DARK TOURISM HERE IN THE UK ORIGINAL KU KLUX KLAN EXPLOITATION AND SEXPLOITATION MOVIE POSTERS … BANNED THROUGHOUT THE WORLD , BUT HERE ON DISPLAY AT THE CRIME THROUGH TIME COLLECTION , LITTLEDEAN JAIL, UK

Posted on May 10, 2017 by CRIME THROUGH TIME COLLECTION

HERE AT LITTLEDEAN JAIL AND THROUGH OUR BUSINESS FACEBOOK WE TRY AND PROVIDE A BALANCED AND EDUCATIONAL INTERACTIVE INSIGHT INTO WHAT MANY DEEM TO BE TABOO SUBJECT MATTERS .

PLEASE DO BE AWARE THAT THE CRIME THROUGH TIME COLLECTION , IT’S OWNER , OR ANY OF IT’S STAFF HERE AT LITTLEDEAN JAIL HAVE NO AFFILIATION , CONNECTION OR INVOLVEMENT WITH ANY EXTREMIST , POLITICALLY MOTIVATED OR OTHERWISE MOVEMENTS WHATSOEVER …… WE SIMPLY EXHIBIT AND TOUCH UPON A GREAT MANY POLITICALLY INCORRECT AND TABOO SUBJECT MATTERS THAT NO OTHER VISITOR ATTRACTIONS DARE COVER IN THE WAY WE CHOOSE TO DO HERE. …. “IT’S ALL HISTORY FOR GOODNESS SAKE”….EVEN IF ON OCCASIONS, SENSITIVE , THOUGHT PROVOKING SUBJECT MATTERS THAT INCITE STRONG DEBATE .

WIDELY REGARDED TO BE BLACK RACISM MOVIES MANY OF THESE NOW BANNED KU KLUX KLAN MOVIE POSTERS WERE DEEMED TO BE A GLORIFICATION TOOL AND USED FOR RECRUITMENT OF NEW MEMBERS INTO THIS WHITE EXTREMIST HOODED ROBE MOVEMENT

HERE BELOW IS A BRIEF PICTORIAL INSIGHT INTO SOME OF THE KKK MEMORBILIA ITEMS HERE ON DISPLAY AT THE JAIL

Movies about the Ku Klux Klan (KKK)

Ever since the release of legendary director D.W. Griffith’s controversial epic The Birth of the Nation (1915), based on Thomas F. Dixon Jr.’s (play and) novel titled The Clansman: An Historical Romance of the Ku Klux Klan and featuring silent star Lillian Gish and future Oscar winner Donald Crisp (among others), classic Hollywood seems to have avoided taking on the KKK to expose its wicked acts or its members’ ignorant beliefs in any substantive way. Though there are several dramas which incorporate it – or at least Klan-like organizations – peripherally, classic films that feature any real detail about its beginnings, longevity, charters, or even insight into its leaders and/or their motivations etc. are surprisingly absent. Maybe the studios felt that real evil and its practitioners were being adequately portrayed in their gangster and war pictures, or perhaps there were fears that a movie about the Klan wouldn’t make good at the box office (particularly in the South)?

The Warner Bros.’s Storm Warning (1951) wasn’t very specific about the KKK’s prejudices, though much of the film’s dialogue (from prosecutor Ronald Reagan and the miscast Ginger Rogers character) does deliver the requisite indictment of the organization and its members: too scared to act without the courage of numbers or show their faces (hence the hoods). But the twist is that the Grand Dragon’s real motivation for leading the clandestine group is financial – there’s real money for him in the dues and the paraphernalia he sells to its members – such that he comes off as a corrupt union boss, or worse a capitalist;-) In the end, the leader’s true self centered (versus “all for one”) nature is revealed and the enraged and disillusioned group wises up and runs for cover from the law. Warner’s Black Legion (1937), starring Humphrey Bogart and featuring a plot plausible enough to earn Robert Lord his second Best Writing-Original Story AA nom, did a better job of exploring the roots of hatred and xenophobia that can seduce one to join such an organization. Since I wrote about MGM’s Stars in My Crown (1950) in my earlier Films about Faith essay, I’ll not include any more text about it here other than to mention that actor Ed Begley (Sr.) seemed to have excelled in portraying angry racist characters. The WB’s (and producer-director Mervyn LeRoy’s) overlong drama The FBI Story (1959), a veritable paean to the organization’s squeaky clean agents and the stout leadership of J. Edgar Hoover, warrants barely a mention except that one of its storylines includes the infiltration of the KKK by the film’s principal character, played by James Stewart.

