كيف سيطر اليهود الصهاينة على صناعة الفيلم وكيف يروج التلفزيون الأمريكي التحيز ضد العرب والمسلمين
مقالة
باللغة الإنجليزية
(الجزء الأول)
بقلم الدكتور عبد الله محمد سندي
المصدر: مجلة العروض التاريخية
تقديم : هذه مقالة هامة في بابها وأرجو من الله عز
وجل أن يتصدى أحد لترجمتها إلى اللغة العربية وحتى يتم ذلك فإننا ننشر هنا المقالة
على جزأين ، نرجو أن تتم الفائدة منها وفيما يأتي الجزء الأول
How the Jewish-Zionist Grip on
American Film and Television Promotes Bias Against Arabs and Muslims
Unquestionably
the most power molder of opinion in the world today is the American global
media, and especially the Hollywood motion
picture industry. Ever since Zionist Jews forcibly established the State of
Israel on the land of Arab Palestine in 1948 (with a great deal of American
help), and as Arabs and Israelis have struggled for control of this land in the
years since, Hollywood and the rest of American mass media have carried out a
campaign to disparage Arabs and tarnish their image.
American
motion pictures and television -- which have promoted negative images of
non-Caucasians, including Native Americans, African-Americans,
Hispanic-Americans, and Asian-Americans -- since the 1950s have singled out
Arabs and Muslims, more often than any other ethnic-religious group, as objects
of hatred, contempt, and derision. (Because Arabs are the world's most numerous
Semitic group, this hostility against them is literally anti-Semitic.)
'Villain of Choice'
In
American television, writes Professor Shaheen, "the villain of choice
today is the Arab." He also says: "To be an Arab in America today
is to be an object of contempt and ridicule by television under the guise of
entertainment. To me this anti-Arab image on entertainment manifests itself in
the politics of America." note
Misconceptions
This
media campaign fosters numerous misconceptions about Arabs and their prevailing
religion, Islam. For example, although Arabs have lived for centuries in
thriving metropolitan centers such as Rabat, Algiers, Alexandria, Cairo,
Damascus, Jerusalem, Beirut, Mecca (Makkah) and Baghdad, and have built
complex, civilized societies across the Arab world, as well as in Europe's
Iberian Peninsula, many Westerners have been persuaded to believe that Arabs
are typically uncultured nomads who live in desert tents.
Similarly,
while many Americans regard OPEC -- the Organization of Petroleum Exporting
Countries -- as synonymous with Arabs and the Arab world, and while the US media
routinely blames Arabs whenever OPEC decides to raise oil prices, in fact six
of the 13 OPEC member states are not Arab.
Also
typically, American television and motion pictures often depict Arabs and
Muslims, uniquely, as religious bigots, lacking any tolerance for the religious
sensibilities of others. In fact, for much of history, Islam has been more
tolerant of Christianity (and of Judaism) than vice versa. Moreover, it was
Jewish Zionists who established Israel ,
in the "promised land" of Palestine ,
as a state exclusively for the "chosen people."
While
the Arabic word "Allah" is often invoked in American films in a way
designed to evoke derision and cynicism, conjuring an image of some weird pagan
deity, in fact "Allah" is simply the Arabic word for God. Not only
Arab Muslims, but Arab Christians and even Arab Jews, use this word as their
term for God.
Although
officially classified by US
government agencies as "White" or "Caucasian," Arabs (and
particularly Arab men) are sometimes depicted in American television and movies
as Negroid blacks, reinforcing a derogatory image of Arabs as so-called
"sand niggers."
"Terrorists"
are active all over the world, in countries as diverse as Britain , Italy , Ireland , Russia , Germany , Spain , Japan , Israel , and the
United States .
(The terrorist record of the Jewish Defense League, for example, is well
documented. In 1985 the FBI named the JDL as the second most active terrorist
groups in the US .)note However, Hollywood has done much
to encourage Americans to associate "terrorists" with Arabs
(especially Palestinians), and Muslim "militants."
Arab Takeover?
Highly-publicized
Arab purchases of some US corporations in the 1970s and 1980s set off
hysterical cries in this country's periodical press and electronic media about
the danger of Arabs allegedly "buying up" America. In reality, these
purchases were unexceptional, no different than numerous other cross-border
investments carried out routinely around the world over the last century.
