The introduction to this series of essays, “History in 4D – The Birth of The e-State,” can be found here.


History in 4D is a series of essays examining the concept of the history of the 20th century as presented through the “public forum,” consisting of literature, film and mass media communications. These essays will investigate, analyze and present observations based on the assumption that in the 20th century the influence of state and corporate sponsored propaganda, government information classification strategies and the influence of the military industrial complex’s on television programming, news, and films has left us with hologram version of history which they present as factual.

Key Words:

Narrative history, Philosophy of History, Mass media communications, Media Studies, Narrative History, Literature, Intelligence Community, Military Industrial Complex, Cold War, Stylistics, Psychological Operations, Public Relations, WWII, Nazis, Allies, Axis

Word Count: 3263


Adolf Hitler practices his speech and gesticulations in front of a mirror

The use of narrative by mankind to construct and control social reality has been ubiquitous across cultures and epochs. Different from its predecessors, the 20th century to the present, is a time period where the influence of the audio-visual narrative on social realities has superseded the effect of narratives in literature, art, and the oral tradition. The visual medium interacts with the human psyche in an entirely manner than the older mediums. Whereas the act of reading promotes imagination in the reader, the visual medium supplants and replaces imagination with a representation of reality.

In the ersatz Nazi/Aryan ideology that swept up Germany, and many other nations and peoples, was a gambit rarely seen in human history. It was the near real-time altering of a culture and refashioning of it into a mixture of ancient ideas, new age theories, and a spiritual-nationalism. An adroit understanding of political economy fused with  human fears and desires to produce a maelstrom of visual and auditory symbolism. Wielding their understanding of human emotional trigger points with rapier precision the Nazi leadership presented an evocative sights and sounds all designed to create a picture of what they wanted people to believe they were.

Ancient mythological heroes are thrust into living color in film adaptations. Figures not too long dead are reborn with a new sheen and political slant that didn’t exist when they were alive. Racist ideas and imagery are weaved into visual escapades of imperialism that serve as backdrop for bourgeoisie romances. It has been said that the medium is the message. Seeing is also said to be believing. Conversely you’re also told to “believe none of what you hear and only half of what you see.” But what does the global citizenry do when it gets overrun by a tidal wave of radio, film and television all coerced into a predetermined narrative package aimed at convincing them the world was a different place than it actually was?


The “narrative image” that the Nazi propaganda machine was able to produce still remains the template for many forms of multi-media communications. The sight of an incorrectly drawn ancient religious symbol from cultures deemed to be inferior, scrawled anywhere can ignite violence some 70 years after these events have occurred. Clothing apparel that mimics or alludes toward Nazism can also send people into fits. In truth the Nazis were cultural appropriators, fakes, liars, and psychopaths but ones who cut striking images for the camera. Modern commentary tend to focus on the genocidal hate embedded within the Nazi doctrines while lesser time is spent,  especially in the mainstream media, analyzing the origins and impetus of the Nazi imagery. .

Hitler, Göring, Goebbels and Rudolf Hess during a military parade in 1933

Nazism was a syncretic creation pulling from occult philosophies and alternative histories about the so-called Vril.  The zeitgeist of Wagner, and Nietzsche merged with the already eccentric and intellectually pregnant minds of the Weimar republic that preceded it. Himmler, Hess and other high-ranking members of the cult with a cult, the SS, were interested in the power of symbolism, both in the quasi-magical and the physical realm.

They orchestrated rituals both overt and covert. General Aquino, a Satanist, and former lieutenant colonel in the psychological division of the US Army conducted a séance ritual in the Wewelsburg Castle Heinrich Himmler and his cult are said to have performed some of theirs.

1) Micheal Aquino and his wife at the Temple of Set 2) Lt. Col Aquino in US military regalia 3) Book on Himmler and the Wewelsburg Castle 4) Aquino, Anton Lavey and Sammy Davis Jr. 5) Wewelsburg Castle 6) Heinrich Himmler

The Nazi’s were as much literal savages as attention grabbing lovers of self laudatory spectacle. It’s fair to say that the visual style of the Nazi’s became the standard template for depicting villains in art and cinema from that time forward. The actions of the Third Reich spoke for themselves but the narrative image they crafted to go along with it actually speaks just as loudly today than it did then. Anyone and everyone is called a Nazi these days. The feats they undertook in attempts to recreate the Vril actually became the basis for many a movie villain’s modus operandi.