Which brings me to The Mating Call (1928), produced by Howard Hughes and including titles written by future Oscar winner Herman J. Mankiewicz. The Klan-like organization in this one is named “The Order” and its purpose is to enforce a morality code within its community: black hooded individuals tie a wife beater to a cross and whip him for abusing his spouse. But the primary sin herein is adultery. Upon returning home a hero after serving his country during World War I, Leslie Hatton (Thomas Meighan) finds that his wartime marriage to Rose (Evelyn Brent, playing a sexually aggressive man-eater) was annulled by her parents. But even though he’s (somehow) not interested in having an affair with his former bride, Hatton’s accused of fooling around with Rose by her current husband Lon, a hypocrite that’s having extramarital relations of his own (with a judge’s daughter, no less). Lon uses The Order to threaten the war hero to leave his wife alone. Hatton’s solution to avoid future visits and further scrutiny from these local self-appointed moral authorities includes his going to Ellis Island and marrying a French girl (Renee Adoree, The Big Parade (1925)) whose parents want to immigrate to the United States. However, a subsequent scandal affecting the aforementioned characters (and others) leads The Order to become involved in Hatton’s life again.

Some other dramas that feature the KKK or like-minded groups are: Legion of Terror (1936), The Burning Cross (1947), Another Part of the Forest (1948), The Klansman (1974), Places in the Heart (1984), which earned writer (director) Robert Benton (Kramer vs. Kramer (1979)) his third Oscar, and Mississippi Burning (1988); plus, it’s hard to forget the hilarious scene in Mel Brooks’ western spoof Blazing Saddles (1974) in which Cleavon Little (accompanied by Gene Wilder) dons a white rob and hood

DARK TOURISM IN THE UK……. NAZI SEXPLOITATION AND EXPLOITATION MOVIE POSTERS. BANNED THROUGHOUT THE WORLD … DISPLAYED HERE AT THE CRIME THROUGH TIME COLLECTION, LITTLEDEAN JAIL, UK

Posted on May 10, 2017 by CRIME THROUGH TIME COLLECTION

HERE AT LITTLEDEAN JAIL AND THROUGH OUR BUSINESS FACEBOOK WE TRY AND PROVIDE A BALANCED AND EDUCATIONAL INTERACTIVE INSIGHT INTO WHAT MANY DEEM TO BE TABOO SUBJECT MATTERS .

POLITE WARNING … THE CRIME THROUGH TIME COLLECTION AT LITTLEDEAN JAIL (WHERE UPON THIS EXHIBITION IS HOUSED ) IS NOT SUITABLE FOR CHILDREN, OR THOSE OF YOU WHO ARE EASILY OFFENDED , DISTURBED OR OF A SENSITIVE NATURE …..

CERTAINLY POLITICALLY INCORRECT IN TODAY’S SOCIETY – THE TITILLATING, NAZI EXPLOITATION AND SEXPLOITATION FILMS TOUCHING ON THE VERY SENSITIVE TRUE CRIME HORRORS OF THE NAZI HOLOCAUST YEARS .
EXHIBITED HERE AT LITTLEDEAN JAIL. RIGHT OR WRONG YOU AS VISITORS DECIDE FOR YOURSELVES

HERE BELOW ARE SOME OF THE MANY NAZI HOLOCAUST SEXPLOITATION AND EXPLOITATION MOVIE POSTERS ON DISPLAY AT LITTLEDEAN JAIL .

THESE HAVE BEEN BANNED WORLDWIDE AND ARE VERY RARE .

