كيف سيطر يهود على صناعة الفيلم ؟ مقالة بالإنجليزية
مقالة باللغة
الإنجليزية
كيف سيطر اليهود الصهاينة على صناعة
الفيلم وكيف يروج التلفزيون الأمريكي التحيز ضد العرب والمسلمين
(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 powemolder 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.
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