zonalon
2005-03-15, 05:12 PM
We've owned the business for so long!
"At first the Jews were not involved on the inventive and creative side. They owned the nickelodeons, the arcades, the theatres. Most of the processes and early shorts were made by American-born Protestants. An exception was Sigmun Lublin, operating from Philadelphia.... when the theatre-owners began to go into production, to make the shorts their immigrant patrons wanted, Lublin joined with the other patent-owners to form the giant Patent Company, and extract full dues out of the movie-makers.
It was then that the Jews led the industry on a new Exodus, from the 'Egypt' of the Wasp-dominated north-east, to the promised land of California. Los Angeles had sun, easy laws, and a quick escape into Mexico from the Patent Company lawyers. There were more than one hundred small production firms in 1912. They were quickly amalgamated into eight big ones. Of these, Universal, Twentieth-Century Fox, Paramount, Warner Brothers, Metro-Goldwyn-Mayer and Columbia were essentially Jewish creations, and Jews played a major role in the other two, United Artists and RKO Radio Pictures" - Paul Johnson A History of the Jews
"Most of the early film makers were American Protestants, and their production facilities were located in the East and Midwest. From the early 1910s to early 1920s, a geographic, economic, and ethnic shift was underway. Within a few years the industry expanded and reorganized, and the 'Big Eight' companies came to dominate the industry, these dominant corporations created a vertically-integrated industry--in this case, they controlled the entire process from casting and production through distribution (wholesaling) and exhibition (retailing). The Big Eight reaped 95 percent of all motion picture rentals in the U.S. in the late 1930s. Their control over theater chains, particularly the all-important first-run urban houses which determined a picture's future, was critical. Although the Big Eight owned only 2,800 of the 17,000 theaters in the country, that figure included 80 percent of the metropolitan first-run houses, and all exhibition in cities of more than 1,000,000 population....
Independent exhibitors had to book the majors' pictures on a virtual take-it-or-leave-it basis, and independent producers could be frozen out if they did not cooperate with the majors. The men who guided the industry in its transition to big business were mostly Jewish theater owners". - Clayton Koppes & Gregory Black "Hollywood Goes to War"
"...one of the reasons Jews were able to gain a foothold in the movie business was because Big money in America at the time, gentile money, viewed the movies suspiciously--economically, as a fad; morally, as potential embarrassments . As early as February 1906, reformers had already begun castigating the movies for their deleterious effects, particularly on children. The contents of the movies supposedly undermined moral values, though the real complaint may have been that the movies existed outside the sphere of middle- and upper-class control.
Original Motion Picture Producers and Distributors of America was founded, and for more than thirty years operated by Eastern European Jews. The much-vaunted 'studio system,' which provided a prodigious supply of films during the movies' heyday, was supervised by a second generation of Jews, the storefront theaters of the late teens were transformed into the movie palaces of the twenties by Jewish exhibitors. The most powerful talent agencies were run by Jews. Jewish lawyers transacted most of the industry's business. Above all, Jews produced the movies." - Neal Gabler
"Jewish domination of the movie business was palpable. They controlled six of the eight largest studios and according to a 1936 study, accounted for almost two thirds of all the major producers. Jews also accounted for a large portion of the agents, and, often working under Anglicized names, many of the actors as well." Joel Kotkin - "Tribes--How Race, Religion and Identity Determine Success in the New Global Economy"
"At first the Jews were not involved on the inventive and creative side. They owned the nickelodeons, the arcades, the theatres. Most of the processes and early shorts were made by American-born Protestants. An exception was Sigmun Lublin, operating from Philadelphia.... when the theatre-owners began to go into production, to make the shorts their immigrant patrons wanted, Lublin joined with the other patent-owners to form the giant Patent Company, and extract full dues out of the movie-makers.
It was then that the Jews led the industry on a new Exodus, from the 'Egypt' of the Wasp-dominated north-east, to the promised land of California. Los Angeles had sun, easy laws, and a quick escape into Mexico from the Patent Company lawyers. There were more than one hundred small production firms in 1912. They were quickly amalgamated into eight big ones. Of these, Universal, Twentieth-Century Fox, Paramount, Warner Brothers, Metro-Goldwyn-Mayer and Columbia were essentially Jewish creations, and Jews played a major role in the other two, United Artists and RKO Radio Pictures" - Paul Johnson A History of the Jews
"Most of the early film makers were American Protestants, and their production facilities were located in the East and Midwest. From the early 1910s to early 1920s, a geographic, economic, and ethnic shift was underway. Within a few years the industry expanded and reorganized, and the 'Big Eight' companies came to dominate the industry, these dominant corporations created a vertically-integrated industry--in this case, they controlled the entire process from casting and production through distribution (wholesaling) and exhibition (retailing). The Big Eight reaped 95 percent of all motion picture rentals in the U.S. in the late 1930s. Their control over theater chains, particularly the all-important first-run urban houses which determined a picture's future, was critical. Although the Big Eight owned only 2,800 of the 17,000 theaters in the country, that figure included 80 percent of the metropolitan first-run houses, and all exhibition in cities of more than 1,000,000 population....
Independent exhibitors had to book the majors' pictures on a virtual take-it-or-leave-it basis, and independent producers could be frozen out if they did not cooperate with the majors. The men who guided the industry in its transition to big business were mostly Jewish theater owners". - Clayton Koppes & Gregory Black "Hollywood Goes to War"
"...one of the reasons Jews were able to gain a foothold in the movie business was because Big money in America at the time, gentile money, viewed the movies suspiciously--economically, as a fad; morally, as potential embarrassments . As early as February 1906, reformers had already begun castigating the movies for their deleterious effects, particularly on children. The contents of the movies supposedly undermined moral values, though the real complaint may have been that the movies existed outside the sphere of middle- and upper-class control.
Original Motion Picture Producers and Distributors of America was founded, and for more than thirty years operated by Eastern European Jews. The much-vaunted 'studio system,' which provided a prodigious supply of films during the movies' heyday, was supervised by a second generation of Jews, the storefront theaters of the late teens were transformed into the movie palaces of the twenties by Jewish exhibitors. The most powerful talent agencies were run by Jews. Jewish lawyers transacted most of the industry's business. Above all, Jews produced the movies." - Neal Gabler
"Jewish domination of the movie business was palpable. They controlled six of the eight largest studios and according to a 1936 study, accounted for almost two thirds of all the major producers. Jews also accounted for a large portion of the agents, and, often working under Anglicized names, many of the actors as well." Joel Kotkin - "Tribes--How Race, Religion and Identity Determine Success in the New Global Economy"