pleasure Block in Auschwitz.

Though a Holocaust classic, many scholars now describe it as pornographic and likely made up. (Much like the entire farcical holohoax)
"It was fiction," said Na'ama Shik, a researcher at Yad Vashem, The Holocaust Martyrs' and Heroes' Remembrance Authority. "There were no Jewish whores in Auschwitz."

Yet “Doll’s House” and other writings of K. Tzetnik, who died in 2001, are treated as historical fact by many in Israel, and are included in the high school curriculum. Mr. Libsker’s movie shows the vice principal of an Israeli school guiding a group of teenagers through Auschwitz, pointing out Block 24 and quoting from K. Tzetnik.

This approach to Holocaust education is being eschewed by an increasing number of Israeli academics. “The Holocaust was bad enough, without making things up,”(Like the debunked “human soap” hoax? The shrunken heads that were obviously Pacific Islanders and not jews? The jewish “survivors” who survived multiple gassings and miraculously lived through dozens of transfers from “death camp” to “death camp?”)Dr. Yablonka said.
Sidra Ezrahi, a professor of comparative Jewish literature at the Hebrew University of Jerusalem, said, “His books were so graphic and so barbaric.” Maybe at first they had an important impact, she said. “But over time,” she added, “if this is what they have chosen to leave in the Israeli curriculum, it’s a scandal.” (No, Sid baby, the scandal is that this garbage is taken seriously at all.)

For many Israelis, the most dramatic part of the Eichmann trial was the testimony of K. Tzetnik. His true identity was revealed for the first time on the witness stand, where he passed out. Simultaneously, the Stalags were reaching the peak of their commercial success.

Yechiel Szeintuch, a professor of Yiddish literature at the Hebrew University, rejects any link between the smutty Stalags and the writings of K. Tzetnik as “an original sin.” He insists K. Tzetnik’s work was based on reality.

But Mr. Libsker, 35, himself the grandson of Holocaust survivors, contends that it is the same mixture of “horror, sadism and pornography”(the only things jews actually "produce") that serves to perpetuate the memory of the Holocaust in the Israeli consciousness to this day.
The hollowco$t is the product of perverse jewish imagination, which only became part of the collective consciousness and American culture in the 1970's with sensationalistic swill like the tv miniseries "Holocaust" and has now exploded into a cottage industry that ensures that these sad tales of suffer-ink can and will be capitalized on again and again. The major foundation of ZOG's power throughout the world is the holohoax, and its' exploitation of gullable goy guilt. By exposing it for the farce that it is and ridiculing these absurd "survivor" stories as ludicrous on their face we can chip away at the jews greatest weakness. The truth doesn't need laws to prop it up. It will stand on it's own. That's precisely what the jew fears most.

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