The Nazi’s conducted expeditions to Antarctica allegedly in search of hidden entrances to underground utopias. They set up bases there eventually which the Allies copied after the war.

Expanding upon their misreading of the so-called Aryan lineage as drawn from Thule Society teachings influenced by Madame Blavatsky, the Nazi’s embarked upon eugenics investigations and the study of phrenology through India and Tibet. 

They also engaged in cutting edge research and development of a series of super weapons based upon descriptions of supposed Vril machines from the literature. The impact of the visual narrative on history is strong here as well. The Haunebu is basically an older version of how UFOs were depicted in film and television during the previous decades. 

The Nazi era in Germany was filled to the brim with radio and television broadcasts, propaganda films, and public gatherings featuring parades, concerts and speeches. The Olympic games held in Berlin in 1936 were another chance at creating visual spectacles.

“The Games were also the first to be televised with closed circuit feeds present throughout the Olympic Village. Acclaimed filmmaker Leni Riefenstahl revolutionized sport documentaries with Olympia.”

The visual imagery would both refer to the old ways, such as Hitler’s plane being depicted from below the clouds in, “Triumph of the Will,” making it appear as a cross traversing the ground below.


The “new ways,” of the Nazi’s were a social time machine which travelled both backwards into the distant past and forwards into an imagined future of Nazi global domination for 1,000 years.

The Nazi narrative machine progressively moved from the familiar symbolism to draw in more adherents towards inverting and finally casting away those old images in order to – in their minds – unveil the true character of the German people.  A character that the Nazi’s believed was one born of the blood of Wotan, and not the Christ.

1.) Wotan was the German name for the mythological god Odin, who, along with Freyja, was one of the foremost practitioners, of magic known as seidr. 2.) Anti-Christian propaganda poster from WWII 

This idea of Wotan’s connections not only to a “true” German character but to Adolf Hitler himself  was neatly described  by well known psychoanalyst  Carl Jung in a letter to Chilean diplomat, poet and Esoteric Hitlerist Miguel Serrano :

“When, for instance, the belief in the God Wotan vanished and nobody thought of him anymore, the phenomenon originally called Wotan remained; nothing changed but its name, as National Socialism has demonstrated on a grand scale. A collective movement consists of millions of individuals, each of whom shows the symptoms of Wotanism and proves thereby that Wotan in reality never died, but has retained his original vitality and autonomy. Our consciousness only imagines that it has lost its Gods; in reality they are still there and it only needs a certain general condition in order to bring them back in full force.” 

From the leaders right down to the soldiers the visual appearance of the Nazi’s assault on the world’s cognition was a calculated attack on the mind’s eye.  From the silhouettes, to the boots, to the colors, the visual affect of Nazi clothing was also burned into the collective psyche via a visual alchemy of sorts. The standard for future generations of narrative imagery in Western media was being set by the Nazis.

Rows of white clad stormtroopers standing beneath long red banners hung vertically, and Prussian appearing uniforms wore by fictional characters in 20th century movies like the Star Wars series all point back to the influence of the Nazi visual narrative upon people’s minds.

“…[Mussolini and Hitler ] came to power because they offered the victims of capitalism a promise of relief by a magical rite of regimentation”

– Black Lamb, Grey Falcon by Cicely Isabel Fairfield

Hugo Boss was involved in the manufacture of Nazi uniforms using slave labor camps. Ford Trucks with American parts bolstered Nazi vehicles. IBM’s vanguard computer technologies allowed them to catalog their invasions and liquidation of human bodies in their efforts for military, technological and mental domination. The world saw the power of controlling narrative and narrative image in the multi-media era in Nazi Germany, Fascist Italy and in Communist Russia.

1) The headquarters of Mussolini’s Italian Fascist Party, 1934.
2) Stalin Propaganda poster

While detractors decried the repressive regimes and their ahistorical narratives, they couldn’t deny the effectiveness of the messaging.  Large swaths of humans had been rendered into a state of induced psychosis wherein the reality they believed in was a construct of their Government through the particular use of curated images, radio broadcasts, film and television. This was the proto E-State.

