Oy Veh for Hymiewood!

by Gregory J. Krupey

June 28, 2002

The popularity of movie reviews on VNN indicates that this medium, corrupted as it is, still holds a fascination for aware White viewers. Indeed, movies have never been technically better while relaying a relentless barrage of anti-White defamation. Hi-tech, state-of-the-art containers wrapped in pretty designer colors, and chock full of poison. You don't have to be a movie critic to know which way the ill wind blows.

There is no point to belaboring the obvious for VNN readers: Hollywood is run by Jews, and the Jews have turned it into yet another offensive weapon in their arsenal to demonize and marginalize us. Sure, there are gentiles involved, some of whom may be hip to the deal, but overall, Hollywood, by which I mean the entire film industry including independents and television, is a 100% Semitically Correct culture. There is no industry which is under tighter Jewish financial control and which displays a more blatantly Jewish sensibility than the movie industry. Not Hollywood, but Hymiewood.

Let's get one thing straight: nothing good is ever going to come out of Hollywood. We are not going to see a true picture of our culture, our lives, our souls emerging from Hymie's nightmare laboratories. The stark fact is that no racially-aware White person, especially White men, should give one penny to this system. Every movie contains, no matter how small a dollop, some poison pill of anti-White propaganda that has been carefully crafted and engineered to further our downfall.

Yet we continue to patronize Hymiewood as it patronizingly consigns us to the dustbin of history, charging us, with typical chutzpah, for the privilege. Meanwhile, like ancient oracles divining prophecies in the entrails of dead chickens, or paranoids probing whiskey ads for subliminal messages, we persist in seeing hints or portents of a nascent White nationalism in movies like "They Live!" or "The Lord of the Rings." They may be there, or they may exist only in our hopeful imaginations. It doesn't actually matter, because even if they are there, they aren't enough. Nudge, nudge, wink, wink, say no more, say no more...it doesn't get the job done, or get the message across. That message needs to be shouted out loud and clear, in the full blaze of the golden sun, or at least what passes for it on the silver screen.

We need to withdraw from the Hollywood system to star in our own epic called "Escape from Hymiewood." We need to stop giving it our attention, our time, our money, and our permission to write our script for us. We have to stop consuming its products and rewarding those who purvey them (actors, screenwriters, directors, etc.), whether Jew or shabbas goy. We have to ignore everything Hymiewood dishes out, not just the Holocaust weep-a-thons and the Spike Lee rants, but even the "Disney" (that is Eisner) cartoons and the Mel Gibson Politically Incorrect but Semitically Correct historical dramas. Movies are only going to become more arrogantly repellent as their agenda becomes even more blatant. Although we are the target audience, Hymiewood does not preview movies for White focus groups to see if we think a movie is too defamatory, because it doesn't care what we think. That's not the kind of target they see us as. We have to tell Hymie that We Aren't Listening Anymore, and we have to tell Hymiewood that We Aren't Watching Anymore, or Paying Anymore, either.

So where does this leave us? A White Nationalist boycott of Hymiewood's wares is all well and good in itself, but our enemy is not going to close up shop due to lack of revenues when we stop buying tickets at the Cineplex or stop renting videos at Blockbuster. More than enough lemmings will unfortunately continue to keep Hymiewood afloat, they will also continue to be saturated with increasingly vicious and unanswerable slurs on their racial identity, and even though a few of them will flinch themselves out of their theater chairs and potato couches to join the boycott, they will not be enough.

If we abandon the movie theaters as an audience, but fail to present an alternative, to return fire in this cultural war, we will paradoxically pay for our Pyrrhic victory by essentially surrendering to those who want to have the last word on us, like the one said over our graves.

There is only one way to prevent this scenario from coming to its seemingly ordained completion, only one way to fight back...we must once again write our own script, we must build a White film industry, and a White film culture from the ground up.

It is a Herculean task, one fraught with innumerable pitfalls and perils, but that should not deter us. Like Hercules and the other legendary heroes of our race, the impossible should only spur us on to greater resolve and effort. After all, we put a man on the moon and civilized nearly the entire globe, what is so difficult about developing a truly counter-cultural film industry to rival and supplant that parasitical one that currently plagues us? There is nothing inherently Jewish about the cinema. Acting was first developed as a sacred art form by the ancient Greeks, at a time when the Jews weren't allowed to carve statutes of the human form or even utter the full name of their G*d. The development of the theatre into a secular art form became a pillar of European culture. The cinema itself was a White creation; our inventors developed the technology, and our pioneering directors and screenwriters developed the techniques, the "language" of film that is now revered and taught in film schools.

