Lis­ten:
MP3 One Seg­ment

This broad­cast exam­ines Ger­man cor­po­rate influ­ence in tele­vi­sion and film, and his­tor­i­cal revi­sion­ism appar­ent­ly result­ing from that con­trol.

1. The broad­cast begins with dis­cus­sion of the Ber­tels­mann fir­m’s pur­chase of a stake in the Span­ish tele­vi­sion com­pa­ny Anten­na 3. (Finan­cial Times, 5/24/2000, p. 18.) Hav­ing worked a major deal with Anten­na 3’s own­er (Span­ish telecom­mu­ni­ca­tions giant Tele­fon­i­ca) to get pre­ferred con­tent on the Lycos web por­tal, Ber­tels­mann views the 12% stake in the TV firm as an impor­tant foothold in the Span­ish-lan­guage tele­vi­sion mar­ket. (Ger­man geo-politi­cians, includ­ing those who influ­enced Hitler, have long viewed Latin Amer­i­ca as the key to con­trol­ling all of the Amer­i­c­as, includ­ing the Unit­ed States.)

2. The broad­cast then reviews the pro-Nazi revi­sion­ist views of Dirk Baven­damm, the house his­to­ri­an for the Ber­tels­mann firm. (The Nation, 11/08/99.) In books pub­lished in 1983, 1993 and 1998, Baven­damm blamed World War II on Franklin Delano Roo­sevelt, “U.S. impe­ri­al­ism,” and the “Jew­ish-con­trolled” U.S. media, which, he said, gave a dis­tort­ed view of Hitler. Baven­damm also said that Hitler’s pol­i­cy toward the Jews was made nec­es­sary by FDR’s war-like poli­cies toward Ger­many.

3. Next, the pro­gram high­lights the con­sid­er­able Ger­man cor­po­rate for­ay into Hol­ly­wood. (Finan­cial Times, 5/13–14/2000, p. 7.) Increas­ing­ly involved in the financ­ing of Amer­i­can movies, Ger­man firms are the grow­ing pow­er on the finan­cial hori­zon of cin­e­ma. Par­tic­u­lar empha­sis is on the con­trol of film for inter­net con­tent. (The role of cor­po­rate Ger­many in the inter­net, par­tic­u­lar­ly inter­net con­tent, will be dis­cussed in in an upcom­ing seg­ment of this series.) When con­sid­er­ing Ger­man cor­po­ra­tions, it is impor­tant to remem­ber that they are con­trolled by the remark­able and dead­ly Bor­mann Orga­ni­za­tion, the eco­nom­ic and polit­i­cal arm of a Third Reich gone under­ground. This insti­tu­tion has per­pet­u­at­ed its pow­er in an effec­tive, clan­des­tine, and dead­ly, Mafia-like fash­ion in the years since World War II. Amer­i­can cor­po­ra­tions are dri­ven by the prof­it motive, and coor­di­nate poli­cies on labor, envi­ron­men­tal, mar­ket­ing and tax­a­tion issues–they are oth­er­wise apo­lit­i­cal. In con­trast, Ger­man cor­po­ra­tions (under con­trol of the Bor­mann group) func­tion as coor­di­nat­ed ele­ments of inter­na­tion­al polit­i­cal con­trol, not unlike the divi­sions in an army.

4. Much of the broad­cast focus­es on the anti-British his­tor­i­cal revi­sion­ism and pro­to-fas­cism in the movie The Patri­ot (star­ring Mel Gib­son.) (Salon, 7/03/2000.) Not­ing that this Rev­o­lu­tion­ary War epic fab­ri­cates atroc­i­ties by the British (includ­ing an inci­dent which is an iden­ti­cal re-cast­ing of a World War II mas­sacre in the French city of Oradour by the Waf­fen SS), por­trays slav­ery as a benev­o­lent insti­tu­tion, and con­tains Nazi-style, racial type-cast­ing, New York Post film crit­ic Jonathon Fore­man calls the film “the most fas­cist” movie he has seen recent­ly.

5. Fore­man is par­tic­u­lar­ly trou­bled that this re-con­struc­tion of the Rev­o­lu­tion­ary War British forces as the Waf­fen SS of their time may have the effect of “nor­mal­iz­ing” the behav­ior of the Nazis in the eyes of the younger gen­er­a­tion. Fore­man also notes that the direc­tor (Roland Emmerich) is Ger­man, and is dis­turbed by the pos­si­bil­i­ty that his nation­al­i­ty may have influ­enced the film’s his­tor­i­cal revi­sion­ism. Mr. Emory won­ders if the film might be a man­i­fes­ta­tion of the sup­pos­ed­ly fic­tion­al plan for Nazi-SS con­trol of the Unit­ed States that is described in the Nazi tract Ser­pen­t’s Walk (Nation­al Van­guard Books, soft­cov­er, copy­right 1991, ISBN # 0–937944-05‑X.)

6. Mr. Emory believes that the book, sup­pos­ed­ly a nov­el, is a blue­print for the strate­gic pol­i­cy Nazi ele­ments are cur­rent­ly pur­su­ing. In this regard, it would resem­ble The Turn­er Diaries, also pub­lished by Nation­al Vanguard–the pub­lish­ing arm of the Nation­al Alliance. This book was the role mod­el for Tim­o­thy McVeigh & Co. in the Okla­homa City Bomb­ing, as well as the Nazi group The Order.)