Buchenwald Flyer Sources
Click on a source number or scroll down:
1,
2, 3, 4,
5, 6, 7,
8, 9, 10,
11, 12
1. The Buchenwald Report translated and with an introduction by David Hackett (1997 Westview Press) mentions that Psychological Warfare personnel were the first to enter Buchenwald (pg 5) and that it was a Psyche Warfare team headed by Albert G. Rosenberg who ostensibly documented the camp (pg. 14) Here is an excerpt from pg. 5 of Hackett's book:
The internet video Buchenwald: A Dumb Dumb Portrayal of Evil (2008) makes the assertion that Psyche Warfare planted evidence at Buchenwald.
2. Seeing Things by John Ellis (published by I.B. Taurus in 2000) mentions Billy Wilder forcing German audiences to watch footage of Buchenwald in order to receive bread rations. The movie Buchenwald: A Dumb Dumb Portrayal Of Evil Episode 2 points out that Wilder is actually in the Buchenwald footage, helping to direct. Here is an excerpt from page 30 of Ellis' book where Ellis recounts how he saw the same images that the Germans saw in a denazification newsreel:
See also In the House of the Hangman by Jeffrey K. Olick, page 99 (published by University of Chicago, 2005.) In addition Peter Wyden reminisces about his time in Psyche Warfare during World War II and the role of denazification films on page 54 of The Hitler Virus (Arcade Publishing 2001):
As an aside, Peter Wyden (Jewish, born in Germany) author of The Hitler Virus has a son who is currently an Oregon US Senator.
3. The internet video Buchenwald: A Dumb Dumb Portrayal of Evil, episode 8, makes a comparison between a photo of a one star general seen in the Buchenwald film footage and a photo of one star general Robert McClure, the Chief of Psyche Warfare, whose photo is shown in the book Sykewar by Daniel Lerner, and alleges that it is the same person.
4. Here is a photo of the table from the Truman Library at:
http://www.trumanlibrary.org/photographs/displayimage.php?pointer=4043&people=&listid=6
5. The internet video Buchenwald: A Dumb Dumb Portrayal of Evil episode 8, makes a photo comparison to assert that it is Jackson presenting the table objects to the crowd of Germans on the forced tour. The video then references a number of New York Times articles to show Jackson's connection to Eisenhower. See note 12 for more on Jackson.
6. The lampshade in the footage and the subsequent New York Times reportage of it, is the first source of the lampshade rumour in the USA. The footage made it's way into newsreels shown to American audiences in late April and early May of 1945, and likely was in the footage shown to the House and Senate around the same time (see note 9.) The lampshade itself disappeared after being filmed on April 16, 1945.
7. The two shrunken heads are portrayed as being Buchenwald inmates, but Buchenwald inmates had their hair cut with clippers upon arriving at camp. To read about the arrival process at Buchenwald, written by a former inmate, see Jorge Sempun's Literature or Life (published by Penguin 1988) on page 83:
In addition, the video Buchenwald: A Dumb Dumb Portrayal of Evil, episode 3 shows camp footage of liberated inmates where all of the inmates have their hair cut extremely short.
8. Thomas J. Dodd presented one of the Buchenwald shrunken heads to the Nuremberg Court on 12/13/1945. See:
http://avalon.law.yale.edu/imt/12-13-45.asp
9. Jeffrey Shandler in While America Watches (published by Oxford University Press US, 2000, page 10) tells us that newsreel footage of the camps was screened for both houses of the U.S. Congress on April 30, and May 1. It's certain that this footage would have contained the Buchenwald table. Thus Psyche Warfare was knowingly fooling elected officials. Here's an excerpt of page 10 of Shandler's book:
Shandler quotes a Variety Magazine article which mentions "General Eisenhower's expressed desire to have all the public see with it's own eyes the treatment of Nazi victims." (p. 11) But Eisenhower would have known that some of the footage was a Psyche Warfare created fake. That Eisenhower later became president due to his popularity as a WWII general implies the following: Eisenhower manipulated the public through his own Psyche Warfare unit (known as PWD-SHAEF) in a way that had a positive effect on his public popularity, which in turn helped him to become president. A popular war makes for a popular general.