Why not take it back? All it would take to get things started would be a dozen or so people with one or two Canon XL1 video cameras, film-editing software, some rented lighting equipment, at least one secure shooting location, some borrowed props, a handful of hungry and committed actors, and a decent script. A good working script does not have to feature an "original" plot (Hymiewood's remake mania indicates that it no longer knows any, either). The myths and legend of our ancestors, our history, and most of the classic literature of our civilization are in the public domain. One way to get around budget limitations is to take an historical drama and place it in a contemporary setting. If the Jew Bernstein could "borrow" Romeo and Juliet to create West Side Story, what could you do with, say, The Merchant of Venice or Oliver Twist?

To further save money, the project should be entirely voluntary, done on the side after work or school hours, and participants should be motivated entirely by commitment to the cause, the furtherance of their craft, and the adventure of the project. Recompense will come in pride in the finished project and its significance, and in the thrill engendered by being a pioneer, a true "cutting-edge" trend-setter and trail-blazer.

Any profits that accrue should be recycled back into the production company (it should be legally incorporated) for the next, even better production to follow. But don't expect any, as it is more likely that this film will lose money like a leaky sieve. This will be hard to take, and may tempt many to give up, but it should not deter anyone who is truly ambitious and possessed of a Actual Vision. No one should think of earning a profit, or even of pulling a salary at this point (unless the miraculous happens, and an instant smash hit somehow gets produced, as with "The Blair Witch Project.") A profitable, self-sustaining film company is the short-range goal, a profitable, alternative White film industry the long-range goal; the money will come, and some people will get rich, or at least comfortable. But at this point, wealth is not the goal, and anyone who doesn't understand this should be excluded, although the truly avid-for-dollars types will probably be winnowed out by this point anyway.

(It is also possible that, as it grows and demonstrates itself a force to be reckoned with, the alternative White film industry will attract defectors from Hymiewood. While I believe that too many White actors, directors and scriptwriters have compromised themselves too severely to be allowed to enter our ranks, I believe that many technicians and others whose names fly past in small point on the credits may jump at the chance to abandon the Jew system and get back at it. Of course, spies and saboteurs must always be taken into account.)

One alternative strategy that may result in a profitable first film is to have a wealthy backer finance it. I constantly hear White activists complain that they cannot get some millionaire sympathizer to open up the money bags and deliver. While we can probably throw enough well-aimed invective at miserly Whites who won't underwrite the movement, it has occurred to me that one possible reason for this is that these shadowy would-be benefactors are rarely if ever presented with a project that will provide them with a possible return on their investment. Mostly they are asked to subsidize some museum, or the printing and dissemination of another round of it's-all-been-said-before book, pamphlet, or leaflet. Often they're asked, with little or no guarantee of success, and even possible risk of legal repercussions, to fund some group or organization that either plans risky, illegal actions or simply has no idea of how to recruit people and achieve its goal. And there is always the risk that some con artist will simply abscond with the money and disappear to work the same racket elsewhere.

It simply does no good to denounce these wealthy individuals for refusing to go out on the limb when they could lose everything by doing so. People who are rich, especially those who are "self-made" rich, possess a certain mentality that those who most loudly castigate them refuse to understand. Those who insistently demand that the rich fork it over for the cause are usually those who don't have any money, but expect someone else to get it for them, no strings attached. You don't have to have a degree in psychology to see the problem here. You also don't have to be a genius to realize that the White nationalist movement in this country has been a perennial loser. If that weren't the case, we wouldn't be in the hideous position we are now in, and I wouldn't have to write this.

It seems to me that no one has ever offered these rich folks the opportunity to both serve the cause and make a return on their investment at the same time. This is probably because, to reiterate, no project they have been offered could hope to provide a return. But maybe a movie could provide that possible return, and if it flops, they could always write it off for taxes. The downside to bringing a money man (technically, the producer) on board is loss of control of the project, so it is essential that any dealings with potential financial backers be clearly detailed and signed in writing. I hate to advocate getting lawyers involved, but if the venture is a success, they will be involved soon enough, and in this litigious society (yet another blessing of the Chosen), having one on call will be necessary. The very fact that this is now an Alan Dershowitz society should give any White nationalist filmmaker more than sufficient pause.

I will not delve into the problems involved in the actual production of the film. There are a slew of books that cover this subject from every angle, from scripting to setting up the shoots to dealing with temperamental actors. They can be found in most large bookstores or on the net at amazon.com and other sites. As in most things, experience will prove to be the only reliable teacher.

