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

Abdullah Mohammad Sindi

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.

Hollywood at the end of the twentieth century is still an industry with a pronounced ethnic tinge. Virtually all the senior executives at the major studios are Jews. Writers, producers, and to a lesser degree directors, are disproportionately Jews -- one recent study showed the figure as high as 59 percent among top-grossing films.

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 ...

Hollywood's Jewish executives greeted the founding of Israel in 1948 with ecstasy. One Jewish film executive, Robert Blumofe, later recalled the euphoric mood of the time: "And suddenly Israel, even to the least Jewish of us, represented status of some s. It meant that we did have a homeland. It meant that we did have an identity ... All of this was terribly, terribly uplifting." note

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.