Documented Facts
Guest
|
 Posted: Sun Aug 24, 2003 9:30 pm Post subject: HOLLYWOOD: Who Created It and Who Runs It (IN Their Own Word |
 |
|
All links active for verification June 24, 2003
<<<In accordance with Title 17 U.S.C.Sec. 107. - Limitations on exclusive
rights: Fair use [The fair use of a copyrighted work, including such use by
reproduction in copies or phonorecords or by any other means specified by that
section, for purposes such as criticism, comment, news reporting, teaching
(including multiple copies for classroom use), scholarship, or research, is not
an infringement of copyright. [I]n any particular case is a fair use the factors
to be considered shall include - (1) whether such use is of a commercial
nature or is for nonprofit educational purposes.. ((this material is distributed
without profit or payment to those who have expressed a prior interest in
receiving this information for non-profit research and educational purposes
only. - FAIR USE INTENDED))>>>
http://www.eonline.com/Hot/Specials/Jews/index.html
(Archived locally as: eonline_index)
http://www.eonline.com/Features/Specials/Jews/index2.html
(Archived locally as: eonline_index2)
http://www.eonline.com/Features/Specials/Jews/index3.html
(Archived locally as: eonline_index3)
http://www.eonline.com/Features/Specials/Jews/index4.html
(Archived locally as: eonline_index4)
http://www.eonline.com/Features/Specials/Jews/index5.html
(Archived locally as: eonline_index5)
http://www.eonline.com/Features/Specials/Jews/index6.html
(Archived locally as: eonline_index6)
(All "indexes combined below)
DO JEWS RUN HOLLYWOOD?
You bet they do--and what of it?
by Ben Stein
"Hollywood is run by Jews; it is owned by Jews--and they should have a
greater sensitivity about the issue of people who are suffering.
Because...we have seen...the greaseball, we've seen the Chink, we've
seen the slit-eyed dangerous Jap, we have seen the wily Filipino,
we've seen everything but we never saw the kike. Because they knew
perfectly well, that is where you draw the [line]."
--Brando on Larry King Live
A few days after Marlon Brando scandalized the airwaves by referring
to the Jews who worked in Hollywood as "kikes," I got a call from an
editor at 60 Minutes. The woman wanted to know how I felt about
Brando's use of words and his allegation that Hollywood is "run by
Jews."
She suggested the desired answer by noting that her researchers had
conclusively proven that Jews do not run Hollywood.
Crafty 60 Minutes had studied the top slots in town. Their research
showed that "only" about 60 percent of the most important positions in
Hollywood were run by Jews. What did I think?
I managed to disqualify myself by saying that while Hollywood was not
really "run" by anyone (it's far too chaotic for that), if Jews were
about 2.5 percent of the population and were about 60 percent of
Hollywood, they might well be said to be extremely predominant in that
sector.
That was far too logical and un-PC an answer, and I never heard from
her again.
But Jews are a big part of my thoughts (as they are of every Jew's
thoughts). Plus, I live and struggle in Hollywood, so the combination
intrigues me. What exactly is the role of the Jew in Hollywood? More
to the point, what does it signify, if anything, if Jews have a big
role? And, most interesting of all, why do we care?
First, it is extremely clear to anyone in Hollywood that Jews are, so
to speak, "in charge" in Hollywood in a way that is not duplicated in
any other large business, except maybe garments or scrap metal or
folding boxes.
At mighty Paramount, the controlling stockholder is Sumner Redstone.
Head of the studio is Jon Dolgen. Head of production is Sherry
Lansing--all members of the tribe.
At titanic Disney, the CEO is Michael Eisner, the world's most
assimilated Jew, who might as well be a Presbyterian. Deputy head is
Michael Ovitz, karate champ but also a Jew. Head of the studio is Joe
Roth.
