"Anders Peter Johnsen" <anderspj@mail.dk> skrev i en meddelelse
news:3f991994$0$27456$edfadb0f@dread16.news.tele.dk...
>
http://ekstrabladet.dk/VisArtikel.iasp?PageID=223937
>
> Det eneste der mangler, er vist bare at vidner hørte en stemme fra himlen,
> der sagde: "We are not amused!" ;-D
>
> Gudskelov for at de ikke kom til skade...På den anden side lugter det lidt
> af Hollywood-hype...
> Mvh Anders Peter Johnsen
Her en lille artikel om Jøderne og hollywood.
Bob Andrews reports on a revealing C4 programme
NOT LONG AGO Channel Four TV screened a documentary entitled Hidden
Hollywood, with a secondary title 'Jews, Movies and the American
Dream'. Based on Neil Gabler's book How the Jews invented Hollywood
(published in 1989), this two-part programme took the viewer on a
fascinating and incredibly candid trawl through early American cinema.
Using old film footage and interviews with authors and academics, it
told the story of the first studio bosses and movie moguls - formerly
Yiddish-speaking Jewish immigrants from Eastern Europe. Ironically, if
a Gentile went in for such frank coverage as was revealed in this
programme he would no doubt be branded as a 'racist'!
Narrator Zoe Wanamaker opened the programme by announcing that:-
"Modern America first saw light on the Hollywood screen. It was
largely the product of six movie studios established in the 1920s by a
group of Jewish immigrants. One could really say that the American
dream was born in Eastern Europe."
With this introduction, I was riveted to my TV set. The viewers were
then given a list of moguls, their studios and their countries of
origin. These were Louis B. Mayer (Russia), Samuel Goldwyn (Poland),
The Warner Brothers (Poland), Carl Laemmle (Germany), Adolf Zukor and
William Fox (both Hungary).
The programme then went on to ridicule Thomas Edison and the other
early film innovators:-
"These old-stock Protestants championed a view of America where the
white upper classes ruled and the immigrants knew their place. They
produced racist films such as Birth of a Nation and The Klansman,
which played on White America's fear of racial intermixing."
So spat the narrator - to which I found myself thinking to myself:
"Nothing wrong with that!" She then continued:-
"In 1908 Edison created the Producers' Trust, which declared a
monopoly on film production. Seven years later he would lose that
monopoly in the courts, but in 1912, to escape Edison and the goons he
sent to enforce his control of the industry, the future moguls headed
west, to the orange groves of California. By 1920 they had set up
their own studios."
Media historian Alijean Harmartz then remarked: I'm not sure there was
an American dream before the moguls created the images." We were then
told by the narrator: "In the 1920s and 1930s movie houses became the
temples to the new Hollywood religion." Then a professor, Les
Friedman, made some startling revelations about the early promotion of
miscegenation, and I quote: "The whole notion that early Hollywood
pins itself on is intermarriage. The whole idea of inter-ethnic
romance fascinated them." A very perceptive comment by Prof. Friedman.
By the way, it appeared from the commentary that many of the moguls
divorced their Jewish first wives and married younger, more attractive
and socially acceptable Gentile women.
Influence on music
Next, the programme informed us of the Jewish influence on music:-
"The Hollywood Jews may have wanted to marry into White America, but
when it came to music Jewish composers looked to Black America. Harold
Arlen, son of a Cantor and the liturgical singer in a synagogue,
became one of the foremost popularisers of the Blues."
And it continued:-
"In creating the great movie musicals, Hollywood adapted the Broadway
musical, an original American art form, almost wholly invented by
fellow Jews."
Friedman was later interviewed again and he stated:-
"Almost all the writing pairs that have come to epitomise Broadway
have been Jewish, be it Lerner & Lowe, Rogers & Hammerstein, Jerome
Kerr, etc."
The narrator amusingly observed that Irving Berlin's contribution to
quintessential tear-jerking Gentile classics, such as God Bless
America, Easter Parade and White Christmas, were second to none.
