Who Really Controls Hollywood?


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An Empire of Their Own


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A provocative, original, and richly entertaining group biography of the Jewish immigrants who were the moving forces behind the creation of America's motion picture industry. The names Harry Cohn, William Fox, Carl Laemmle, Louis B. Mayer, Jack and Harry Warner, and Adolph Zucker are giants in the history of contemporary Hollywood, outsiders who dared to invent their own vision of the American Dream. Even to this day, the American values defined largely by the movies of these émigrés endure in American cinema and culture. Who these men were, how they came to dominate Hollywood, and what they gained and lost in the process is the exhilarating story of An Empire of Their Own.




Hollywood Wars


Book Description

This book represents the most comprehensive critical analysis of the big picture in Hollywood with respect to how those whocontrol the institution gained and have maintained that control for its 100-year history. The book traces the evolution and development of specific tactics and strategies implemented by the upper level management of that controlling handful of major studio/distributors and explains the relationship between control of the financial side of the film business and the creative side. One important aspect of that control arises from the use of unfair, unethical, unconscionable, anti-competitive, predatory and illegal provisions in the distribution deal between film distributors and producers.




Red Carpet


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"This is a fascinating book. It will educate you. Schwartzel has done some extraordinary reporting." — The New York Times Book Review “In this highly entertaining but deeply disturbing book, Erich Schwartzel demonstrates the extent of our cultural thrall to China. His depiction of the craven characters, American and Chinese, who have enabled this situation represents a significant feat of investigative journalism. His narrative is about not merely the movie business, but the new world order.” —Andrew Solomon, author of Far from the Tree and The Noonday Demon An eye-opening and deeply reported narrative that details the surprising role of the movie business in the high-stakes contest between the U.S. and China From trade to technology to military might, competition between the United States and China dominates the foreign policy landscape. But this battle for global influence is also playing out in a strange and unexpected arena: the movies. The film industry, Wall Street Journal reporter Erich Schwartzel explains, is the latest battleground in the tense and complex rivalry between these two world powers. In recent decades, as China has grown into a giant of the international economy, it has become a crucial source of revenue for the American film industry. Hollywood studios are now bending over backward to make movies that will appeal to China’s citizens—and gain approval from severe Communist Party censors. At the same time, and with America’s unwitting help, China has built its own film industry into an essential arm of its plan to export its national agenda to the rest of the world. The competition between these two movie businesses is a Cold War for this century, a clash that determines whether democratic or authoritarian values will be broadcast most powerfully around the world. Red Carpet is packed with memorable characters who have—knowingly or otherwise—played key roles in this tangled industry web: not only A-list stars like Matt Damon, Angelina Jolie, and Richard Gere but also eccentric Chinese billionaires, zany expatriate filmmakers, and starlets who disappear from public life without explanation or trace. Schwartzel combines original reporting, political history, and show-biz intrigue in an exhilarating tour of global entertainment, from propaganda film sets in Beijing to the boardrooms of Hollywood studios to the living rooms in Kenya where families decide whether to watch an American or Chinese movie. Alarming, occasionally absurd, and wildly entertaining, Red Carpet will not only alter the way we watch movies but also offer essential new perspective on the power struggle of this century.




Patterns of Bias in Hollywood Movies


Book Description

It's pretty broadly recognized that Hollywood movies contain patterns of bias, but it's not just people of color or women who are hurt by this. Many groups within America's multicultural society have complained over the years about negative and stereotypical portrayals of their own group members in motion pictures produced or released through the Hollywood-based studios. Yet, as an expert on the U.S. film industry points out, such complaints have had little impact on consistent patterns of bias in movies. This book takes a broader look at the nature of negative and stereotypical movie portrayals and tracks patterns of such one-sided depictions over a longer period time. As a result, the patterns of bias — and the source the problem — become more clear. The problem appears be that most of the people who have green-light authority in the U.S. film industry — for either the production and/or distribution of a motion picture — share a common ethnic/religious/cultural background. Thus, the stories of their cohort and those of all other ethnic, religious and/or cultural groups (whose members seldom achieve positions of power Hollywood) are being filtered through the cultural sensibilities of a single group. John Cones suggests that the solution could lie in increasing diversity at the highest levels in the U.S. film industry. This work grew out of the observed frustration of film industry critics who have pointed out examples of bias and stereotyping in specific movies over the years only to be rebuffed by the simplistic studio arguments that such films reflect the real world and that moviegoers vote with their pocket books. It can be shown that there is a consistent pattern to the choices Hollywood studio executives make with respect to the movies produced and released and the specific content of those movies, and it becomes obvious that Hollywood is selectively portraying reality. Movie goers only have limited options among all of the possibilities that could be portrayed on the silver screen. This book differs from other studies touching on bias in motion pictures. Most such books focus on the treatment of a single ethnic, religious, cultural, racial or other readily identifiable interest group, but this study attempts to provide an overview and to identify patterns over time. When the patterns of bias in motion picture content are sufficiently demonstrated and documented, it becomes easier to identify the source of the bias and to explain why such bias exists.