At newly energized ICM, the top dogs are Jeff Berg and Jim Wiatt. At
still overwhelming CAA, Jack Rapke and other members of my faith
predominate. At William Morris, Jon Burnham and other Jews are, by and
large, in the power positions.
This has always been true in Hollywood. The ex-furriers who created
Hollywood were Eastern European Jewish immigrants, and all of the
great edifice of fantasy-making in Hollywood is their handiwork. Names
like Zukor and Lasky and Goldwyn and Cohn are the foundation of mass
culture in America and the world.
There is a much quoted note that it took all these Eastern European
Yiddish-speaking Jews to create the lasting, worldwide image of
America and what America is--the mass culture mirror that America
likes to hold up to its face.
This thought is made concrete by the simple line at the beginning of
Gone with the Wind that it is "A David O. Selznick Production." It
took a Selznick, married to the daughter of a Louis B. Mayer, working
with a Thalberg, to create the ultimate vision of romantic
America--the antebellum South.
It took a Jew--Leslie Howard--to play Ashley Wilkes, the bedrock image
of what a perfect American gentleman is supposed to be.
Thus, the fact of Hollywood's being very largely Jewish is not exactly
news. The news is that Hollywood is rapidly becoming ethnically far
more diverse than it was only a couple of decades ago, when I first
arrived here.
You can take it from the studio level, where probably the most
powerful man in town is of the Australian faith--one Rupert Murdoch by
name. Murdoch, no one's idea of a Jew, controls a major studio, a
major broadcast network and the largest aggregation of TV stations in
America.
The head of programming at ABC is a full-on gentile, Ted Harbert. The
owner and head of production of what has become the Tiffany studio,
MGM, are Kirk Kerkorian and Frank Mancuso, also not members of Temple
Israel. And on and on.
It is certainly true that there have always been goyim in Hollywood.
But there are more gentiles in the Industry now, and there has formed
a whole new route to Hollywood.
No longer do young men and women work their way up solely by being
mailroom clerks or nephews of producers or offspring of men in the
linen-supply business.
The standard route to Hollywood now is through Harvard and Yale.
Sitcom writers and producers, movie scriptwriters and producers now
come from the Ivy League far more than from the streets of Brooklyn.
Most of the writing staff of the powerhouse Seinfeld is from the
Harvard Lampoon.
So are many of the writers on Married...with Children, Friends and
other stalwarts of the box. The route from Harvard Square to Hollywood
is now hallowed by success and money. In fact, the agencies now beg
and plead for Harvard Lampoon grads the way they once cried for the
writers of The Jack Benny Radio Program.
This change from borscht-belt origins to the halls of Harvard as a
prime source of writing talent in Hollywood is a quantum shift. Many
of the Harvard and Yale alums are, to be sure, Jews, but many are not.
Now, this is interesting to those of us who work here. But it is of no
significance at all to the 99.9 percent of Americans who do not.
The only possible significance of whether Hollywood is run by Jews or
not must have to do with whether or not the product comes out
"Jewish," or in some way different from the way it would if it were
made solely by gentiles.
Really, the point is even a little uglier than that. The only real
reason why the question of whether Jews "run" Hollywood is at all
interesting is because there is some residual thought--apparently as
was in the mind of Marlon Brando--that Jews are sinister and alien.
Kike is a low Polish word meaning the nastiest, most alien connotation
of Jew. That would mean that the Jewish product of Jewish Hollywood
would be somehow subversive in some way. This would be akin to
Wagner's notion that Jews had polluted and ruined German music with
their innately subversive sensibility.
This is a thought so bizarre and even comical to anyone familiar with
Hollywood that it merits laughter more than fear. Yes, of course, the
Hollywood product is made mostly by Jews. But these Jews are in love
with America.
These are Jews who want to play polo, not davvinn in shul. These are
Jews whose children play soccer and learn horseback riding in Malibu.
These Jews, as soon as they have two million to rub together, buy
farms in South Carolina (Joel Silver) or vast spreads in Colorado
(Peter Guber).