After the completion of the project, the next hurdle to overcome is, where to display it? Getting a novice film into distribution is hard enough even for the director who hews to the Semitically Correct line; it could well prove impossible to the openly White Nationalist film. Indeed, here is where the subtlety factor of a nascent director or scriptwriter could be the crucial. Should the film's message be as blatant and confrontationary as an Angry Aryans CD, or should it sandwich the message between slices of mere entertainment, in the tested Hymiewood fashion? In either case, there are alternative venues. There are many film festivals held across the country, and even in other countries, and this is the only way some new low-budget films ever get premiered. The film festival circuit is, as might be expected, an overwhelmingly leftoid, Semitically Correct little world, and getting a WN film accepted at any of them could be well-nigh impossible. (As might well be expected, many of the same people are high muckety-mucks at more than one festival.) The other problem is simply that most of these festivals are so oversaturated with entries that many films, no matter what their quality or point of view, will probably never have the chance to be screened. However, the WN filmmaker who enjoys a challenge (or yet another challenge, I should say) might find smashing his way into the enemy camp for a little guerilla theatre to be rather invigorating, rather like showing up in a synagogue to protest the ADL. Fortune favors the brave.

An increasingly popular alternative to the politicized festivals is premiering a film online at one of the several websites that feature low-budget, "off-Hymiewood" fare. Some of these include:

http://www.alwaysindependentfilms.com

http://www.atomfilms.com

http://www.bijoucafe.com

http://www.heavy.com

http://www.ifilm.com

http://www.pitchtv.com

Take some time and visit these sites and notice the overall quality of these short films (including, if not especially the animated shorts; there is nothing that says a WN film has to be live action), some of which run only fifteen to twenty minutes. These short, short films may be just the place for the aspiring White nationalist filmmaker to perfect his art. If you can't get your message out in fifteen minutes, you shouldn't be involved with film anyway. Granted, more than fifteen minutes of film needs to be shot, but film editing is the most crucial step in post-production to be learned, anyway. If these venues also prove hostile to or afraid of WN films ( I recall hearing something about censorship at "not-so-independent-films.com), there can't be too much trouble involved in setting up a website to showcase exclusively WN films, can there? Again, study how it's done and do it yourself.

Finally, there is the option of avoiding the mainstream and fake alternative distribution routes all together by shooting direct-to-video/DVD features that can be sold either through sympathetic websites (like, say, VNN) or sold directly on a website set up for only that purpose.

So the possibilities are there, and if not endless, they are at least manifold. And there are precedents to study and emulate. The aforementioned "Blair Witch Project" was filmed on an extremely low budget by Hymiewood standards. It was the realization of the minimalist theory that less is more. Eschewing all the superfluous cinematic bric-a-brac that most of us have been conditioned by Hymiewood to believe is necessary to a successful film, they did contrive a very clever pre-publicity campaign, based on a convenient local legend, to hype the movie and build anticipation for it long before its release. Although it is not likely that anyone will score by repeating that particular strategy in the near future, it is essential to study this film and the history of its production to understand how to do an end run around the system and beat it at its own game. Of course, the producers of "Blair Witch" used that leverage to enter Hymiewood's sacred portals. Our mission is to nail those portals shut forever.

Finally, for those still skeptical or overwhelmed by the sheer immensity of the project, there is the example of the White Power music industry. Shut out of mainstream radio and TV play lists, and mentioned only negatively when at all in the mainstream/alternative music press, denied space in the big concert circuits and often prevented from playing live in the smallest clubs, WP music has only thrived under this suppression and censorship. If the ADL is to be believed, Resistance Records pulls in around a million dollars a year in sales. Other WP labels like Panzerfaust, Nordland, and Midgaard can't be too far behind. This is an alternative media and counter-culture that most people don't even know exists. I think it safe to say that it now generates an influence greater than the number of those who perform and distribute the music. (Partially due to VH1 and it's "Hate Rock" expose, ironically. Here is where the old Hymiewood adage that "the only bad publicity is no publicity" has benefited the WN cause. Understand its utility and use it.) Many people, however, do not like rock music no matter what its message, and those who find Oi! hard to take will absolutely despise hatecore or NS black metal. And while there is a growing WN folk movement, it will remain a specialized audience that appreciates it.

As much as music sells, movies sell better. People who automatically reject music they don't like never hear the message. Most people, on the other hand, can be easily lured into watching a movie as long as it is done well, and even if its content is entirely vapid. Just consider the television sitcom as evidence. Visual images succeed in imprinting ideas in people's minds where sounds fail when the listener rejects the music as noise. And while music is marketed to specific listeners according to its genre, and age, gender, or educational level, movies are generally aimed at the general audience, as befits mass propaganda.

In the final analysis, some will maintain that faced with the enormity of our situation, diddling around making movies is a waste of time, energy and scarce finances. They may be right, but the revolution has been just around the corner for a few decades now, and we are losing the propaganda war daily on several fronts. Movies are the most influential of all mass media, and we don't even have a toehold in them; and as long as Hollywood is really Hymiewood, we never will. The time has come for us to seize the camera and rewrite our own script, by ourselves, for ourselves.

Oy vey for Hymiewood! Some legacies must end.

****************

"Whatever you can do, or dream you can, begin it.
Boldness has genius, power, and magic in it."

-Goethe

GREGORY J. KRUPEY

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