Hollywood and Anti-Semitism


Book Description

This book examines the role of American Jews in the entertainment industry, from the turn of the century to the outbreak of World War II. Eastern European Jewish immigrants are often credited with building a film industry during the first decade of the twentieth century that they dominated by the 1920s. In this study, Steven Carr reconceptualizes Jewish involvement in Hollywood by examining prevalent attitudes towards Jews among American audiences. Analogous to the Jewish Question of the nineteenth century, which was concerned with the full participation of Jews within public life, the Hollywood Question of the 1920s, 30s, and 40s addressed the Jewish population within mass media. This study reveals the powerful set of assumptions concerning ethnicity and media influence as related to the role of the Jew in the motion picture industry.




The CIA in Hollywood


Book Description

An in-depth study of the CIA’s collaboration with Hollywood since the mid-1990s, and the important and troubling questions it creates. What’s your impression of the CIA? A bumbling agency that can’t protect its own spies? A rogue organization prone to covert operations and assassinations? Or a dedicated public service that advances the interests of the United States? Astute TV and movie viewers may have noticed that the CIA’s image in popular media has spanned this entire range, with a decided shift to more positive portrayals in recent years. But what very few people know is that the Central Intelligence Agency has been actively engaged in shaping the content of film and television, especially since it established an entertainment industry liaison program in the mid-1990s. The CIA in Hollywood offers the first full-scale investigation of the relationship between the Agency and the film and television industries. Tricia Jenkins draws on numerous interviews with the CIA’s public affairs staff, operations officers, and historians, as well as with Hollywood technical consultants, producers, and screenwriters who have worked with the Agency, to uncover the nature of the CIA’s role in Hollywood. In particular, she delves into the Agency’s and its officers’ involvement in the production of The Agency, In the Company of Spies, Alias, The Recruit, The Sum of All Fears, Enemy of the State, Syriana, The Good Shepherd, and more. Her research reveals the significant influence that the CIA now wields in Hollywood and raises important and troubling questions about the ethics and legality of a government agency using popular media to manipulate its public image. “Fascinating, highly readable . . . Overall, Jenkins’s work is fresh and original, and demonstrates sound scholarship. The author has a passion for the topic that translates to vibrant writing. It is also a concise as well as entertaining look at an aspect of the CIA—its media relations with Hollywood—of which little is known. Enthusiastically written and incorporating effective, illustrative case studies, The CIA in Hollywood is definitely recommended to students of film, media relations, the CIA, and U.S. interagency relations.” —H-War




National Security Cinema


Book Description

This is a book about secrecy, militarism, manipulation, and censorship at the heart of the world's leading democracy-and about those who try to fight them. Using thousands of pages of documents acquired through the Freedom of Information Act National Security Cinema exclusively reveals that the national security state-led by the CIA and Pentagon-has worked on more than eight-hundred Hollywood films and over a thousand network television shows. The latest scholarship has underestimated the size of this operation, in part because the government has gone to considerable lengths to prevent data emerging, especially in the 21st Century, as the practice of government-Hollywood cooperation has escalated and become more aggressive. National Security Cinema reveals for the first time specific script changes made by the government for political reasons on dozens of blockbusting films and franchises like Transformers, Avatar, Meet the Parents, and The Terminator. These forces have suppressed important narratives about: CIA drug trafficking; illegal arms sales; military creation of bio-weapons; the interaction of private armies and oil companies; government treatment of minorities; torture; coups; assassinations, and the failure to prevent 9/11.




Hollywood and Hitler, 1933-1939


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Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939).




Hollywood Goes to War


Book Description

The little-explored story of how politics, propaganda, and profits were combined to create the drama, imagery and fantasy that was American film during World War II. 32 black-and-white photographs.