It was the Jews of the '30s and '40s who gave us the vision of America
the Good, where money did not count--only goodness. Think of the works
of William Wyler (maker of the ultimate pro-American heartstrings
movie, The Best Years of Our Lives), or of MGM and its celebration of
the swinging good life of Ginger and Fred.
Where does the idea come from of the perfect American family,
occasionally quarreling mildly but ultimately working it all out in
love and affection? From Ozzie and Harriet and Leave It to Beaver and
I Love Lucy, with their largely Jewish writers and producers.
Where does the idea come from that parents and children, as polarized
as they might be, will ultimately love each other? From Norman Lear
and his factory for grinding out funny and touching affirmations of
domestic life in America.
Where does the idea that blacks can be funny and endearing as
millionaires and not just as servants and wide-eyed fools fleeing
ghosts? Again, from Norman Lear and The Jeffersons.
Hollywood's current product occasionally repels and even sickens me. I
am truly disgusted with its language, its violence, its endless
attacks on businessmen and military officers. (On the other hand, it
never can attack the CIA enough for me.)
But these are eddies and ripples in the vast tide of Hollywood
messages that encourage and hearten us in our daily struggle.
Many Americans get this message far more from Hollywood than from
worship, and these are by no means subversive messages.
So now, as the shrinks say, we may perhaps to begin.
If any overall view of the Hollywood product shows it has been a
wholesome influence on American life, why is Hollywood itself still so
not trusted?
Why can a Marlon Brando attack it so explicitly for its Jewishness and
a Dan Quayle and even a Bob Dole and even a Bill Clinton attack it on
an ongoing basis for its alleged sinister quality?
I marvel that when people criticize the auto industry for making
trucks that catch fire when they are struck and cars that turn over on
a turn, no one ever says "the gentile auto industry." No one calls the
pharmaceutical industry sinister or attacks it as alien even though it
turns out a lot of pills that addict people.
As far as I can recall, Hollywood, and only Hollywood, gets the
treatment as being somehow sinister and alien.
Other industries are bad--like big tobacco--but only Hollywood is
un-American, even though its product kills a lot fewer Americans.
It's hard to resist the thought that there are only two explanations
for this:
--Envy. Life in Hollywood is thought to be fun, well-paid, glamorous
and sexy. Naturally, many people sitting in cheerless offices in D.C.
or elsewhere want to be in the seat where the mighty of Hollywood sit.
Because they have no idea of how to get there, they express envy and
criticism of the people who are there.
--Plain old primitive anti-Semitism. About two years ago, as I was
having lunch at the Spokane airport, an obviously somewhat off
waitress recognized me from my modest acting work and said she had
once seen "that Jewish woman with the big nose and the great voice"
and did I know her?
"Do you mean Barbra Streisand?" I asked.
Without missing a beat, she asked, "Say, do the Japanese control
Hollywood, or do you people still run it?"
It's fear and racism at that level that motivates the issue of
Hollywood as sinister and alien. Maybe it's so basic when it comes to
Jews that it just will never go away. Or maybe it will take so long to
go away that Hollywood will be Korean by then.
For now, Hollywood, in many ways the most successful cultural
enterprise of all time and the most potent messenger of American
values of all time, is changing, but it is still largely Jewish. And a
very angry voice in my curly head makes me add, "What the hell of it?"
<END of E! Online article>
http://www.jewishworldreview.com/0798/stein1.html
(Archived locally as: 0798_stein1)
Jewish World Review August 14, 1998 / 22 Menachem-Av, 5758
Busy Ben (Stein)
by Curt Schleier
Stein feels that Hollywood Jews are tough and aggressive--far tougher and more
aggressive than the Jews of political Washington. Yet when Marlon Brando
publicly talked about the kikes of Hollywood, Stein wrote an impassioned and
intelligent article for E! Online that pointed out the irony about Hollywood's
founders, that it "took all these Eastern European, Yiddish-speaking Jews to
create the lasting worldwide image of America.