Nazi exploitation (also Nazisploitation) is a subgenre of exploitation film and sexploitation film that involves villainous Nazis committing criminal acts of a sexual nature often as camp or prison overseers in World War II settings. Most follow the standard women in prison formula, only relocated to a death camp or Nazi brothel, with an added emphasis on sadism, gore, and degradation. The most infamous and influential title (and the one that set the standards of the genre) is perhaps Ilsa, She Wolf of the SS (1974), a Canadian production. Its surprise success and sequels led European film makers, mostly in Italy, to produce dozens of similar films depicting Nazi atrocities. While the Ilsa series and Salon Kitty were profitable, the other films were mostly box-office flops and the genre all but vanished by the mid 1980s.
In Italy, these films are known as part of the “il sadiconazista” cycle which is largely inspired by the art-house films Salon Kitty by Tinto Brass, Liliana Cavani’s The Night Porter, and Pier Paolo Pasolini’s Salò. Prominent directors of the genre include Paolo Solvay (La Bestia in Calore, aka The Beast in Heat, SS Hell Camp), Cesare Canevari (L’ultima orgia del III Reich, aka Last Orgy of the Third Reich), and Alain Payet (Train spécial pour SS, aka Hitler’s Lust Train, Love Train for The SS), all from 1977.

WARNING ……

HERE BELOW ARE SOME GRUESOME AND SEXUALLY EXPLICIT TRAILERS AND AN ENTIRE FILM (VERY SEXUALY GRAPHIC ) RELATING TO THE EVIL NAZI SEXPLOITATION AND EXPLOITATION MOVIES OF THE 1970’S

German camp brothels in World War II

From Wikipedia, the free encyclopedia

Camp brothel in Gusen, Austria

In World War II Nazi Germany established brothels in the concentration camps (Lagerbordell) to create an incentive for prisoners to collaborate, although these institutions were used mostly by Kapos, “prisoner functionaries” and criminal element, because real inmates, penniless and emaciated, were usually too debilitated and wary of exposure to SS schemes. In the end, the camp brothels did not produce any noticeable increase in the prisoners’ work productivity levels, but instead, created a market for coupons among the camp VIPs.^[1] The women forced into these brothels came mainly from the Ravensbrück concentration camp,^[2] except for Auschwitz, which employed its own prisoners.^[3] In combination with the German military brothels in World War II, it is estimated that at least 34,140 female inmates were forced to serve as prostitutes during the Third Reich.^[3]

Further information: German military brothels in World War II and Rapes of the Wehrmacht

[edit]History and operation

Heinrich Himmler inspecting the camp brothel inMauthausen/Gusen

The first camp brothel was established in Mauthausen/Gusen in 1942. After 30 June 1943, a camp brothel existed in Auschwitz, and from 15 July 1943, inBuchenwald. The one in Neuengamme was established in early 1944, Dachau‘s in May 1944, Dora-Mittelbau‘s in late summer, and Sachsenhausen‘s on 8 August 1944.^[4] There are conflicting dates for the camp brothel in Flossenbürg: one source claims summer 1943^[5]; another states it was not opened until 25 March 1944.^[4]

The camp brothels were usually built as barracks surrounded by a barbed-wire fence, with small individual rooms for up to 20 women prisoners, controlled by a female overseer (Aufseherin).^[1] The sex workers were replaced frequently due to exhaustion and illness, and were usually sent away to their deaths later. The brothels were open only in the evenings. No Jewish male prisoners were allowed. Those with access to the customer lineup (Aryan VIPs only), had to sign up for a specific day and pay two reichsmarks for a 20-minute “service” based on a predetermined schedule. The prostitutes were matched with their clients by an SS-man. The market for the “prize-coupons” was routinely cornered by the common criminals who wore the green triangles (hence the “green men” denomination).^[1]There is evidence (somewhat controversial)^[6] that in some of the brothels, women might have had tattoos inscribed on their chests saying “Feld-Hure” (Field Whore).^[7] Some of them underwent forced sterilizations as well as forced abortions, often resulting in death.^[3]

The subject of camp prostitution was alluded to in survivors’ memoirs at least as early as 1972, when the first edition of Heinz Heger’s book^[5] was published. However, the subject remained largely taboo in studies of Nazism until the mid-1990s, when new publications by female researchers broke the silence.^[8]^[9]

Sometimes the SS enticed women into becoming sex workers by promising them better treatment or reductions of their indefinite sentence. This caused anger or envy among some female inmates. Nina Michailovna, Russian camp prisoner, reported: “When we found out that a girl in our block was chosen, we caught her and threw a blanket on her and beat her up so badly that she could hardly move. It wasn’t clear if she would recover. They just wanted to have a better life and we punished them this way.”^[10]