10. The US Holocaust Memorial Museum website has a digitized version of the movie Nazi Concentration Camps found here. The museum lists the director as being "Navy Cmdr. James B. Donovan" the first name listed of three directors:
To see that William B. Donovan was in the OSS (Office of Strategic Services which is the wartime predecessor of the CIA), we go to the book Justice at Nuremberg by Robert Conot (Published by Carroll & Graf, 1984) In a footnote at the bottom of page 197 we find that James B. Donovan was general counsel of the OSS and involved with the movies being shown at Nuremberg. Conot however mistakenly refers to "James B. Donovan" as "James G. Donovan." Below is page 197 of Conot's book. Eventhough the film being discussed in the following passage is not the film Nazi Concentration Camps, what we get from the excerpt is confirmation that James B. Donovan was in the OSS, particularly in the footnote at the bottom. Keep in mind that the page mentions two people with the last name of Donovan, William Donovan was head of the OSS.
Another piece of evidence to show the OSS's involvement in making the film Nazi Concentration Camps occurs in the beginning of the film where there is the reading of two sworn affidavits which attest to the authenticity of the footage. Each affidavit is read in front of a "notary public" type witness. But unknown to the Court or to the public possibly until 2008, the witnesses were two OSS agents: James B. Donovan and John Ford. James B. Donovan is one of the directors of Nazi Concentration Camps, and Ford was the head of the OSS photographic unit; Ford being a famous director at the time. John Ford's New York Times Obituary of 9/1/1973 never mentions that he was in the OSS. But now it's freely known that he was a "secret agent" as they say. For instance in an article called "December 7" by James M. Skinner (Journal of Military History, vol. 55 #4, October 1991, 507-516.) we read "Ford was responsible only to (William) Donovan who, in turn, reported directly to the White House." The story that these people worked for the Signal Corps or for the US Navy photographic section is a front and a lie under oath as to who they are really working for in the making of Nazi Concentration Camps. Basically a group headed by John Ford called the "Field Photographic Unit" (Skinner 1991) operated within the OSS. And it had film people in it who were already famous in Hollywood and would go on to be more famous after the war. Just like putting a conclusive ending to a successful movie, they put forth atrocities as a conclusive ending for the narrative of World War II which made clear who was bad and who was good, with the good winning. Not unlike the type of endings to the Westerns which John Ford and George C. Stevens directed.
To make a fictional analogy to show the bizarreness of the situation: It would be like Steven Spielberg working on a documentary about the evils of Saddam Hussein, a documentary that would be shown in the courtroom in Iraq during Saddam Hussein's trial where he was sentenced to death; and later we would find that Spielberg was really in the CIA at the time and the CIA had actually financed the documentary. But to make the fictional analogy more appropriate, one has to imagine Spielberg working with a crew that secretly plants evidence of Weapons of Mass Destruction. Then years later in our fictional scenario, when it becomes public that Spielberg was in the CIA, no one ever backtracks to wonder about the validity of that film he made about Saddam Hussein. Partly because the evidence of Weapons of Mass destruction is so accepted as fact.
In short, there were secret organizations (OSS and Psyche Warfare) posing as "documenters," when in fact they were lying and even planting evidence.
I would suggest watching Nazi Concentration Camps by going to this link. If that doesn't work search "Nazi Concentration Camps" at the US Holocaust Memorial Museum's Steven Spielberg Film Archive where the entire film in digitized version can be watched over the internet. Here one can also verify the quote comparisons by watching the film, while at the same time looking up the 4/18/45 Buchenwald New York Times article through the online "New York Times Historical Index" which you probably have access to through your university or public library. You can then see the New York Times plagiarism for yourself. You can also listen for the mentioning of OSS agents who no one knows are OSS agents. People who directed movies like Stagecoach, Fort Apache, The Searchers, Shane, and Giant.
http://resources.ushmm.org/film/search/index.php
Above: Searching "Nazi Concentration Camps" gives the return for the film shown at Nuremberg, which is #1 above, though the text states it's a film about Leipzig and Penig, it also has the Buchenwald footage and narration.
The flyer mentions Psyche Warfare as also being involved with the film: that's because the footage of the Buchenwald forced tour is Psyche Warfare footage which must have then been shared with the OSS as well as with various newsreel companies.