But of course that's not really the point, he wrote. "The only real reason why
the question of whether Jews ‘run' Hollywood is at all interesting is because
there is some residual thought --apparently as was in the mind of Marlon
Brando--that Jews are sinister and alien."
Yes, Hollywood's product is made mostly by Jews-- but these are Jews who love
America...
<<Tavish comment June 24, 2003: If Hollywood Jews really love America then
why are they and their Gentile lackeys so anti-American? It can't be denied
Hollywood is a bastion of leftists/socialists/communists!!>>
<END>
Also see:
http://www-cgi.cnn.com/SHOWBIZ/9604/06/brando_on_lkl/
(Archived locally as: brando_on_lkl)
Jews for racial stereotypes
April 6, 1996
Web posted at: 4:50 p.m. EST
WASHINGTON (CNN) -- Actor Marlon Brando said some Jewish Hollywood
filmmakers need to be more sensitive to the sufferings of other ethnic groups.
The Academy-award winning actor made the remark Friday night on CNN's
"Larry King Live." He accused Hollywood of exploiting negative racial
stereotypes, except those about Jews.
"Hollywood is run by Jews," Brando said. "It's owned by Jews, and they
should have a greater sensitivity about the issue of people who are suffering
because they've [been] exploited."... <END>
http://www.wujs.org.il/activist/features/articles/empire.shtml
(Archived locally as: empire)
WUJS - World Union of Jewish Students
An Empire of Their Own: How the Jews Invented Hollywood Neal Gabler
Doubleday. 503pp. 0-385-26557-3
The major Hollywood movie studios were founded by Jews. This much is known.
Gabler treats us to a beautiful history of Hollywood - and of the Jews who
created it. With a level of social analysis that is just right, and a level of
detail that can be a bit too much, Gabler tells how a bunch of outsiders, tied
together more by a common family background in which the failure of the father
was significant than by anything else, traveled west and made a fortune. Along
the way, Gabler tells us, their relationships to America and to Judaism were all
different but all illuminating.
Carl Laemmle with Universal Pictures, Adolph Zukor with Paramount Pictures,
William Fox with the eponymous Fox Film Corporation, Louis Mayer with
Metro-Goldwyn-Mayer (MGM), Harry and Jack Warner with Warner Brothers, and Harry
Cohn with Columbus did as much as any men to build the modern Hollywood film
industry. Chapter by chapter Gabler builds a picture of each man, how they did
things and what their studio was like. This book is fascinating for anybody
interested in the history of cinema, as it is for those with an interest in the
impact of Jews on the world. Jews really did play a huge part in the making of
so many of cinema's classics - and Gabler does much to recount every little
anecdote and story. Some will no doubt find this boring, others will be drawn in
to the tales, and the intrigue.
More than being a history of Hollywood however, this book is also a history of
the Jewish lives of the studio bosses, and of the way in which their Jewishness
and desire to be more American than the President affected both them and
Hollywood. To different degrees the bosses dropped their Judaism, or allowed it
to be more compatible with their vision of Americanism. They founded a country
club when they were barred from others, and many adopted Christian practices.
They had a show biz rabbi and sent their children to the best schools.
Assimilation was more of a priority than Jewish life - most of the studio bosses
really wanted their children to be a real part of American high society. That
this obsession with assimilation influenced not only the kind of films made in
Hollywood, but also in the last analysis created the myth of the American Dream,
is perhaps the most intriguing and absorbing part of An Empire of Their Own.
Gabler argues that the Jewish studio bosses were keen to see films that stressed
a message of social inclusion, and of the 'other' being capable of change,
worthy of good treatment. What the studio bosses were really concerned with, was
their own social standing - they made films they thought would help them achieve
their strongest wish - to be accepted. The ideology that permeated these films
then was about how anybody could succeed, should be allowed to, and should be
accepted as an American. The American Dream - created by Jews.
