Hollywood Crime wave
‘German’ Jewish director Fritz Lang’s ‘classic’ thriller M is about a murderous child molester. Released in 1931, the film speaks for itself. Initially we see a city almost paralysed with fear; citizens dutifully protecting children become suspect merely for speaking to a lone child. In modern society this is all too familiar. Adults now steer clear of the unattended child for fear of the paedophile brand. In this light has advertisement really protected our children or made them all the more vulnerable.
Here the term ‘advertisement’ is used in the broadest sense of the word for we can ‘advertise’ in many different ways. While the horror in M was only implied, in the years since Lang’s thriller films containing content of shocking and brutal violence have hit our screens. Not only is this violence reserved for the picture house but its scenes are cascaded over billboards and TV screens in an effort to publicise. This brutality and violence also appears in the graphically realistic computer and video gaming media readily on view to children.
While this so called ‘entertainment’ is not supposed to be targeted at children its method of transmission is so invasive that it occupies the very social space. In this respect this repugnant phenomenon is what apathetic White man has allowed Western society’s ‘culture’ to become. Furthermore the explicit displays that haunt Western cinemas and creep onto the TV screens calling itself ‘entertainment’ appear as a sinister reflection of the constantly streaming news media. However, this begs the question ‘what came first the chicken or the egg?’ The insinuation is that reported news incites the fabrications of Hollywood. However, as early as 1931 a movie depicting child molestation when this perversion was not highlighted in the news paints a rather different picture. This type of film has promoted a mode or pattern of behaviour in the West that on the one hand desensitises but also extenuates what violent inclinations exists. Apparently life really does imitate ‘art’ or the Jewish Marxist rendition of art.
Unsurprisingly then other renditions of Marxist Jewish ‘art’ now pervade the West. Black is hailed as the ‘Hero’ in the Hollywood movie convincing the White female of the inadequacy of the White male. There is a significant difference inferred upon the notion of the White male-labelled thus since it saw fit to be adorned with external genitalia, and White Man-the builder of Civilisations that Jewish Marxism wishes to eradicate. Meanwhile the Zionists fill Europe with this. The true cost is ignored by stupid White Liberals who swallow the false guilt spoon fed by the Zionist media. Consequently these are the female White trash that mixes with the immigrant coloniser that bastardise and ultimately destroy the White race.
The overt miscegenation through immigration is cunningly augmented by Whites own altruism. Zionists registered charities bombard the West all year round with the ‘poor’ starving Third World. On a superficial level this turns the White outward against his own racial community and desiring the protection of another over your own is unnatural. This is sustained with the Marxist Zionist illusion that the White West built its Civilisation on the backs of the coloured Third World and thus ‘owes them’ a living. The Black slave trade is a prime example. Mainstream Zionist propaganda promotes the notion that the White European is wholly responsible. In reality of course Blacks sold each other into slavery and in Europe and America Black slavery has a far more Jewish flavour.
Charities or privatised pet projects of various celebrities or politicians step up their begging at Christmas time. Remember the most famous pet project from Band Aid-Feed the World. All those artists coming together to tell the ‘West’ about those ‘poor destitute (Black) Africans. A similar ‘feat’ was attempted in 2000 with Michael Jackson. Incidentally despite the accusations of paedophilia Jackson’s music is still played and he is hailed as some sort of hero. On the other hand the press has hung, draw and quartered Gary Glitter. Quite possibly playing his music would be perceived as a criminal act by the Marxist Zionist elite. Apparently ‘justice’ has a colour bias.
Whenever art or culture is presented in a Zionist Marxist forum it is discussed as a global phenomenon or a ‘human’ endeavour giving the impression of a single human animal without deviation. Yet dig a little deeper and see that the great civilisations to spawn such art and culture are White in origin. Archaeology and the sciences are uncovering genetic remnants of those cultures.
However, these are not the ‘facts’ exposed through Zionist means. These images the Zionist controlled media do NOT want White Europe to see. The White public will find that the breakthroughs made in the sciences will engender a Marxist twist prior to their consumption or merely disappear. So when a gentleman of Caucasoid appearance was discovered in North America there appeared to be something of a cover up! As with Governments in Britain and Europe, it seems North America has too been absorbed by this creeping political correctness. “There is nothing wrong with your television set. Do not attempt to adjust the picture. WE are controlling the transmissions…” Sound Familiar, while this may be the opening of American Si-Fi series The Outer Limits, this sentiment is far truer than you think. There is a subtle difference between the original 1963 intro and the re-make. Originally the public were to go on a ‘great adventure’ now ‘they’ threaten to subvert our minds by “deluding us with a thousand channels or expanding one single image…” Think about that and the parasites that control the Western media.
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