Also, another director of Nazi Concentration Camps, E. Ray Kellogg, is connected to the OSS through John Ford. The book "Searching For John Ford" by Joseph McBride (Published by Macmillan, 2003) mentions Kellogg, a special effects technician, being in John Ford's OSS group. See page 321 and page 387.
The third director mentioned is George C. Stevens. The book "Searching For John Ford" shows a connection between Ford and Stevens (pg. 394) and mentions Stevens restaging battle scenes and likely presenting them as real (see note 15 on page 378 of McBride's book.) which doesn't look good for him being a photographing Documenter of History. Particularly since the film Nazi Concentration Camps makes assertions about Dachau having a gas chamber (with the clothes of just gassed inmates pointed out) which historians don't believe today.
What's amazing in looking at these directors and their lives before and after they were involved with the film Nazi Concentration Camps is that they made pro-war movies before and after. John Ford even thought he could turn on his pro-war pizazz in the anti-war milieu of 1971 with a movie called "Vietnam Vietnam!" --a title reminiscent of a 40's Broadway musical, which he made for the US Information Agency (New York Times Obituary 9/1/1973.) The USIA is now known to have CIA connections (the one hour movie was never released.) While a couple years earlier in 1968 E.R Kellogg teamed up with John Wayne (who Ford discovered) to make the hawkish "The Green Berets." Such attempts were laughable out-of-touch putrid leftovers of the pro-war propaganda power these people once had. They had been at it a long time: we learn in the article "December 7th" by James M. Skinner that Kellogg was working on an OSS commissioned movie about Pearl Harbor to influence the public to be pro-war in 1942.
With Kellogg, Ford, and Stevens' work we see so much trashing of the American Indians via Westerns before WWII, that it's clear that they used the American Indians to hone their skills to frame people with dumb dumb portrayals of evil. An applicable skill for making Nazi Concentration Camps. It's fitting that the video "Buchenwald: A Dumb Dumb portrayal of Evil" shows a ridiculous scene from John Ford's The Searchers. That this movie is lauded as one of the greatest movies of all time is less about great art and more about a power structure and who that power structure chooses to put on a pedestal; and how that trickles down into a fabricated reality of great art for the minion-legions who see it as canon: the arts community. People like those who come up with "The AFI Top 100."
The pro-war agenda of these directors and their being lauded as auteurs makes one think of a similar figure of ancient Rome: poet/statesman Cicero, that cheeky name for a certain powerful Roman figure which translates as "Chick pea." (One might compare with the name "P. Diddy" today.) In the book "Against the Grain" written in the Victorian Age in Paris, the main character finally sees Chickpea's art (after nearly 2 millennia) for the crap that it is:
"In prose, he was no more enamoured of the long-winded style, the redundant metaphors and the rambling digressions of old Chick-Pea, the bombast of his apostrophes, the wordiness of his patriotic perorations, the pomposity of his harangues, the heaviness of his style, well fed and well covered, but weak-boned and running to fat, the intolerable insignificance of his long introductory adverbs,...." (Against Nature by Joris-Karl Huysmans, page 28, Penguin Classics, 2003)
Cicero just like John Ford and George C. Stevens are individuals in a pro-war power structure that props up their art and lauds them as auteurs, but when their art has to stand on it's own someday, it may be a different story for them.
11. The photo is from the book Sykewar by Daniel Lerner (published by George W. Stewart, 1949) from the photo section that begins on page 238. The majority of the people that Josselson is pictured with went on to spend a few weeks "documenting" Buchenwald, though it appears Josselson might not have gone with them, since he is not in the credits of The Buchenwald Report like some of the others in this photo. Though not linked directly to Buchenwald he certainly would have been involved in denazification as a member of Psyche Warfare. His post-war anti communist covert operation activities are mentioned in Operation Rollback by Harvard professor Peter Grose (published by Houghton Mifflin Harcourt, 2001.) Here's an excerpt from page 140:
12. See an early Blanche Wiesen Cook article called First Comes the Lie: CD Jackson and Political Warfare. Radical History Review #31 (1984.) Also see the book The Chairman: John J. McCloy, the Making of the American Establishment by Kai Bird (Published by Simon & Schuster, 1992.) It has some good information on CD Jackson. Another good source for information on Jackson is The Mighty Wurlitzer by Hugh Wilford (Harvard University Press 2008.)