Deconstructing Hollywood
Subliminal Propaganda Sleazes Onto The Big Screen

By Mark Green and Wendy Campbell

Edison may have invented the 'motion picture' - but Jewish immigrants from Europe created Hollywood. (Read 'How The Jews Invented Hollywood' by Neal Gabler) Remarkably, in the century since Meyer, the Warner Brothers and a handful of other Ashkenazi Jewish immigrants who began the 'studio system', Hollywood 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. Current targets: the Catholic Church and , as usual, Arabs.
One very recent example out of many is the comic-book styled action film "Sin City." Here, many of the villains are sporting multiple crucifixion crosses, a symbol held sacred by many Christians, and mixed in with a smattering of swastikas. Indeed, the film's arch-villain turns out to be a satanic, cannibalistic Catholic cardinal! OK, this is fictional 'entertainment' but Hollywood knows these scenarios have a visceral, even subliminal, impact. That's basically why we don't see any Hollywood-fabricated demons and bad guys sporting a Star of David nor do we see any rabid psychopathic rabbis dished up for popular entertainment.
The unspoken code of Tinseltown is simple: Jewish archetypes and Jewish religious sensitivities are to be respected. Others may be casually smeared.
Although Catholics and Arabs are expected to survive this non-lethal, but inherently pernicious onslaught, considering the laudatory treatment Hollywood's Jews regularly heap upon themselves when portraying their brethren, it's becoming a bit of an outrage, as it should. 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."
Hollywood is an insider 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 much unemployed and ignored. It took an actor/producer with the stature of Mel Gibson to buck the kosher Hollywood code to produce and distribute his controversial, but wildly successful film "The Passion." He endured a tidal wave of organized, Jewish protest, including death threats to his family.
Not surprisingly, Bob and Harvey Weinstein of Miramax Films declined to distribute The Passion assuming it would offend their crowd and/or fan the "eternal" flames of "anti-Semitism". On the other hand, the Weinstein brothers did distribute "Sin City" as well as Michael Moore's much ballyhooped Fahrenheit 9/11. Why? Both films respected the unwritten kosher code: vilification and defamation of Arab and/or Christians is perfectly fine, but one must never - even in the context of analyzing terrorism or U.S. foreign policy in the Middle East - demean Israel, Zionism or neo-conservatism. In fact, in Fahrenheit 9/11, Moore totally ignored the roles of Israel, Zionism and neo-conservatives, while tossing in a gratuitous, hefty dose of Arab-bashing. Good boy, Michael. Here's a million dollars!
For the ambitious film maker, it's crucial to remember three things -
1: Jews remain at the top of the Hollywood food chain.
2: They intend to remain there.
3: Don't' forget those first two things.
Like it or not, the gatekeepers of American mass media are disproportionately of Jewish stock. Though they famously disdain "white racism", prevailing Hollywodd customs affirm aggressive white Jewish networking. The results are nothing less than astonishing.
Much of America 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 values' via an aggressive mission to impose democracy in all Mid-East countries except for the ethnocentric, and many say openly-racist, Jewish state of Israel.
OK, Israel may qualify as a "democracy" in the same way the white, apartheid South Africa did but there's one huge difference: concerted interevention from around the world finally brought the segregated Apartheid country of South Africa to its knees. White racial discrimination was declared to be "evil." Interestingly, Jewish activists played a decisive role in that campaign. However, Jewish Israelis and international Zionists - both Jewish and now so-called Christian Zionists - suffer no similar intense pressure, except by a growing grassroots movement of human rights and peace activists, who, thus far, lack any real significant political clout. Without apology, Israel and its supporters get to play by their own rules.
It's no accident that America's expanding global militancy implicitly hold the "security" of the Jewish state as its centerpiece. And with the help of vital US aid, Israel militarily maintains its commitment to a segregated society, with hellish consequences for the indigenous non-Jewish Palestinians.
How are the highly-placed "friends of Israel" able to bamboozle so much of the world? Through a complicated but interconnected array of media and grass-roots propaganda, political pressure, complex legalisms, victimhood identity via the Holocaust, and raw political muscle. In today's America, just an allegation of "anti-Semitism" can damage the career of public figures. And to fortify this taboo, Americans are regularly fed a hefty ration of Holocaust lore.
As a sidebar, here's an additional fact that would be funny if only it wasn't true: Holocaust "experts" are almost all Jewish. Does their collective obsession produce scholarship, or an appetite and license to propagandize? In any case, for the latest Holocaust news, about all one needs do is simply turn on the TV or pick up any 'major' newspaper. Yet, an accurate telling of the Jewish experience in America should spotlight not suffering or persecution, but success, acceptance, privilege and influence. Jews are, in fact, America's pre-eminent success story.
