Proving that JEM (Jewish Esoteric Moralization) is not merely a real phenomenon but an important and specific phenomenon that includes the deployment of symbols in coherent and identifiable patterns, presents some challenges. For instance, JEM appearing in Art and particularly narrative Art, while commonly drawing from a broader shared symbol system, is, of course, often highly contextual. In other words, symbols appearing within works frequently gain at least some portion of their meaning through their contrast and interaction with other symbols appearing in the same works. Here, sometimes symbols reference the ancient, the mythological and the Biblical. Sometimes they reference the contemporary and, in such cases, frequently the political, particularly as they relate to the interest of Jews. Hence, knowing the time in which a work was created often becomes important.
This aspect of JEM requires that each parable be studied and each symbol evaluated by its use and meaning within the context of each parable while also being evaluated against its broader use in other parables. Obviously, a comprehensive survey of all JEM is well outside the scope of any single study. Likewise, it defies any simple method of survey. Though certainly methods of survey and investigation exist to begin the process of identifying such works.
Nevertheless, confirmation of JEM in each work, at least until more intelligent methods of computer-based research can be developed, becomes a long and painstaking task. Doubtlessly such identified symbols and motifs could become criteria in a comprehensive digital research among works. Perhaps, one day, even if necessarily employing teams of humans and computer technology, all works containing JEM or REM (Racial Esoteric Moralization) could be identified.
The second-best option lies in identifying broad reoccurring trends, whether of motifs or specific symbols. For the purposes of corroboration, however, this requires evaluating select texts where JEM appears deployed by the more salient and influential artists. Thus, this broader study, consisting of multiple volumes, is structured in the following manner.
First I provide an understanding of central mythic motifs and symbols from the ancient world that are commonly referenced in contemporary JEM. This will, of course, include an evaluation of Biblical symbolism. The reader may be surprised to learn that there is much to discover before moving to a discussion of contemporary works. Arguably, in some cases, much more worth learning than about the contemporary works themselves. Then again, the depth and deployment of JEM as it appears in contemporary works is no less fascinating. It will prove highly instructive to the Aryan artist and thinker.
Second, once the reader is familiar with these motifs and symbols, this study will evaluate selected texts from contemporary Jewish narrative Art where these elements are commonly deployed. Remarkably, contemporary JEM in general comes to serve as a Rosetta stone for many ancient myths and symbols. However within the broader Rosetta stone of contemporary JEM, there are especially succinct and symbol rich texts that perhaps truly deserve the term Rosetta stone. Hence we will reserve this term for them. Since we are interested in gaining a clear understanding of the symbol language of JEM, it makes sense to focus on “Rosetta stones.” These become a means not merely of understanding JEM but of recovering a coherent understanding of Myth, Religion and Art in general.
On the other hand, since we are interested in proving the phenomena highly salient, it also makes sense to conduct a much broader survey of Jewish produced works. My approach in the contemporary sphere is three fold. First, while discussing ancient symbols and motifs, I will find occasion to point out their appearance and use in contemporary JEM. Primarily the examples will be films, both in the popular and art house genres. Second, after we have concluded our discussion of ancient and Biblical Myth and symbolism, we will move on to salient Jewish authored American comic books where JEM pervades. Find one example at this link.
Here, so as to show the phenomena as salient and widespread, at least among a few important Jewish artists, my approach is fairly exhaustive. I have reviewed all of the major comic book superheroes created by the important Jewish writers working at Marvel and DC between 1939 and 1966, beginning with Superman and concluding with the Silver Surfer. I will also review several obscure superheroes created by these same writers and several “Bronze Age” superhero characters appearing after 1966, so as to further and strengthen my case.
Finally I will focus specifically on Jewish cinema. This shift in medium will show that the phenomena of JEM is not relegated to comic books or cinema but rather pervades various forms of narrative Art in which Jews are engaged. It likewise reveals this messaging to be targeted at all ages. Here it becomes most important to focus on salient films of significant cultural impact, appearing from a diverse group of Jewish Artists, both salient and less well known, across various genes, to show the use of a shared symbol language amid a diverse group of Jewish parabolists. After twenty five to thirty films, the reader will be convinced of the phenomena and understand further decoding and analysis redundant. One example of a popular film can be found at this link.
By the end of my proof, the objective reader will himself have gained the ability to read JEM in Jewish Art. His interest, though, will be held by the revealing of often the most subversive messaging in the most salient fictional figures and parables in popular culture. All of it, in any case, will “train the eyes.”
This study will establish the trend in popular, widely consumed contemporary Art as well as in works that might be classed “Arthouse.” “Arthouse” in this context means, more clearly, works targeted more internally toward a much smaller audience of Jews and urbane, Judaized Aryans and non-Jews. The reader should understand that this does not necessarily lessen their societal impact.
Rather here moralization and demoralization is directed at a highly educated, culturally, economically and politically influential group, with greater fealty to a Jewish worldview. This group is far more able to discern, sense and become moralized or demoralized by parabolic meanings. Here, in a sense, through Arthouse JEM in particular, the urbane Aryan and others learn “their place” vis-à-vis the Jew. Meanwhile the genre itself functions as JED or Jewish Esoteric Demoralization toward a broader Aryan herd which finds both its appeal and messaging inscrutable. Here they become aware that those whom rule them, have nothing in common with them and consider them, correctly, benighted rubes. One example of such a film is reviewed at this link.
Our challenge is to develop an Art and Religion that is both sophisticated yet relatable and energizing to all members of our race thereby uplifting and improving even its lowest element. The epic or the heroes’ tale, carefully encoded with symbol, is especially the solution here. This will not preclude an Art tailored particularly to a ruling elite which serves as a kind of sifter and “intelligence test” for aspirant elites. The latter is also requisite alongside the more accessible form. Nevertheless, all forms are required to venerate a eugenic masculine Aryan type whom we will come to refer to as Jupiter, Mars or Apollo.
The reader is encouraged to familiarize him or herself with the texts discussed in this study whenever possible, either when they are encountered or prior to their discussion. Though I trust the descriptions will be by themselves quite compelling. There will be no “spoiler alerts.” Indeed, the goal here is, in some part, to “spoil.” It is what sunlight does to rot. Yet it likewise makes it fertile soil.
 The term “Bronze Age”, in the comic book context, is used to describe a period in American superhero comics occurring roughly between 1970 and 1985.