Hollywood Advances “Soft Assault” on Christian Imagery

Edison may have invented the 'motion picture', but Jewish immigrants from Europe "invented Hollywood". Remarkably, in the century since Meyer, the Warner brothers and a handful of other Ashkenazi Jewish immigrants began the 'studio system', Hollywood still maintains a distinctly Yiddish accent. Some critics, however, posit that Hollywood doesn't play fair, since it employs the mesmerizing power of cinema to manipulate the mindset of complacent viewers. How? By relentlessly injecting sordid scenarios and denigrating images of once respected American archetypes and institutions. Latest targets: the Catholic Church and, as usual, Arabs.

One very recent example (out of many) is the comic-book-styled action flick "Sin City". In it we witness numerous oddball villains, many adorned with multiple layers of crucifixion crosses (a symbol revered by many Christians) as they go about their merry, murderous ways. Indeed, the film's arch-villain turns out to be nothing less than a satanic, cannibalistic Catholic cardinal! OK, this is fictional entertainment, but Hollywood knows that these scenarios have a visceral, even subliminal, impact. That's basically why we don't see any Hollywood-fabricated demons sporting Stars of David (a symbol revered by many Jews) nor do we see any 'rabid rabbis' dished up for popular entertainment.

The unspoken code of Hollywood is this: Jewish archetypes and religious sensitivities are to be respected. Others may be casually smeared.

Although Catholics and Arabs are expected to survive this non-lethal onslaught, when one considers the laudatory treatment Hollywood grants Jewish and Israeli characters, it's becoming an insult. How is it that Jews, Arabs and Christians receive such different treatment under Hollywood's gaze?

In polite terms, the Jewish presence in American film and media is "without peer".

In many ways, Hollywood is an "insider" kind of business. While talent is essential, there is a political element to success in Hollywood. One must pass muster with the specifically Jewish dictates of political correctness. Otherwise, one may find oneself very unemployed. It took an actor/producer with the stature of Mel Gibson to buck this kosher Hollywood code and produce his controversial, but wildly successful film, "The Passion". Even Gibson however had to endure a tidal wave of organized Jewish protest, including death threats to his family.

To no one's surprise, Bob and Harvey Weinstein of Miramax Films declined to distribute Gibson's "The Passion", in no small part because it offended many Jews and was accused of stoking the "eternal flames" of anti-Semitism. On the other hand, the Weinstein brothers did distribute "Sin City" as well as Michael Moore's much ballyhooed "Fahrenheit 9/11". Why? Both films respected the unwritten kosher code: vilification of Arab and/or Christians is acceptable, but one must never --- even in the context of analyzing terrorism or U.S. foreign policy in the Middle East--- demonize Israel or Zionism.

Indeed, in "Fahrenheit 9/11", Michael Moore's controversial "expose" actually managed to keep Israel, Zionism (and even neo-conservatism) completely off the cinematic radar. Moore did provide acceptable doses of Saudi-bashing as well as enough innuendo to bolster the Leftist, politically correct view that U.S. Mid East policies are "ALL about oil". He's been the darling of liberal Hollywood circles ever since.

With that in mind, it's important that the aspiring film-maker should remember these three things:

One: Jews tend to occupy the top of the Hollywood food chain.

Two: They intend to remain there.

Three: Don't forget those first two things.

Like it or not, the "gatekeepers" of American mass media are disproportionately 'Israeli-American'. Though Tinseltown famously disdains "white (non-Jewish) racism", prevailing Hollywood customs affirm industry-wide Jewish networking. The results are nothing less than astounding.

America, many now acknowledge, has come to "think Jewish ", as attitudes have magically shifted on matters such as race, "minority rights", school prayer, "abortion rights", celebrating "the holidays", and "promoting our nation's values" via militant democracy-building in all Mid-East countries except Israel. OK, Israel may qualify as a "democracy" in the same way that white, apartheid South Africa did, but there's one huge difference: concerted intervention from around the world finally brought the segregated, apartheid system to its knees. White racial discrimination has been declared "evil". Significantly, Jewish activists played a decisive role in the anti-apartheid movement. Yet Israel suffers no similar opprobrium. Pressures on the Jewish state to abandon its commitment to legally sanctioned segregation are also virtually non-existent. Israel is in a class by itself.

Further, it is no accident that Israeli "security" is now the centerpiece of U.S. foreign policy.

How are the highly placed "friends of Israel" able to bamboozle so much of the world? ---Through a complicated but interconnected array of propaganda, political pressure, complex legalisms, victim identity (see: The Holocaust) and raw political muscle. In today's America, just an allegation of "anti-Semitism" can damage the career of any public figure. And to sustain this perspective, Americans are supplied a daily dose of Holocaust lore. As a sidebar, here's an additional fact that would be funny if only it wasn't true: Holocaust "experts" are virtually all Jewish. Does their collective obsession produce scholarship--or a license to propagandize?

In any case, for the latest Holocaust news, one needs simply to turn on the TV or pick up any major newspaper. Yet an accurate telling of the Jewish experience in America would spotlight not suffering or persecution, but success, acceptance, privilege and influence. Jews are America's preeminent success story.