Gabler succeeds in conveying the tragic side of the bosses' lives too.
Self-confidence was never natural, and a fear of being criticised for having too
much power or influence prevented Hollywood from being more active in working to
combat the Nazis or bring America into the Second World War. The bosses were
weak again when confronted by McCarthyism. Gabler portrays the bosses as
near-broken by these experiences, although he does it in the under-stated and
factually-laden way that characterises An Empire of Their Own.
A television programme has been made of An Empire of Their Own, and in many ways
is more worthwhile - writing about film is necessarily limited by a lack of film
to illustrate the point. What the TV programme misses though is the time to
create an incredibly rich tapestry of the lives of the studio bosses.
An Empire of Their Own is a fascinating book. Well argued and written by an
obvious expert, it is well worth getting hold of.
<END>
http://www.jewishaz.com/jewishnews/980313/hollywd.shtml
(Archived locally as: hollywd)
A&E tells story of the Jews who built Hollywood
ANNE BRADY
Associate Editor
Hearing John Wayne trying to correctly pronounce, "l'chaim," while dressed in
full Western regalia and raising his glass in a toast, you just have to laugh -
especially when it comes at the end of a thoroughly entertaining and sometimes
enlightening two-hour documentary about how a small number of immigrant Jews
invented Hollywood and the American dream, and taught us all to love mom, apple
pie and even "White Christmas."
"Hollywoodism: Jews, Movies and the American Dream" will air locally on the A&E
cable network at 7 p.m. next Sunday, March 22. It is based on Neal Gabler's
best-selling book, "An Empire of Their Own: How the Jews Invented Hollywood" and
includes extensive interviews with Gabler.
But mostly it uses newsreel and film footage to demonstrate the influence of
early American film on history and culture, and how the content of that film was
determined by a handful of studio executives who happened to be Jewish
immigrants.
[...]
"Hollywoodism" takes us back to the turn of the century, when motion pictures
were first invented by the East Coast-based Edison Trust, which then attempted
to enforce its monopoly of the industry, spurring Jewish theater owners and
would-be movie-makers West, to Los Angeles, to pursue their dreams.
In 1915, Carl Laemmie founded Universal City, setting the stage for William
Fox's 20th Century Fox (and its Century City), Samuel Goldwyn and Louis B. Mayer
of MGM, and the Warner brothers to remake the so-called City of Angels into the
city of Tinseltown dreams (which eventually became known as Hollywood, after a
housing subdivision called Hollywoodland).
We learn how this vision, this "shadow America" created on screen, eventually
overwhelmed "real America" to become everyone's image of the country. We learn
how many of the Jewish film moguls changed their names and the names of their
Jewish stars to sound less ethnic - even divorced their Jewish wives and married
gentiles, hosted festive Easter and Christmas parties, and sent their children
to Catholic schools and governesses - to completely assimilate into mainstream
America.
[...]
It's not a totally complimentary picture that "Hollywoodism" paints of these
Jewish studio greats. Sure, they founded all the big motion picture companies
and changed the recorded history and culture of the entire country, but a lot of
them sold out to do it, betrayed their own people in many ways, all out of
desperation to belong (and to make money).
To someone studying business, hearing how rich these men became, not to mention
how influential, their success may seem unparalleled. But this film shows us the
dark side of the story as well, what the studio executives left behind, what
they sacrificed on the altar of the American dream, to achieve that success.