Although reportedly substantially 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 the fields of law, medicine and the entire entertainment and general media, including print and TV. This is no small matter. With the average American watching over four hours of TV or film every day, listening to radio, and perusing mainstream newspapers and magazines, these figures are evidence of a profound ethnic imbalance in the management and dissemination of news and information. For America's Jews, this translates into formidable political power.
The enduring fact remains that whoever owns and controls the media, can also leverage public opinion, and from there, government policies.
Indeed, Jewish media mavens have the means to easily advance their particular viewpoint of history, with far reaching consequences. And with the Jewish state of Israel embroiled in a condition of near-perpetual war since its founding in 1948, the question must be posed: might many of our country's most accomplished editors and story-tellers, who qualify as Israeli-Americans, 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, since countless billions of dollars in U.S. aid are harnessed to advance the Jewish state's regional hegemony.
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 Solution. It's essential therefore that American gentiles "think correctly" on key Jewish issues. Thus, when Jewish interests are at stake, good and evil are neatly drawn (preferably in clear, unambiguous fashion) so that American consumers of news and entertainment can easily and passively draw the proper conclusions. Thus Arabs (particularly Palestinians) are "terrorists", Nazi demonology is a growth industry, and Holocaust Revisionism (widely misrepresented as "Holocaust Denial") is being peddled as a threat to global security. In fact, in numerous "free, Western democracies", such as Germany, the Netherlands, Austria and Switzerland, for example, to question the version of The Holocaust promoted by Zionists, including the six million figure and the gas chambers, is an actual crime punishable by fines and imprisonment.
Ernst Zundel was deported from the U.S. ostensibly for "visa violations" to Canada where he spent two years of his life in solitary confinement. Following that outrage, he was then recently was deported to solitary confinement in a German jail. His crime? Publicly questioning aspects of the Holocaust. Who's next?
Organized Jewry, progenitors of "speech codes" on countless American campuses, are raising the bar from censoring up to outright criminalizing free speech.
A balanced and accurate view of history DOES matter. 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. But who were the perpetrators? Where are they now? The average American simply knows nothing about the dominant Jewish role in Communism's pernicious rise. Of course, this oversight is no accident.
Considering that over 275 million humans 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 surmise that the American Mind is indeed under Zionist management. The irony of our nation's preoccupation with Jewish war causalities during WWII 55 years after the fact becomes even more repellent when we consider the horrendous, ONGOING persecution of gentiles in Palestine-Israel under Jewish occupation.
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 downside, 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 con artists, whores and criminals. As for Arabs, they're still welcome to play terrorist schemers, religious fanatics, or just plain unsavory characters. This is the mean-spirited side to American film that goes unacknowledged and unchallenged.
Recently, after reading several glowing reviews, we succumbed to seeing the aforementioned over-praised, over-hyped, action-revenge movie, Sin City. Directed by Frank Miller and Robert Rodriguez, with special 'guest director' Quentin Tarantino, Sin City is a gritty, sexy, violent and surrealistic foray into a stylized, comic-book version of post-modern urban mayhem. By contemporary standards of blood-letting, this film delivers far more than its share, but there is probably worse in circulation. Sin City's denigration of Christian icons, however, approaches new excesses, something that was also very evident in Tarantino's previous Kill Bill movies.
Not only do many of the villains in this hyper-violent yarn wear gaudy necklaces and earrings hung with Christian crosses, even multiple layers of them, "Sin City" manages to associate blue eyes with depravity...although for Hollywood, that's nothing new.
The two heroic characters (and they were not wearing any Christian crosses, or swastikas, of course) where portrayed by Mickey Rourke and Bruce Willis. It's Willis' character who finally manages to kill the the evil Catholic priest.
At any rate, we can rest assured that Hollywood shall likely refrain from depicting Jews in such a negative fashion. As for the rest of us, we are not supposed to complain. In fact, we're not even supposed to NOTICE, since it might indicated a racial loyalty which for anyone else except for Jews, is a modern sin.
This very real double standard speaks volumes about who holds real power in contemporary American
film and entertainment.
In a true democracy, EVERYONE has a voice. We advise that you use it. Or you may lose it.
Mark Green and Wendy Campbell practice what they preach. For more information about their views and their taboo-shattering documentaries, please visit



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