The Hollywood question in popular culture 5. He repeated his charge that the movies had been captured by foreigners. Motion pictures were under widespread attack for the presentation of crime, the treatment of sex and the corruption of American youth. To complicate matters, the moguls were criticised from the Left as well as the Right. The issue was to be invoked once more, however, when the film industry emerged as a domestic battleground in the early years of the Cold War.
As opposed to determining a particularly Jewish vision of America, Steven Alan Carr argues that this way of looking at Jews in Holl American Jews have a powerful cultural narrative that seemingly speaks on their behalf. Like the movies themselves, the nature of the relationship changed significantly once the business became an industry, relocated from the polyglot cities of the East Coast to the balmier climate of Southern California, and organised around half a dozen large studios, most of which were founded and run by Jewish businessmen of East European origin. The line soon went public. The Hollywood Question was now a political matter. To be anti-Hollywood has also, at various times, been a way to enlist the rhetoric of anti-semitism to express sentiments that are anti-modern, anti-urban, anti-New Deal, anti-internationalist, anti-capitalist, anti-Communist or anti-American. It was not the movie moguls who were un-American, but the xenophobic bigots who baited them. The movie industry had to avoid even the appearance of special pleading.
The Hollywood question in crisis, 1941 9. 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. The moguls were newly vulnerable. . The aftermath of World War Two and the revelation of the Holocaust may have mitigated direct attacks on the Jewishness of Hollywood moguls, or placed such attacks beyond the pale, just as it muted overt anti-semitic rhetoric in general. Hollywood is captive to its own mythological origins.
The Dearborn Independent was available at all Ford dealerships; and a number of his pieces were collected and published as The International Jew — a book estimated to have had a print run of ten million copies, entire passages from which were incorporated into the American edition of Mein Kampf. Carr points to three Hollywood novels, Day of the Locust, The Last Tycoon and What Makes Sammy Run? For Carr, this sense of the movies as an all-American enterprise has largely been ignored. In its dynamic expansionism and near-universal appeal, American popular culture is often theorised, and experienced by the rest of the world, as a destructive, hegemonic force, even as an unstoppable viral infection which bids to wipe out indigenous cultures. As opposed to determining a particularly Jewish vision of America, Steven Alan Carr argues that this way of looking at Jews in Hollywood emanates from a particularly American vision of Jews. Steven Alan Carr is an Assistant Professor of Communication at Indiana University-Purdue University, Fort Wayne. American Jews have a powerful cultural narrative that seemingly speaks on their behalf. The project considers the socio-political factors shaping how American films of this period helped promote public awareness of the rise of Nazi anti-Semitism, and eventually, of the Holocaust.
Because the influx of East European Jews into urban America coincided with the rise of storefront peepshows as the most popular form of entertainment in the slums, the association of immigrant Jews with American movies dates to the nickelodeon era. Although some critics, such as the Communist Harry Alan Potamkin, pointed out that, even if Jewish control over Hollywood existed, it did not benefit Jews — at least in terms of favourable screen representation — the moguls were nonetheless perceived to be Jews acting as Jews. Working on a Carnegie grant, Rosten sought to debunk Hollywood as a home of excess and exotica, seeing it instead as emblematic of the national culture. The Hollywood Question for a New America, 1929-1941: 3. As a whole way of thinking and talking about both Jews and motion pictures, Hollywood and Anti-Semitism reveals a powerful set of assumptions concerning ethnicity, intent and media influence. This is his first book.
Like the Jewish Question of the 19th century--which fretted over the full participation of Jews within public life--the Hollywood Question of the 1920s, 30s and 40s fretted over Jewish participation within the 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. Even as the moguls looked for a way to oppose Nazi Germany within the terms of American patriotism, their own business successes had presented writers with a new narrative metaphor. This, he suggested, was even now happening in Britain. He was also deeply suspicious of the Hollywood Anti-Nazi League which, launched during the summer of 1936, had by the autumn enrolled some four thousand members — including such celebrities as Eddie Cantor, Ernst Lubitsch, Boris Karloff and Dorothy Parker. The Hollywood Question, 1941 and Beyond: 7.
Hollywood and Anti-Semitism is less a study of Jewish influence on American movies than an account of what Carr calls the Hollywood Question — which is to say, the ways that this presumed influence has been represented, and what those representations can tell us about the landscape of American culture. This study reveals the powerful set of assumptions about ethnicity and media influence as it related to the role of the Jew in the motion picture industry. Although the League was thrown into confusion by the 1939 Hitler-Stalin Pact and the subsequent outbreak of war, the movie industry released several anti-Fascist pictures — among them, Confessions of a Nazi Spy. Usually, however, the language is more oblique. That a newborn industry was seemingly in the hands of recent immigrants of alien background was cause for concern, if not outright alarm. The studios also enlisted as their spokesman Wendell Willkie, Republican Presidential nominee in 1940.
The ruthlessly ambitious Sammy Glick is explained in terms of his miserable childhood in the slums of the Lower East Side; his capacity for amoral manipulation is more than once equated with that of Fascist demagogues. Still, the Propaganda Hearings foreshadowed those vastly more infamous hearings held two years after the war by the House Un-American Activities Committee. Massive press coverage of the Fatty Arbuckle case the popular screen comedian was tried three times for raping and causing the death of a starlet at a booze-drenched orgy fanned public outrage and pushed the fearful movie industry towards self-regulation. The politics of the Hollywood question 6. This study reveals the powerful set of assumptions about ethnicity and media influence as it related to the role of the Jew in the motion picture industry. The stars aside, the first generation of Hollywood executives — William Fox, Samuel Goldwyn, Carl Laemmle, Jesse Lasky, Marcus Loew, Louis B. Jewish immigrants — many of whom called themselves socialists and openly celebrated the fall of the Tsar — were identified with the Bolshevik contagion, as well as with a horror of racial pollution and satanic mind control.
His work appears in Cinema Journal and other publications. According to this narrative, Eastern European Jewish immigrants built the film industry in the first decade of this century and dominated it by the second. The project considers the socio-political factors shaping how American films of this period helped promote public awareness of the rise of Nazi anti-Semitism, and eventually, of the Holocaust. Citing a meeting of studio heads held in March 1934 to discuss anti-semitism at home, he notes their decision not to act as moviemakers, but as part of the larger Jewish community. The idea of international Jewry was displaced by that of an international Communist conspiracy and, this time, Hollywood would not escape unscathed. The creation of this Hollywood Babylon, along with enhanced Jewish visibility, coincided with a general rise in American anti-semitism.