Actually, during the 1980s Canada ,
Britain ,
Germany ,
France ,
the Netherlands ,
Switzerland
and Japan
accounted for nearly 90 percent of direct foreign investment in the US . Direct
foreign investment from OPEC member countries, the US Department of Commerce
reported, accounted for less than one percent of the total.note
Jewish Power in Hollywood
Negative
images of Arabs in American motion pictures are hardly surprising given the
major role played by Jews and other supporters of Zionism in Hollywood . In his 1988 study, An Empire of
Their Own: How the Jews Invented Hollywood, Jewish author Neal Gabler shows
that Jews established all of the major American film studios, including
Columbia, Metro-Goldwyn-Mayer, Warner Brothers, Paramount, Universal, and
Twentieth-Century Fox. The American film industry, writes Gabler, note
was
founded ... and operated by Eastern European Jews ... And when sound
movies
commandeered the industry, Hollywood
was invaded by a battalion of Jewish writers, mostly from the East.
The most powerful talent agencies were run by Jews. Jewish lawyers
transacted most of the industry's business and Jewish doctors ministered to the
industry's sick. Above all, Jews produced the movies ... All of which led F.
Scott Fitzgerald to characterize Hollywood
carpingly as "a
Jewish holiday, a gentiles [sic] tragedy."
So
rapidly did Jews come to dominate Hollywood
that as early as 1921 Henry Ford's Dearborn Independent was moved to fulminate
that American motion pictures arenote
Jew-controlled, not in spots only, not 50 percent merely, but entirely;
with the
natural consequence that now the world is in arms against the trivializing
and
demoralizing influences of that form of entertainment as presently managed ... As
soon as the Jews gained control of the "movies," we had a movie
problem, the
consequences of which are not yet visible.
In
his detailed 1994 study, Sacred Chain: A History of the Jews, New York
University professor Norman F. Cantor, pointed out that Hollywood film
production and distribution was "almost completely dominated in the first
50 years of its existence by immigrant Jews and is still dominated at its top
level by Jews ... The last Gentile bastion in Hollywood, the Disney studio,
came under Jewish executive leadership in the early 1990s."note
Jewish
historian and journalist Jonathan J. Goldberg, makes a similar point in his
1996 survey, Jewish Power: Inside the American Jewish Establishment. He writes:
note
... Jews
are represented in the media business in numbers far out of
proportion
to their share of the population ... In a few key sectors of the
media,
notably among Hollywood studio executives,
Jews are so numerically dominant
that calling these businesses Jewish-controlled is little more than a
statistical
observation.
The
combined weight of so many Jews in one of America's most lucrative and important
industries gives the Jews of Hollywood a great deal of political power.
They are a major source of money for Democratic candidates. The industry's
informal patriarch, MCA chairman Lew Wasserman, wields tremendous personal
clout in state and national politics ...
In
the decades since, Hollywood
has presented an image of Arabs that is often cruel and barbaric. Manifesting
its support for Israel ,
and its opposition to the Arab and Muslim worlds, which have strongly opposed
the invasive Zionist state, Hollywood
developed a cinema genre around the Arab-Israeli conflict. In this spirit, Hollywood has produced
numerous "good guy/bad guy" films over the last 50 years,
simplistically portraying heroic and righteous Israeli Jews prevailing against
treacherous and barbaric Arabs. During the 1960s alone, at least ten such major
Hollywood films were produced. note
In
such films, Israeli Jews and their American friends are frequently played by
popular and good-looking Jewish-American actors such as Paul Newman, Tony
Curtis, and Kirk Douglas, as well as handsome non-Jewish actors such as Yul
Brynner, John Wayne, Jane Fonda, Frank Sinatra, Charlton Heston, George
Peppard, Rock Hudson, Sal Mineo, and Arnold Schwarzenegger. Arabs, predictably,
are routinely portrayed as and cruel, cynical, and ugly.
During
a publicity interview for her 1981 film "Rollover" (in which
"the Arabs" destroy the world financial system), actress Jane Fonda,
"the progressive leftist" of the 1960s, bluntly expressed her own
bigoted view of Arabs: "If we are not afraid of the Arabs, we'd better
examine our heads. They have strategic power over us. They are unstable, they
are fundamentalists, tyrants, anti-women, anti-free press."note
It
is not possible to recount here all of Hollywood 's
many anti-Arab or anti-Muslim pictures over the last several decades, but here
are some representative productions:
In
"Exodus" (1960), brutal Arabs kill an attractive 15-year-old Jewish
girl played by Jill Hayworth; in "Cast a Giant Shadow" (1966), Arabs
leer and laugh as they shoot an Israeli woman trapped in a truck; in
"Network" (1976, and winner of four Academy Awards), a crusading
television news commentator warns that Arabs, "the medieval
fanatics," are taking control of the US; in "Black Sunday"
(1977) an Israeli plays the hero, while Arabs are the villains and terrorists
who want to kill Superbowl spectators, including the President of the United
States; in "The Delta Force" (1986), "Iron Eagle" (1986),
and "Death Before Dishonor" (1987), Hollywood shows viewers how to
deal decisively with the low-life, no-good, dirty Arab terrorists; in the
Disney studio's animated film production, "Aladdin" (1992), the theme
song brazenly refers to Arabia as barbaric ("It's barbaric, but hey, it's
home"); in "True Lies" (1994), an Arab terrorist with nuclear
weapons has to be stopped; in "Executive Decision" (1996) yet another
group of Arab militants hijacks an American plane; and in "Kazaam"
(1996), an Arab criminal and a black genie enjoy eating a "centuries-old
Arab delicacy," a plate of goats' eyes.