The end result of the Nazi’s 20th century version of narrative story telling  upon the hearts and minds of their people was infliction of a prideful malaise. The world was both enraptured by the power of the State and its projections of power into the world, and horrified by the reality of that state power when it was directed inward upon dissenters. Many of the citizens living in Germany were not aware of what was going on out in its name in far off lands. They were quite similar to how most American’s are today. In both situations the main modes of being informed were  all controlled by the e-State.

“During the war some prominent officials in the armies and intelligence services of the Allies came to believe that a psychoanalytic or psychiatric body of knowledge could provide a deeper understanding of the attractions of authoritarianism and of the subterranean forces that drove the policies of the Nazi leader, bound his supporters in un questioning declarations of love, and inspired the ‘masses’ to vote for him in their millions.

1) Carl Jung who opined on Hitler’s role as avatar of Wotan and his psychological state
2) Shot of adorning crowd surrounding Adolf Hitler
3) A declassified OSS report psychoanalyzing Hitler released in the 1970s

During the conflict and in the aftermath of victory, such ideas were brought to bear in British and American propaganda operations…. ”

– The Pursuit of the Nazi Mind by Daniel Pick   




“It was during the postwar period, during the growth of the U.S. economy, that propaganda got new means for its dissemination such as radio, cinema and advertising. This last one was becoming the ideal channel to broadcast a message to a wide audience in an almost imperceptible transforming itself in a “seller of dreams””

Advertising as propaganda during the Second World War, Tiago Tadeu

“SO ONCE AGAIN DR. JONES, WHAT WAS BRIEFLY YOURS IS NOW MINE.” ―René Belloq, “Indiana Jones and Raiders of the Lost Ark”

            In the 1981 film, “Indiana Jones and the Raiders of the Lost Ark,” Harrison Ford plays an intrepid professor and  jet-setting archeologist  who bumps heads with the Nazi’s over various artifacts deemed to be imbued with mystical powers. During the film Jones is bested by a cunning Frenchman, Rene Belloq, on a few occasions before triumphing in the end, like any Hollywood hero worth his salt must be expected to do. In one encounter Belloq says to Jones, “So once again Dr. Jones, what was briefly yours is now mine. I’ll take that artifact now.” The line from the picture accurately describes what happened not to the Americans, but to the Nazi’s after their defeat and scattering across the globe.

The Nazi’s post war fate is a foundational tenet of the idea of History in 4D as they were anything but defeated. They went on to South America, the Middle East and eventually right back to Europe. Reinhard Gehlan who was head of Hitler’s eastern intelligence division committing atrocities in Russia, became a godfather to the newly created CIA and served as one of America’s most influential sources of information during the cold war.

In terms of narrative imagery “The Boys From Brazil” a 1978 film directed by  Franklin J. Schaffner depicted allegedly dramatized events which are actually shades of reality. Naturally, the syncretic nature of Allied’s used of visual narrative, which drew on the imagery of the Nazi’s, served to further inculcate populations with fear by  keeping those same Nazi’s in the minds of the people for decades to come.

The Boys from Brazil A 1978 British-American science fiction thriller film. PLOT: Young, well-intentioned Barry Kohler (Steve Guttenberg) stumbles upon a secret organization of Third Reich war criminals holding clandestine meetings in Paraguay and finds that Dr Josef Mengele (Gregory Peck), the infamous Auschwitz doctor, is with them. (WIKI)




“As mentioned before we believe that there was a link between the advertising/propaganda and the events that unfolded in the military scenario.”

