Although there appears to be a tendency for the so-called Hollywood insiders and others who have special knowledge and information about what is really going on in Hollywood to keep quiet, occasionally, someone does step forward to offer limited, but valuable criticism of the business side of the film industry and how that relates to the films that are available to be seen by mass audiences. An honor roll of some of those who have not been intimidated by the Hollywood power structure and who have come forward in recent years to write about their own perspective on the corruption in Hollywood should include Dan Moldea, Kenneth Anger, Pierce O'Donnell, Dennis McDougal, Steven Bach, William Cash, Steven Sills, David McClintick, Michael Medved and Terry Pristin. These are the few who have not kept quiet. Aside from the many quotes included in this book and attributed to such authors and others, the balance of the statements made are my own and represent my opinion only.
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Medved also seems to be confusing the religious versus the cultural aspects of being Jewish, adding still another layer of his many faceted smokescreen by putting forth some unknown proponent's extreme hypothetical religious conspiracy argument. The fact that the small group of Jewish males of European heritage who are politically liberal and not very religious controls and dominates Hollywood has nothing to do with the reality of the extensive system of reciprocal preferences engaged in by such persons on each other's behalf, to the competitive detriment of the vast majority of other persons striving to participate at a meaningful level in the film industry, but who do not fit within the characteristics of this insider's group. Whoever made the argument that " . . . Hollywood's Jews are following some supersecret script for world domination laid out for them in the Talmud some fifteen hundred years ago . . . " is not supported by this book. That is not an argument put forth in these pages nor is it an argument I have heard in the ten years I have worked in the Los Angeles entertainment community, or seen in any of the published materials reviewed in the preparation of this book (see bibliography). That is the kind of fringe argument that people like Michael Medved will trot out for the sole purpose of distracting attention from the more reasonable and truthful position, (i.e., that Hollywood is and has long been controlled and dominated by a small group of Jewish males, of European heritage, who are politically liberal and not very religious), regardless of whether they talk to each other about it or not and regardless of whether their control of Hollywood has anything whatsoever to do with the Jewish religion or culture.
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As noted above, it may also be true that there have been more so-called anti-Nazi films produced or released for consumption by the American public than films about all of the other U.S. war-time enemies put together. If that were true, such a result, would once again suggest that those who control the American film apparatus, do in fact use their power and discretion to create and offer negative portrayals of the enemy most feared or hated by the filmmaking community itself. In any case, none of these references to movies that portray an anti-Nazi point of view or provide a sympathetic portrayal of Jews is intended to discredit the perspective portrayed, but only to illustrate that the excessive number of such movies support the contention of this book that clear patterns of bias exist in Hollywood films and that too many movies reflecting such views have been produced or distributed by the U.S. film industry to the exclusion of movies that could have been made by other groups within our society, who also have important stories to tell through this significant communications medium. This pattern of bias, in fact reflects the rather arrogant contention that the perspective of this small group of these politically liberal, not very religious Jewish males of European heritage is more important that the perspective of others in our society, and thus deserves more attention in the movies.