More
recent motion pictures with negative images of Arabs or Muslims include
"Not Without My Daughter" and "The Siege." In "The
Siege," Muslims wage a bombing campaign against innocent Americans. In
response, federal authorities declare martial law and carry out mass arrests of
Muslims and Arabs across the United
States .note
Television
It
is difficult to exaggerate the role played by television in shaping the mindset
and outlook of the American people. Dr. George Gerbner, former Dean of the
Annenberg School of Communications at the University of Pennsylvania ,
put it this way: "Television, more than any single institution, molds
American behavioral norms and values. And the more TV we watch, the more we
tend to believe in the world according to TV, even though much of what we see
is misleading."note
Like
the US
motion picture industry, American television is dominated by Jews and
supporters of Zionism. While American Jews constitute only about two or three
percent of the US
population,note
Irving Pearlberg, a Jewish-American television writer, maintains that no less
than 40 percent of American television writers are Jewish.note During the
early 1990s, notes New York
University professor
Norman Cantor, "one TV network was already headed by a Jew (Laurence Tisch
at CBS), and Jews are prominent executives and producers at the other two major
networks as well."note
Ben
Stein, Jewish-American author of The View From Sunset Boulevard, forthrightly
acknowledged: note
A
distinct majority, especially of the writers of situation comedies, is
Jewish
... TV people have certain likes ... and dislikes ... and these likes and
dislikes
are translated into television programming. In turn, this problem
raises
the public acceptance of the favored groups and the public dislikes of
the
resented groups.
Given
this reality, it is hardly surprising that one rarely, if ever, sees a Jewish
or Israeli figure portrayed as a villain on American television. On the
contrary, Israelis in particular and the Jews in general are routinely
portrayed in the American mass media as heroic, insightful, sophisticated,
witty, intelligent, compassionate, physically attractive, confident, humane,
and successful.
On
the other hand, like the Arab in Hollywood
movies, the US
television Arab is often physically unappealing, wealthy, stupid, sexist,
crude, lazy, uncultured, cruel, rude, greedy, fanatical, anti-American, and
anti-Christian. He is often portrayed as a terrorist, a plane hijacker, a
polygamist, a sex-maniac, a hostage-taker, a murderer, a kidnapper of young
blond-haired, blue-eyed women, an as an oil sheikh blackmailer, and oddly
dressed (often in a red-checkered kuffiyyah headdress, or in ungainly gowns or
robes).
News
reporting on American television, as well as its presentations of history and
other serious subjects, routinely has a distinctly pro-Israeli or pro-Jewish
slant. This is understandable, of course, given the prominent role of Jews in
television news departments, and the many Jews (often with obvious Zionist
biases) employed as reporters, frequently covering the Arab-Israeli conflict or
the Middle East generally.
Seldom
does America 's
Zionist-oriented media fairly present the Arab or Muslim point of view,
particularly on such issues as the plight of displaced Palestinians, oil
politics, or the struggle against Western imperialism. For example, the
Zionists who invaded Arab Palestine during the 1930s and 40s, are frequently
(and misleadingly) referred to as "homeless" Jews. Similarly, Israeli
military actions against Arabs over the last 50 years are routinely justified
as acts of "retaliation" against Palestinian and Arab aggression or
terrorism.
Whereas
the Zionist-Jewish point of view is frequently presented on American elevision
without challenge, the Arab or Muslim point of view (when is even adequately
given) is often presented only together with a "balancing"
Zionist-Jewish perspective.
In
addition to producing films and programming that are supportive of Israel , and
distorting the views and positions of Arabs and Muslims (especially with regard
to the struggle against the Zionist occupation of Palestine ), Hollywood and the American television
networks effectively censor pro-Arab and pro-Muslim motion pictures and
television programming. During the 1970s, for example, American motion picture
theaters and television networks boycotted and "killed" a
pro-Palestinian film produced by Vanessa Redgrave, the well-known British
actress and leftist activist.
James
McCartney, a veteran American journalist, once said what many Arabs and have
thought for decades: note
It
is my personal belief that if the media as a whole in the western world
had done
an adequate job in reporting from the Middle East, it would not have
been
necessary for the Palestinians to resort to violence to draw attention to
their
case.
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