<END>
Related to the above article concerning A&E:
http://www.sfjff.org/cgi-bin/sfjff_resource.pl?titleID=323
(Archived locally as: sfjff_323)
San Francisco Jewish Film Festival
HOLLYWOODISM: JEWS, MOVIES, AND THE AMERICAN DREAM
HOLLYWOODISM looks at mainstream American cinema from a startling perspective:
The American dream - of white picket fences and the outsider who becomes an
insider - was born of the hopes, fears and ambitions of shtetl Jews who
emigrated to America! Director Simcha Jacobovici (DEADLY CURRENTS -1992 SF JFF
and EXPULSION AND MEMORY - 1996 SF JFF) demonstrates how a small group of
Eastern European immigrants took a technological novelty and turned it into the
world's most powerful mass media. Based on Neil Gabler's "A World of Their Own",
the film uses rare archival footage and newly discovered home movies to follow
the rise and fall of the movie moguls from turn-of-the-century Europe to
California. Free of the constraints of old-world society, they helped shape a
new culture and social structure... <END>
Seeing modern HOLLYWOOD is even more radical/leftist than it was previously it
is no wonder discerning people can "see":
1) Arabs generally depicted as terrorists. How many movies show Arabs in a
favorable light versus movies which depict Jews as model citizens?
2) Pro-Choice (actually Pro-Death) is always depicted as a heroic effort and
Pro-Lifers are universally depicted as intolerant and misinformed.
3) Homosexuality is universally shown as a heroic alternative lifestyle and
those who condemn the lifestyle are depicted as bigots, intolerant, and
homophobes.
4) Christian clergy are universally depicted as suspicious persons with ulterior
motives etc. Rabbis are universally depicted is all wise and all knowing and
above reproach.
5) Christians are universally depicted as beer barrel bellied superstitious hay
seed bubbas. Also Hollywood just loves denigrating the Southern Christians as
slow talking dimwits while they universally show Jews as being scholarly and
poised!
6) No shortage of Anti-Nazi movies BUT where are movies which show communism in
the same murderous light? Why aren't Jews "anti-communist"?
I invite everyone to add to the list above and to pay close attention to the
"product" the Hollywood Jews are turning out these days.
Tavish
http://groups.google.com/groups?safe=images&ie=ISO-8859-1&as_umsgid=5mehfv08nl71brp8ebaa16urkhpdbqdbpb@4ax.com&lr=&hl=en
Subject: EXPANDED! Today's Judaism is the Same Stuff Jesus Condemned ~2000 Years
Ago (Which Has Had Some Additions Made Since Then) V3.0 R_0623
Date: Tue, 24 Jun 2003 15:55:59 -0500
Message-ID: <5mehfv08nl71brp8ebaa16urkhpdbqdbpb@4ax.com>
http://groups.google.com/groups?q=&selm=3eeae92c.61709487%40news5.uncensored-news.com&rnum=2
Subject: National Foundation for Jewish Culture - Socialism Imported Into
America by Jews (In Their Own Words People!) R_0614
Message-ID: <3eeae92c.61709487@news5.uncensored-news.com>
Date: 14 Jun 2003 09:40:12 GMT
http://groups.google.com/groups?safe=images&ie=ISO-8859-1&as_umsgid=uscefvgfqpvt2cs8l4b2h4vg14i4vbqpoo@4ax.com&lr=&hl=en
Subject: Forefathers of the Soviet State (Short Compilation) R_0623
Message-ID: <uscefvgfqpvt2cs8l4b2h4vg14i4vbqpoo@4ax.com>
Date: 23 Jun 2003 16:58:25 GMT
http://groups.google.com/groups?q=&selm=8hqsdv4c67ida5vp7bfdl9f9rt8cj405hd%404ax.com&rnum=1
Subject: Tax Exempt Religious Org (B'nai Brith) Gave Communist Financial and
Moral Support
Message-ID: <8hqsdv4c67ida5vp7bfdl9f9rt8cj405hd@4ax.com>
Date: 4 Jun 2003 21:52:32 GMT
______________________________________________________________________
Posted Via Uncensored-News.Com - FAST UNLIMITED DOWNLOAD - http://www.uncensored-news.com
<><><><><><><> The Worlds Uncensored News Source <><><><><><><><> |
|
