This video is an animated walkthrough of millennia of anti-Jewish propaganda images.
I support Justice. A great many Jews do. What well-meaning progressives often do not realize is that when they repeat some of the common tropes against Israel and Jews, these are not new accusations. Most confusingly, they are not even consistent accusations. Watch the clip, and then I’ll break some things down a little more.
The main decoder ring you need when watching this video, is that the images shown draw images from actual propaganda images used against Jews throughout the ages. I felt compelled to draw from the actual historical anti-Semitic records because some of the imagery is so bizarre and grotesque that unless you look at the primary source documentation, it’s hard to believe that that is really the portrayal of Jews.
Breaking down some key moments
“If you’re a capitalist, I’ll be your communist”
The animation features this image. There was an antisemetic conspiracy called Judeo-Bolshevism
In ~1938 this image was produced: “Bolschewismus ohne Maske”
“If you’re a communist, I’ll be your capitalist”
The animation features this image,
In 1941 this handbill was issued.
Color poster size version of a Nazi propaganda handbill made in the 1950s for exhibition purposes. It presents a caricatured, obese Jewish capitalist as “the true and only goal of the Bolshevik “World Revolution.” The handbill was issued in 1941, the year Germany broke the German-Soviet Pact of August 1938 and invaded the Soviet Union. Hitler and Nazi propaganda efforts often warned of the threat Germany faced from the worldwide Jewish conspiracy and the dominance of Jews in Bolshevik leadership. Source
Translation below
Jew as Pig
This next image shown in the animation comes directly from a cartoon originally published in the Egyptian newspaper Al-Watan on May 15, 2018. This was released in 2018
A late-19th-century statue from Czechoslovakia portrays pigs sitting in Jewish garb.
(Czechoslovakia, late 19th century) From the Middle Ages to the modern era, antisemites frequently portrayed Jews as vermin and various other animals—especially pigs because Judaism considers pigs unclean and forbids the consumption of pork. This statue depicts three pigs in traditional Jewish garb sitting on a bench in Karlsbad, Czechoslovakia, a popular spa town frequented by prewar European Jewry. A prohibition on Jewish settlement existed in Karlsbad from 1499 to 1793, and until 1848 Jewish residence there was contested in protracted litigation initiated by non-Jewish merchants. In time, Karlsbad gained a Jewish clientele and a rich Jewish life unfolded there, but coexistence with members of other religions was never widespread. Source
The recurring figure in the animation
The figure closely resembles the antisemitic “Happy Merchant” caricature created in 1992 and circulated online through the 2000s.
Notice how much this mirrors this 1936-1937 piece in Der Sturmer “An end of Jewish Haggling”
German antisemitic propaganda poster encouraging Germans to fight against unfair Jewish business practices, by Philipp Rupprecht (Fips). The poster features a Jewish peddler banging his head in frustration when he sees storefront signs saying German businesses will no longer engage in Jewish haggling. The peddler has stereotypically exaggerated features: a long nose, a beard, red eyes, and heavyset. He is portrayed in shadowy, charcoal and black colors to emphasize the antisemitic trope of his untrustworthy nature, and to contrast the lighter colored, purer, Aryan storefront. Source
An 18th-century English painting uses the same exaggerated long-nose stereotype.
Jew with dentures hoping to extract gold tooth (England, 18th century) This hideous portrait was painted in England in the 18th century by an unknown artist. After medieval expulsions, Jews were only gradually readmitted to England starting in 1656. In 1753, Jews gained naturalization only to lose it the following year due to public protest. This painting made approximately at that time shows a stereotypical religious Jewish man holding a pair of dentures and about to extract a gold tooth. Although this artist accused a Jew of eyeing a gold tooth for its monetary value, it was the Nazis who 200 years later extracted gold teeth from Jewish victims. Source
The imagery also echoes “Aaron, Son of the Devil,” an antisemitic caricature of an English Jew on an Essex county document dated 1277.
This goes far back with many iterations in between
Jew as Rat
From the video
“Rats, Destroy Them”: a 1940s Nazi propaganda poster
The world-domination trope
From the video
Charles Léandre, “Rothschild”
Le Rire (The Laugh), 1898. In Die Juden in der Karikatur (Jews in Caricature). Source: Montreal Holocaust Museum Source
Jew as disgusting creature
From the video
This is reflecting Nazi Propaganda
source is a September 1944 caricature from Der Stürmer.
A monstrous vermin – bearing a stereotypical Jewish nose, reflecting a dollar sign in one eye and a hammer and sickle in the other (representing Capitalism and Communism)
Returning to the starting image
Caricatured Physiognomy: The central figure is an IDF soldier rendered through the visual conventions of classic interwar antisemitic caricature—featuring an exaggerated, hooked nose, wide bulging eyes, and a manic expression.
Iconography of Violence & Blood Libel: The soldier’s mouth, chin, and hands are visibly stained with blood. He carries a large, bloodied battleaxe across his shoulder, bearing a white Star of David on the blade. This visual pairing evokes traditional blood libel tropes, framing Jewish identity through ritualistic slaughter and unchecked brutality.
Militarism & Holocaust Inversion: The soldier wears an olive-drab uniform and a steel helmet modeled closely on the German Stahlhelm, also stamped with a Star of David. This visual syncretism serves as a deliberate Holocaust inversion, conflating Jewish defense forces with Nazi militarism.
The Setting: The character is positioned against a desolate, red-hued sky above a flattened, smoldering urban landscape of pulverized concrete and ruined buildings, signifying total devastation.
Source Context: Digital stage backdrop from the independent animated web broadcasts of Dieudonné M’bala M’bala (Dieudosphere / DieudoCube productions). Visuals produced in collaboration with affiliated editorial illustrators (circle of Joe Le Corbeau / Zéon), combining classic European caricature traditions with modern anti-Zionist agitprop.
Accusing Jews of Murder Plots is old
A 1934 image from Der Stürmer
The headline reads, “Who is the Enemy?/ Incitement to world war and the Jewish Protocol of Basel/ Europe at the slaughterer’s knife blade.” The caption under the caricature reads, “The Jew wants the war, the peoples do not/ The people bleed and the Jews are victorious.”
English translation
Modern Anti-Jewish, Anti-Israel images draw directly from millenia of antisemetic imagery, and directly from Nazi Era imagery.
As you can see, the video is filled with accurate historical anti-Semitic propaganda That has continued circulating until today.
One of the key areas of importance here is that when modern actions of the state of Israel are being blamed for the anti-Semitic images and portrayals of Jews as bloodthirsty or evil, what is important to see is that actually the visual signature of antisemitism has remained extremely consistent over the last hundred years, several hundred years, and even millennia.