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Bad Guys From the Political Right

Regional Prejudice: Hollywood's Rape of the South

Other Negative Portrayals in Hollywood Films
Of course, others have been forewarned that following the publication of this book, there is a very good chance that some uninformed individuals may step forward and make the accusation that its contents are anti-Semitic. Aside from being an entirely false accusation without any evidentiary basis, the truth of the matter is, that the circumstances of Hollywood were created by others. This book and the other works cited herein, are primarily reports of observations, along with descriptions of the circumstances that actually exist in Hollywood. In other words, such writers are merely the messengers who are describing the real-life factual circumstances created by others. It may be, on the other hand, that this presentation has been more honest than most of the other writings about Hollywood in the past and more accurate (or more specific) than others in many of the reported observations. Neither the additional level of honesty nor the increased accuracy or specificity, however, can form a reasonable basis for a charge of anti-Semitism.


This book has merely attempted to discuss and make reasonable judgments based on the facts relating to who controls Hollywood and how that control reveals itself with respect to who gets to participate in the making of Hollywood movies, which movies get made and the content of those movies; all circumstances controlled by third parties, and circumstances that have merely been observed and reported here with more honesty and accuracy. If anyone disagrees with the truth about Hollywood as presented here, let them step forward with unassailable facts to support their position, not stoop to feeble name-calling.



As the 100th year anniversary of the film industry comes and goes, it is time that this privately controlled culture-promotion machine be dismantled, so that all segments of this nation's multi-cultural society have an equal opportunity to tell their important cultural stories through this significant medium for the communication of ideas. After all, it is also clear that regardless of who controls Hollywood and with what results, it is absolutely inappropriate in our multi-cultural society for any readily identifiable interest group (whether the group identity is based on ethnicity, culture, religion, race, class or otherwise) to be allowed to dominate or control this, or any other important communications medium. Diversity is the key.

Brownstein reports that as recently as the early 1990s " . . . blacks have established only a tenuous position in the Hollywood infrastructure . . . except in the production operations (certain black) . . . stars have established, blacks occupy few important jobs, except for technical ones, off-camera." Further progress for blacks in the film industry has not been all that great since in January of 1991 the NAACP's Movie Studio Task Force met (for the third time) with " . . . key film industry executives . . . " in an effort " . . . to compile a report on ethnic images on camera and the employment of minorities at all levels of the [film] industry." A spokesperson for the task force suggested that such a report might " . . . be used as the basis for negotiating . . . 'fair share' agreements in which [film] companies agree to provide greater employment opportunities for minorities." Reporter Michael Fleming wrote still later in the same year (October 1991) that " . . . Hollywood may have opened its doors to black directors, but film crews still have the racial mix of a professional hockey team."

In his book, , David Prindle reports:

As Patrick Robertson reports, "[o]ne of the mysteries of Hollywood is why it is so difficult to get financing for black films. Although blacks make up only 10 percent of the population of the U.S., they represent no less than 23 percent of the total cinema audience." Now that this book is available, of course, this phenomenon, is not really a mystery anymore.

Individual Attributes of the Hollywood Insiders

Director, actor, writer, producer Robert Townsend " . . . debuted as a director in 1987. His first feature, , based on his encounters on the job hunt, was praised for its funny but pungent barbs at black stereotyping." The film is " . . . an indictment of the limited roles for black actors." Townsend has only directed two other films since.

Racial, Ethnic, Cultural and Religious Considerations

Of course, we can easily tell how effective all of the NAACP effort has been because in the fall of 1992, magazine stated: " . . . at a time when blacks dominate every sphere of American pop culture--from Eddie Murphy at the box office to Bill Cosby on television to Michael Jackson in music--it is a stunning irony that there are no major black executives or agents in the motion picture industry." The magazine annual power list for 1992, included no black male or female studio executives or agents. The highest ranking black man on the list is Spike Lee at #80 and he is a writer/director. Recognizing, as this book does, that the real power in Hollywood is in the hands of the top major studio/distributor executives and the top talent agencies, it is not surprising to realize that no African-Americans are in such positions. The U.S. film industry, after all, continues to be a racist industry.

Racial, Ethnic, Cultural and Religious Considerations

In any event, Lee was a controversial figure whose films " . . . explore the nature of American racism . . . " Lee has often criticized " . . . the attitudes of the Hollywood establishment toward black filmmakers. His outspokenness has not endeared him to the Academy, which has generally denied Oscar nominations to his films. , a film as likely as any to appeal to the Academy's taste for epics, received only two nominations and no awards."