[wvns] Tijuana Loves Revisionist Film
An unprecedented step forward for the Holocaust revisionist movement.
VICTORY IN BAJA!
A Revisionist Dream Comes True
June 2007
Two months ago if you had told me that I would be premiering a film at
a major, mainstream film festival I'd have probably said you were
losing it. And if you had told me that the film I'd be premiering
would be a solidly revisionist movie in which people like Germar
Rudolf and Ernst Zundel boldly present revisionist ideas and criticism
of the Holocaust lobby, I might have even have said you were ready for
the funny farm. And if you had told me I'd be hobnobbing with
Oscar-nominated actors and international superstars, and that my
revisionist film would receive enthusiastic applause and a truly
positive audience reaction, I'd have called the funny farm myself.
Yet everything I've described above is exactly what happened on June
7, 8, and 9 at the "Corto Creativo 07" film festival in Otay Mesa, an
upscale suburb of Tijuana, the metropolis on the Mexico/California
border.
It is difficult to express fully the importance of what happened at
that festival, both in terms of barriers of the past being broken, and
trails for the future being blazed. The Holocaust revisionist movement
has taken a lot of serious hits the last few years, with some of our
most important spokespeople being imprisoned, and many of us living in
countries where we are afraid to speak up for fear of violence or
government prosecution.
What happened in Baja those three remarkable days in June is enough to
not only help revitalize a fatigued, persecuted revisionist community,
but also to take Holocaust revisionism to new heights.
"Corto Creativo" is an annual film festival sponsored by the
Universidad de las Californias (UDC) in Baja. I do not want to discuss
the specifics of how I came to be invited to participate in the
festival, but suffice it to say I was invited—as a VIP.
The Corto Creativo festival director is Jorge Camarillo, a professor
of journalism and television production at UDC, and the coordinator of
the B.A. program in Communication at UDC. He's also the vice-president
of the "Binational Association of Schools of Communication of the
Californias" (BINACOM), an educational association that brings
together communication educators and students from the San Diego and
Baja areas. BINACOM member schools include the Autonomous University
of Baja California, the University of the Californias, Tijuana,
Grossmont College, Southwestern College, San Diego City College, San
Diego State University, the University of California San Diego, the
University of San Diego, and the University of Sonora (Hermosillo,
Mexico).
BINACOM is a sponsor of the Corto Creativo festival, and its president
addresses the festival, which is also attended by Mexican federal,
state, and municipal politicians.
Each year the Corto Creativo festival attracts big-name Mexican and
American actors, directors and producers. This year, participants
included Oscar-nominated actress Adriana Barraza, who co-starred with
Brad Pitt in the Oscar-nominated film "Babel," and international
superstar Maria Conchita Alonso, the former Miss Venezuela who, apart
from being a Grammy-nominated recording artist, has costarred in
scores of Hollywood blockbusters alongside the likes of Nicholas Cage,
Meryl Streep, Vanessa Redgrave, Arnold Schwarzenegger, Sean Penn,
Robin Williams—and the list goes on.
As you can see, this is a serious, mainstream film festival, sponsored
by a well-known university, attended by Hollywood celebrities, and
organized by a professional educator who is the vice-president of an
educational institution composed of major universities in the U.S. and
Mexico.
Surely, this would be the last place you'd expect to find Bradley Smith.
And yet there I was, an invited guest at the festival – a VIP in fact
– attending all the events, hobnobbing with celebrities, and
premiering the first 32-minute cut of my revisionist film "The Great
Taboo" (in Spanish, "El Gran Tabu"). I had been given the most
prestigious time slot of the festival – the Friday evening screening.
I had been allowed one hour forty-five minutes to give my talk, show
my film, and afterward to hold a question and answer session. No one
at the festival received more time. The organizers were friendly and
very cooperative. Whatever help I needed, I was given – even free
Spanish-language subtitles for my film!
For revisionists, it might seem too good to be true.
But it wasn't. In fact, it turned out better than I could have
imagined. "El Gran Tabu" featured Germar Rudolf, Ernst Zundel, and me.