[edit]Homosexual prisoners and camp brothels

In addition to using camp brothels as a means to control inmates, encourage collaboration, and prevent riots and escapes, Heinrich Himmler also intended them to be used as a means of teaching pink triangle prisoners “the joys of the opposite sex”^[5], i.e., as “therapy” for their homosexuality. Heger claims that Himmler directed that all gay prisoners were to make compulsory visits to the camp brothel once per week as a means of curing them of their same-sex attraction.^[5]

[edit]Cultural references

German concentration camp brothels were re-enacted in fictional Nazi exploitation films made in the 1970s such as Ilsa, She Wolf of the SS, Last Orgy of the Third Reich, Love Camp 7, SS Experiment Camp and Nazi Love Camp 27.^[11] Examples of Israeli fictional literature on the subject include writer’s Yehiel De-Nur alias K. Tzetnik’s book The House of Dolls and Stalag fictiongenre.^[12]^[13]

[edit]See also

[edit]Notes

^ ^a ^b ^c “Camp Brothel.” Wollheim Memorial. Accessed June 30, 2011.
^ New Exhibition Documents Forced Prostitution in Concentration Camps – Der Spiegel – 15 January 2007
^ ^a ^b ^c Nanda Herbermann, Hester Baer, Elizabeth Roberts Baer (2000) (Google Books). The Blessed Abyss: Inmate #6582 in Ravensbruck Concentration Camp for Women. Detroit: Wayne State University Press. pp. 33–34. ISBN 0-8143-2920-9. (English)
^ ^a ^b Christl Wickert: Tabu Lagerbordell, in: Eschebach/Jacobeit/Wenk: Gedächtnis und Geschlecht, 2002, S. 44
^ ^a ^b ^c ^d Heinz Heger, Die Männer mit dem rosa Winkel, 5th ed., 2001, p. 137
^ Tom Segev, “Who was the camp whore?” Haaretz.com, January 13, 2011
^ Melissa Kuntz (2007) (WWW), The Forgotten Photographs: The Work of Paul Goldman from 1943-1961, Pittsburgh: American Jewish Museum See photograph of an inmate with chest tattoopublished by Jerusalem Post, retrieved January 10, 2011
^ Christa Schulz, “Weibliche Häftlinge aus Ravensbrück in Bordellen der Männerkonzentrationslager” (Female prisoners from Ravensbrück in brothels for male concentration camp prisoners)
^ Christa Paul, Zwangsprostitution. Staatlich errichtete Bordelle im Nationalsozialismus (Forced prostitution: Brothels established by the National Socialist State).
^ In: Thomas Gaevert / Martin Hilbert: “Frauen als Beute” (“Women as Booty”), 2004 documentary film made for ARD. Quote in German: „Wenn wir wußten, daß in unserem Block eine ausgesucht wurde, haben wir sie geschnappt und ihr eine Decke übergeworfen und sie so verprügelt, daß sie sich nicht mehr rühren konnte. Es war unklar, ob sie sich davon überhaupt wieder erholen könnte. Die wollten doch nur ein schöneres Leben haben und wir haben sie so bestraft.“
^ Stiglegger, Marcus (2007-02-09). “Beyond Good and Evil? Sadomasochism politics cinema 1970s”. IKONEN. Ikonenmagazin.de. Retrieved 2010-03-14.
^ Schultzes Hündin, taz
^ “Folternde, vollbusige SS-Frauen «”. Diepresse.com. 2010-02-18. Retrieved 2010-03-14.

GERALD GARDNER (1884 -1964) FATHER OF MODERN WITCHCRAFT . FEATURED HERE IN AND AMONGST THE WITCHCRAFT, PAGANISM, WICCAN, THE OCCULT, SATANISM, THE ILLUMINATI AND SECRET SOCIETIES EXHIBITION AT LITTLEDEAN JAIL , FOREST OF DEAN, GLOUCESTERSHIRE,UK.

Posted on May 2, 2017 by CRIME THROUGH TIME COLLECTION

Gerald Gardner in one of his many naked ceremonial initiations and Wiccan gatherings.