Advertising as propaganda during the Second World War, Tiago Tadeu

Tom Cruise in Top Gun (1986)

After deposing Hitler’s regime and integrating many of its influential members into the Anglo and Soviet establishments, the World War of Narrativization had begun. Instead of focusing solely on cults of personality and forced nationalism the U.S. crafted narratives that supported the idea of honorable and upstanding men and women governed by the rule of law. America updated the myth of the Redeemer Nation, not only of Europe but of the world. Going forward that imagery would be repeatedly asserted through the visual medium in order to burrow it deep into the psyche and imagination of generations. The following is an incomplete list of the traits of “America the Redeemer nation,”  as told since WWII:

  • The U.S. saved Europe and the World through its participation in WWI and WWII
  • The US is a rational actor who doesn’t have ulterior motives and uses its power wisely
  • Democracy is the only form of government worth having for people who consider themselves to be “free.”
  • The US maintains a moral high ground as a defender of freedom and a global leader in thought and culture production

These main plot points were embellished with other narratives as necessary to promote and protect this mythology. All along the way the narrative image of the U.S. was steered to one of honest men who sacrificed life and limb for the freedom of downtrodden people all over the globe. While that may have been the somewhat naive hope of combatants history has shown that their leaders were often working at cross purposes or even in contravention of their own stated goals.

Allen Dulles, Winston Churchill, Henry Kissinger and Herbert Walker Bush

“Just as nationalist literary fictions inscribe on to a multitude of events the notion of a linear, comprehensible destiny, so films arrange events and actions in a temporal narrative that moves toward fulfillment, and thus shape thinking about historical time and national history. Narrative models in film are not simply reflective microcosms of historical processes, then, they are also experiential grids or templates through which history can be written and national identity figured.

-The Imperial Imaginary by Ella Shohat and Robert Stam 

Speaking on the British response to the Second and eventually the Third Reich in his book, “Conjuring Hitler,” author Guido Giacona Perparata wrote, “Propaganda, public rallying and, to respond to German jingoism, whipping the average Briton into patriotic frenzy by feeding him a ‘good hate’ amounted to so much routine for the British governors and their dependable press organs: these things could be effected effortlessly, if the need arose. “

Despite what popular history would lead you to believe the press and visual mediums have served the desires of their political and corporate rulers largely unchallenged. Certainly people will object to this idea and cite cases from history where the media exposed one scandal or another, however, in the long run the 4th Estate has never been a 5th Column. They have parroted the narrative as fed to them or suffered various consequences. In the end the idea of journalistic integrity or faithfulness to the idea of presenting a “true story,” in its original form have fallen by the way side. 

Scene from Patton, 1970.


In the American produced visual narrative image the world is shown humanized soldiers, men of conviction, and gallant rescuers of nations in distress.  The protagonists are morally superior and supportive the State not necessarily out of jingoistic nationalism but out of a love for their nation and ideals they believed it stood for. While also focusing on idolizing specific people the U.S. endeavored to produce large scale narratives full of meaning and symbolism all vectoring toward the promotion of a ‘reality’ of what their actions and ideals were meant to be.

Over the decades the idea that “Americans won WWI and WWII, saving Europe and the World!” would serve as the basis for arguments in their leading role siring world affairs through administrative apparatuses like the League of Nations, the United Nations, Council on Foreign Relations.  It also served as the self ordained license to conduct military operations in Korea, Vietnam, and large swathes of Africa and South America. This eventually morphed into an unofficial role of global police force, defenders of “freedom,” exporters of “democracy” and the prosecutors of “humanitarian interventions.”

“The dominant European/American form of cinema not only inherited and disseminated a hegemonic colonial discourse, it also created a powerful hegemony of its own through monopolistic control of film distribution and exhibition in much of Asia, Africa, and the Americas.

Casablanca, 1942.

Euro-colonial cinema thus mapped history not only for domestic audiences but also for the world.”

-The Imperial Imaginary by Ella Shohat and Robert Stam 

The U.S.’s own cult of media directed its initiates in the arts of projecting a self-idealizing vision of redemption of the world through the gritty and wholesome American believe in “freedom.” In fact, like most cults the disjuncture between reality and narrative was at odds with the imperialism  inherent in the Washington Consensus, Manifest Destiny and the emergence of the U.S. as Global Police. The population was converted into believers via the Anglo version of Nazi visual narrativization based in a self proclaimed moral right, attained largely by arms, and propagated by increased militarism in television, film, and even cartoons. This contradictory modality has long been accepted as the norm of American of mass media communication.

In the next edition of this series we’ll examine the minds of the men in US Military Intelligence who had a hand both in shielding Nazi’s from persecution after the war and crafting the narrative imagery which propelled America through the Cold War, Vietnam and into the 1990s.







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