Although reportedly less than 3% of our population, Jewish per capita income is unsurpassed, as is their presence at our nation's top universities and think tanks. As noted, American Jews make up a majority of Hollywood's ruling class and beyond that, Jewish 'over-representation' is an accomplished fact in law, journalism, and publishing. This is no small matter. With the average American watching over four hours of TV or film every day (and perusing mainstream newspapers and magazines, too) these figures are evidence of a profound ethnic imbalance in the management and dissemination of news and information. For America's Jewish community, this translates into unrivaled political power.

The enduring fact remains that who ever owns and manages the media, can also leverage public opinion, and from there, government policies.

Indeed, Jewish media mavens have the means to easily advance their particular view of history, with far-reaching consequences. And with the Jewish state of Israel embroiled perpetual conflict since its founding in 1948, the question must be posed: might many of our country's most accomplished producers, editors and story-tellers have at least a minor conflict of interest?

Put another way: how can they NOT?

After all, Israeli "security" remains the essential focus of organized Jewry. Countless pro-Israel organizations famously apply incessant pressure on government officials, political parties, candidates, journalists and fellow 'tribe-members' to lobby on Israel's behalf, assuring an uninterrupted flow of billions of dollars annually in U.S. aid to the Jewish state.

Consequently, maintaining a public willingness to favor America's present interventionist, (pro-Israel/anti-Arab) foreign policy is an essential component in any scenario culminating in the Final Zionist Triumph. It's essential therefore that American gentiles "think correctly" on key Jewish issues. Thus, many complex political issues are 'dumbed down' for mass consumption. Good and evil are drawn neatly in back and white, so that American consumers of news and entertainment can easily draw the proper conclusion. Arabs (particularly Palestinians resisting Israeli occupation) are therefore "terrorists", Nazi demonology is a growth industry, and Holocaust Revisionism (widely misrepresented as "Holocaust Denial") is peddled as a veritable threat to world order.

It's a staggering fact that in numerous "free, Western democracies" (such as Germany, Canada, France, the Netherlands, Austria, Switzerland, and others) it's a crime to question the official Jewish death toll figures or the gas chamber story in the events now called The Holocaust. Penalties include fines and actual imprisonment!

Holocaust heretic Ernst Zundel was deported from the U.S. to Canada where he spent two years in solitary confinement. Now he sits in a German prison. Who's next?

A balanced, accurate view of history matters, yet when the facts don't fit, the media gatekeepers can purposefully misinterpret, obfuscate or simply overlook them. This may explain why, for instance, there is so little media interest in the annihilation of 20 million anti-Bolshevik Russians preceding WWII. After all, 20 million Russians KILLED BY THEIR OWN GOVERNMENT is the all-time tsunami of war crimes. Who were the perpetrators? Where are they now? Did they receive American cover? Do they still?

In addition, the average American simply knows nothing about the 'over-represented' Jewish role in Communism's insidious rise. This too is no accident.

Considering that some 275 million people have perished in wars during the past century, America's nurtured obsession with, and elevation of, Jewish suffering in Europe during WWII might be seen as a peculiar idiosyncrasy. Indeed, many have concluded that the American Mind is under Israeli management. The irony of our nation's preoccupation with Jewish war causalities 55 years after the fact becomes even more unpleasant when we consider the horrendous, ONGOING persecution of Palestinians in the Holy Land under Jewish occupation. The fundamental Palestinian crime: residing in Israel without proper Jewish DNA.

As for American cinema, there has been a sea of changes in the past generation. There's now a multicultural array of celebrities, including many Jewish ones. On the other hand, Christianity doesn't get the kind of coverage it enjoyed when Frank Capra was directing. Thus, we are treated to seeing an array of stock Christian mobsters, whores and charlatans. As for Arabs, they're still welcome to play terrorist schemers or religious fanatics. This is the mean side to American film that goes unacknowledged and unchallenged.

Recently, after reading numerous glowing reviews, we succumbed to seeing the afore-mentioned over-praised, action-revenge flick, "Sin City". Directed by Frank Miller and Robert Rodriguez (with "special guest director" Quentin Tarantino), "Sin City" is a gritty, sexy and surrealistic foray into a violent post-modern metropolis. By contemporary standards, this film delivers more than its share of violence, though there's certainly worse in circulation. In "Sin City", the denigration of Christian icons, however, approaches new highs (lows?), something that was also very evident in Tarantin's previous "Kill Bill" movies. "Sin City" even manages to associate blue eyes with depravity, although for Hollywood that's nothing new.

The film's two heroic characters (and they were not wearing any Christian symbols) were portrayed by Mickey Rourke and Bruce Willis. It's Willis who finally manages to kill the evil Catholic priest. It was designed to be a stirring moment.

At any rate, we can rest assured that Hollywood will refrain from depicting Jews in such negative fashion. As for the rest of us, we're supposed to buy tickets, eat popcorn and not complain. In fact, we're not even supposed to NOTICE, since it might suggest racial loyalty which, for (non-Jewish) white Americans, is a modern sin.

These very real double standards speak volumes about who holds real power in contemporary America.

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Last updated 18/08/2005

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