Above: Original painting of Gerald Gardner on display at The Crime Through Time Collection, Littledean Jail , UK , in and amongst the Witchcraft, Paganism, Occult, The illuminati and Secret Societies Exhibition areas .

Gerald Brosseau Gardner (1884–1964), also known by the craft name Scire, was an English Wiccan, as well as an author and an amateur anthropologist and archaeologist. He was instrumental in bringing the Contemporary Pagan religion of Wicca to public attention, writing some of its definitive religious texts and founding the tradition of Gardnerian Wicca.

Original painting of Gerald Gardner along with High Priestess’s Patricia Crowther and Monique Wilson , by Gloucestershire artist Paul Bridgman. Here on display in and amongst the Witchcraft and Occult Collection at The Crime Through Time Museum , Littledean Jail , Gloucestershire , UK .

Born into an upper-middle-class family in Blundellsands, Lancashire, Gardner spent much of his childhood abroad in Madeira. In 1900, he moved to colonial Ceylon, and then in 1911 to Malaya, where he worked as a civil servant, independently developing an interest in the native peoples and writing papers and a book about their magical practices. After his retirement in 1936, he travelled to Cyprus, penning the novel A Goddess Arrives before returning to England. Settling down near the New Forest, he joined an occult group, the Rosicrucian Order Crotona Fellowship, through which he claimed to have encountered the New Forest coven into which he was initiated in 1939. Believing the coven to be a survival of the pre-Christian Witch-Cult discussed in the works of Margaret Murray, he decided to revive the faith, supplementing the coven’s rituals with ideas borrowed from Freemasonry, ceremonial magic and the writings of Aleister Crowley to form the Gardnerian tradition of Wicca.

Moving to London in 1945, following the repeal of the Witchcraft Act of 1736 he became intent on propagating this religion, attracting media attention and writing about it in High Magic’s Aid (1949), Witchcraft Today (1954) and The Meaning of Witchcraft (1959). Founding a Wiccan group known as the Bricket Wood coven, he introduced a string of High Priestesses into the religion, including Doreen Valiente, Lois Bourne, Patricia Crowther and Eleanor Bone, through which the Gardnerian community spread throughout Britain and subsequently into Australia and the United States in the late 1950s and early 1960s. Involved for a time with Cecil Williamson, Gardner also became director of the Museum of Magic and Witchcraft on the Isle of Man, which he ran until his death.

Gardner is internationally recognised as the “Father of Wicca” among the Pagan and occult communities. His claims regarding the New Forest coven have been widely scrutinised, with Gardner being the subject of investigation for historians and biographers such as Aidan Kelly, Ronald Hutton and Philip Heselton

A brief video introduction into the life and times of Gerald Gardner

Below : Various images of Gerald Gardner at his Witches Mill , Isle of Man

Above and Below: Various insight into some of the many collage displays here at Littledean Jail.

SATANIC DECORATED RAMS HEAD SKULL ON DISPLAY ALONG WITH A GREAT MANY OTHER INTRIGUING ITEMS WITHIN THE WITCHCRAFT AND OCCULT EXHIBITION AT THE CRIME THROUGH TIME COLLECTION , LITTLEDEAN JAIL , FOREST OF DEAN , GLOUCESTERSHIRE, UK .

Above and below : Various paintings on display in and amongst The Witchcraft and Occult Collection here at Littledean Jail .

Above & Below : Pictured here are our Alexandrian Wiccan Casting Circles, Stone Altar and Stone Baptisim Font on display at the Jail .

Above and Below … Various original paintings here on display at Littledean Jail featuring some of the most so say controversial though world famous High Priests and High Priestess’s …. to include Alex and Maxine Sanders and Stewart Farrar with his wife Janet .

Below: Various images and a brief insight into an Alexandrian Casting Circle, Baphomet Horned God, Witchcraft Altar etc , here on display at Littledean Jail, Forest of Dean , Gloucestershire, UK .

Above and Below : Original oil paintings by local artist Paul Bridgman depicting our Alexandrian Baphomet “Horned God” on display in and amongst our exhibition areas

THE CRIME THROUGH TIME COLLECTION …. HERE AT LITTLEDEAN JAIL, FOREST OF DEAN , GLOUCESTERSHIRE, UK

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