In the film, we discuss revisionist theory, free speech, Zionism and
9/11, and other hot-button topics freely and without constraint. This
is a solidly revisionist film. No excuses, no apologies.
There were perhaps two hundred people in the audience when my film was
screened. The reaction from the audience, made up predominantly of
film students, teachers, and filmmakers (mostly from south of the
border), was completely positive. This was a mainstream audience – no
revisionists – and yet I might as well have been making a presentation
at the Institute for Historical Review. The young people at this
festival expressed only support and earnest curiosity. There was not
one hostile gesture, not one expression of dismissal.
I even had a lively on-camera exchange with Maria Conchita Alonso,
during which she and I discussed the reaction of the professorial
class in Venezuela to President Hugo Chavez's recent closing of an
opposition TV station (this exchange related perfectly to my talk at
the festival, which dealt with the response of the American
professorial class to Holocaust revisionist ideas).
The Holocaust lobby has always feared the day that revisionist ideas –
uncensored and not filtered through a Holocaust lobby mouthpiece –
finally reach a mainstream audience. And the Corto Creativo festival
showed that the lobby's fears are almost certainly justified: When a
mainstream audience has the opportunity to view a professionally
produced film about revisionism, the reaction is overwhelmingly positive.
A can of worms for the Holocaust Industry was opened in Baja last
week. This could very well be the start of something big. After I was
finished with the screening, person after person came up to me with
different networking ideas and connections at universities and other
venues on both sides of the border. Others volunteered to help me with
production, editing, or anything I needed. I was really very surprised
by this, and rather moved.
We're going to be taking this show on the road, and we are going to
include in our road show the fastest growing market in North America –
the Spanish-language market. This is a market heretofore untouched and
un-exploited by revisionist activism…until now!
By the third day of the festival, some kind of "Holocaust education"
organization that had been making a noise about my appearance at the
festival created enough of a fuss that when the president of BINACOM,
a professor who claimed to have lost relatives during the Holocaust,
addressed the audience, she felt the need to devote her speech to
denigrating revisionism, attacking me from the stage, slandering me as
a racist and the representative of an "ideology" of hate.
But she did not address one word from the talk I had delivered, and
not one word from the film. As I told her during her Q&A, she was the
perfect example of the behavior of the American professorial class
that I had addressed in my speech. She made my case. She would not
address any revisionist text, no matter how simple. She would only
attack and slander the individual who wrote it (I have this entire
exchange on film).
And then I experienced something, again, that I had not expected. The
young people in the audience stood with me, and openly challenged the
professor's irrational denunciation of my presence at the festival.
How many times have revisionists been a lone voice surrounded by a
hostile crowd? And yet there I was, with the full support of a young,
mainstream audience, and it was the anti-revisionist professor who was
the lone voice.
These were three days I will remember for a long time. And three days
that the Holocaust Industry may soon come to remember with despair.
Because something new was demonstrated at this festival: Give
revisionists access to an objective, mainstream audience, and the
falsehoods of the Holocaust lobby won't stand against the facts of
revisionism and the argument for intellectual freedom.
And, thanks to this conference, I'm going to have many more
opportunities like this, in a market where groups like the ADL have
very little, almost no, pull at all.
This is the beginning. The beginning of something that could be very
big for us. Initial preparations are already underway for the next
screening of "El Gran Tabu," which is currently being updated to
include footage from the Corto Creativo festival.
Last December, when I spoke at the Tehran Holocaust conference, I felt
as though I were part of something unique and groundbreaking. I was,
but I am more enthusiastic about what has happened here at the Corto
Creativo 07. I made connections here with people with whom I can stay
connected because they are "local," not thousands of miles away on
another continent. And because I can really stay connected with these
new connections, the opportunities to take this work on the road have
suddenly blossomed in a dozen different directions.
There will be more to say very soon but, for now, I'll leave you with
this: The Corto Creativo festival in 2007 demonstrated that what we've
all been working toward these many years is fully attainable. I'll
keep you informed of what's coming next.
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