Known among divers as “everything okay”, the circle of index fingers and thumb is now a symbol of the global “White Power” movement.
Photo: Art
It was on April 19, 1995, even the elderly may only remember vaguely when Timothy Mcveigh chased the Murrah Federal Building from Oklahoma City. His tremendous explosive device was dragging 168 people to death and adding 800 more serious injuries. Until 9/11, this remained the most serious terrorist attack on American earth since the civil war. Six years later, the Iraq war veteran was sentenced to death and executed-but in no way forgotten. On the contrary: he became a martyr.
Timothy Mcvegh posthumously enjoys growing popularity in a network that makes the SWR series “Word White Hate” a bit more understandable in Arte. It consists of right -wing terrorists from all countries that emulate the assassin. Dirk Laabs lists a dozen of attacks. Oklahoma, Christchurch, Utøya, Halle, Hanau – the crime scenes have long been words like Donnerhall and have one thing in common away from the racial hatred: they mutually relate. Over and over and over again.
The investigative filmmaker from Hamburg takes his audience into the realm of brown darkness three times.
The investigative filmmaker from Hamburg takes his audience into the realm of brown darkness three times. He visits survivors of a terrorist attack in Buffalo and survivors of Anders Breivik’s island massacre. He examines paramilitary fighting troops such as The Base in the USA and Federal German Reich citizens around Henry VIII. Prince Reuss. He tracks down Islamist, childish, even black neo -Nazis and can be explained by the width of the white overthrow movement by a ranks of designated experts.
His documentary is, in four words: excellently researched, compiled, staged. On the one hand. On the other hand, it naturally offers a bit of terror pornography and thus moves on a slippery run. As with car accidents or nuclear mushrooms, it is difficult to escape the suction of the mass murders prepared in the media. And the author strengthens this with constant recordings of bloody assassination, some of which were filmed by cameras on the arms of notorious terrorists. It is a balancing act between chronicler obligation and voyeurism, in which Dirk Laabs do not always act entirely.
Only what would be the alternative in view of the current intensification of fascist threats from Timothy Mcveigh to Donald Trump, from Anders Breivik to Viktor Orbán, from Prince Reuss to Björn Höcke? “This is war,” says the father of an American victim of right -wing terrorist attacks. “They pulled their weapons and removed their hoods and no longer shy away from daylight.” Dirk Laabs makes this from the documentary filmmaker to the rapporteur of an open field battle against pluralism, human dignity, democracy.
It is not surprising that countless warriors – the second part of this acted “mercenaries, soldiers and veterans” – were previously uniformed. “If you don’t go to the army as a racist,” said ex-Gi Wade Page after his attack on a Sikh center in Milwaukee, “you will come out as a racist.” This also applies to the Bundeswehr. For example, officers like Franco Albrecht, who disguised a Syrian, wanted to simulate an Islamist attack and thus ensure chaos. Or the former KSK fighter Maximilian Eder in the Reich Citizens’ Corps of the self-declared Reich citizen Regent Prince Reuss.
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Her coup plans are also gardening underground for decades before promoting a truly earth-shattering event: Barack Obama’s election as the first black US president. This attack on the privilege of white omnipotence claims, says a terrorist expert, “literally exploded” the numbers of violent right-wing extremists. And has been producing imitators worldwide since then, to whom the attention industry provides non -alerted sleepers.
Social research speaks of the “Copycat-Effect”, which even reproached serious media through mere reporting. Because journalists, writes the communication scientist Martin Löffelholz, “can stylize perpetrators into heroes and thus reinforce terror”. It is a vicious circle that Donald Trump’s second term in the second term in particular sustainably normalizes.
After all: There is resistance to the “Word Wide Hate”. Loud, as from Birgit Kieschnick, who fights against right CDU structures in the AfD stronghold of Bautzen. And quietly, as from Serpil Unval, tirelessly admonished mother of one of the Hanau terrorist victims. The third episode pays attention to the victims from the perpetrators and thus gives a little hope. In view of the right terror, it is bitterly necessary.
Available in the Arte media library.