Closing the first part of the programme, Miss Wanamaker told us how
early Hollywood promoted the black race:-
"Hollywood moguls took a different view of African Americans than that
of pre-Jewish Gentile film-makers. The Hollywood Jews wanted to be
accepted as Americans. Their pictures advocated assimilation - not
just for Jews but for everyone."
Having watched this, I could hardly believe that such revelations were
being made. Although most racial nationalists have been privy to this
information for decades, this was the first time in British
broadcasting history, to my knowledge, that such factual evidence had
been exposed to the public at large. I promptly set my video recorder
for the titillating second instalment.
Theme of 'assimilation'
'Assimilation' began the theme of the second programme. The narrator
began by saying:-
"Jewish immigrants who created Hollywood reinvented themselves in an
image of America of their own making. They joked that they had gone
from Poland to polo in one generation."
Often the first thing they discarded was their Jewish names. After
this message had come over clearly, we were then given a roll call of
actors and actresses whose names were changed by the studios: Lauren
Bacall (Betty Persky), Danny Kaye (David Kaminsky), Kirk Douglas
(Issur Danielovich Demsky), just to name a few. Some of Hollywood's
leading Jews openly espoused assimilation and the literal mixing of
different bloods (except their own of course) as the American ideal.
They called for the creation of a new human type, liberated from the
past. Sounds familiar in a latter-day context, doesn't it?
At this point, the film moguls may have concluded that their
transformation from Eastern Europeans into Americans was complete, but
history intervened to remind them of their origins. This was in the
form of World War II.
In 1939 a group of stars and producers risked their celebrity status
to speak out against Hitler, and openly advocated boycotting German
products. Harry Warner made an anti-fascist speech to the American
Legion. In response to all this, Joseph P. Kennedy (father of JFK)
convened a secret meeting in Los Angeles with the moguls. He told them
that American Jews would be blamed if the US was dragged into war with
Germany. He warned them to stop agitating against Nazism. Gabler, who
was interviewed extensively throughout the documentary, said:-
"The Second World War was a wonderful time for the Hollywood Jews. It
gave them the chance to make patriotic movies, which extolled American
values and depicted minorities, Blacks and Jews, as all fighting
together on the same side."
The narrator added:-
"A democratic state could not send minorities, immigrants and the poor
to die for an America which excluded them. So if the enemy was
fascist, the American Army had to be portrayed as caring and sharing."
Miss Harmartz concluded on this topic:-
"They depicted equal opportunity fox-holes. If you look back at those
movies, there's always one Jewish character and one Black. The Army
was not integrated except in films, and the Office of War Information
was very eager to keep our enemies from making capital out of any sort
of racial tension in the ranks."
Intriguingly, this seems to echo what's happening in the British Army
right now!
Investigations
The final subject of the programme was the investigations by the House
of Un-American Activities Committee (HUAAC) in the early 1950s. The
narrator opened with the words:-
"To the moguls' suprise, powerful men in Washington saw Hollywood's
patriotism as nothing more than thinly disguised communism. With the
advent of the Cold War, the HUAAC began persecuting Hollywood for its
populist and pro-Soviet films, which the Roosevelt administration had
encouraged to be made during the war."
The cleansing of the motion picture industry's more extreme
intellectual socialist scriptwriters and directors had begun, but the
reality was that the industries' creative input from then on became
more subtle but nonetheless morally destructive. In the programme
there was then shown period footage of the trials, chaired by John
Rankin, described as a 'vicious anti-semite'. Rankin was quoted as
using communism as a euphemism for Judaism, saying: "It is the curse
of the ages, and cannot live side by side with Christianity."
The series finished with the narrator announcing, in accompaniment to
a fanfare of sentimental pseudo-patriotic American musical themes and
images:-
"The moguls are gone but their vision survives. The America of Edison
and Rankin has given way to an alien ideology. It isn't the communism
or Judaism that the gentile élite once feared; it's Americanism as
defined by the new global religion: Hollywoodism!"
This last phrase left me utterly stone cold.