Our purpose is strictly for educating and providing information that we can use to direct our path toward freedom and reclaiming our nation. We wish to thank those who have contributed, both in money and in contributions on subject matter and pointing out rabbit holes that we can go down. For that, we are eternally grateful and wish you many blessings and joys in your life. We "WILL" prevail.
Vatic Note: A continuation of a 2 part series on Hollywood and their role in the take down of our nation. What a very educational series this has been. I did not know half of what we have presented here. What this confirms is the take over by the khazar zionist bankers of most of our communications system within our society.
Publishing companies for books, News outlets controlled by them, movies to promote and culturally alter our society to their advantage and to our disadvantage, TV and radio to reinforce whatever agenda is up for the month, year or even day.
True, we did not know all this when I started, but we were given a hint in a 1961 speech by JFK, who said he would do what was within his power to stop these internationalists conspiring to take down America. He did just that in 2.5 short years and they killed him for it.
Its how they did it, that is so fascinating and subtle, that makes this so worth the read. Once you see it, you can never look at MSM, movies, TV, or any other source of communications the same way again. They are all owned primarily by the Zionist international bankers. Just like 2008, these zionists manipulated the markets to take control of an industry, and during that year it was the food industry.
Prior, it had been the progressive take over of these communications companies, military industrial companies, and eventually food companies. That gave the powers that be control over banking, war, communications, medical, food and water. That is way too much control over a population, using their survival agenda to manipulate them into accepting a future against their own best interests. Anyway, read and see what you think. You decide, since you will live later, with the decision made today.
How Hollywood Conquered a Superpower – Part II
http://pragmaticwitnessii.wordpress.com/how-hollywood-conquered-a-superpower-part-ii/
By Whitewraithe~Pragmatic Witness
Upon arrival in Hollywood, Jewish immigrants immediately changed their surnames to the more affable sounding European last names, which not only obscured their faith but also helped establish them as true Americans.
During Hollywood’s early years the “jewishness” of the dream factory did not appear to be of importance. It was well known that
Affectionately known as “Papa Mayer”, Louis B. Mayer was born Lazar Meir, possibly on July 12, 1884, to a Jewish family in Minsk, in the Russian Empire. His parents were Jacob Meir and Sarah Meltzer and he had two sisters—Yetta, born in 1878, and Ida, born in 1883. Mayer first moved with his family to Rhode Island, where they lived from 1887 to 1892 and where his two brothers were born—Rubin, in April 1888, and Jeremiah, in April 1891. Then, they moved to Saint John, New Brunswick, Canada and Mayer attended school there which he did not enjoy very much.
His father started a scrap metal business, J. Mayer & Son. In 1904, the 19-year-old Mayer left Saint John for Boston, where he continued for a time in the scrap metal business, married, and took a variety of odd jobs to support his family when his junk business lagged.
As a studio boss, Louis B. Mayer built MGM into the most financially successful motion picture studio in the world and the only one to pay dividends throughout the Great Depression. For nine years from 1937, when he earned $1,300,000—equivalent to $20,760,880 today—Mayer was the highest-paid man in the United States.
In 1948, United States v. Paramount Pictures, Inc. (1948), a Supreme Court decision severed the connection between film studios and the movie theater chains that showed their films (though it would be another six years before Loew’s sold majority control of MGM). The introduction of television and changing public tastes, also reduced MGM’s prestige.
Under instructuion to control costs and hire “a new Thalberg”, Mayer hired writer and producer Dore Schary as production chief. Schary, who was 20 years younger than Mayer, advocated message pictures over Mayer’s preference for “wholesome” films.
By 1951, MGM had gone three years without a major Academy Award, which provoked further conflict between Mayer and Schenck. Believing that Mayer could not turn the tide, Schenck fired Mayer from the post he had held for 27 years, replacing him with Schary. The firing reportedly came after Mayer called New York and issued an ultimatum–”It’s him or me” (or “It’s either me or Schary”, depending on the source). Mayer tried to stage a boardroom coup but failed and largely retired from public life.
Paradigm Shift
A Paradigm Shift is when a significant change happens – usually from one fundamental view to a different view. In most cases, some type of major discontinuity occurs as well.
Thomas Kuhn wrote about Paradigm Shift during the early 1960s, and explained how a “series of peaceful interludes punctuated by intellectually violent revolutions” caused “one conceptual world view to be replaced by another view.”
In laymen terms, Paradigm Shift is a popular, or perhaps, not so popular shift or transformation of the way we Humans perceive events, people, environment, and life altogether. It can be a national or international shift, and could have dramatic effects — whether positive or negative — on the way we live our lives today and in the future.
Film Noir
Two
silhouetted figures in The Big Combo (1955).
The film’s cinematographer
was John Alton, the creator of many of film noir’s stylized images.
Film Noir is a cinematic term used primarily to describe stylish crime dramas, particularly those that emphasize cynical attitudes and sexual motivations.
Hollywood’s classical film noir period is generally regarded as extending from the early 1940s to the late 1950s. Film noir of this era is associated with a low-key black-and-white visual style that has roots in German Expressionist cinematography. Many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression.
The term film noir, French for “black film,” first applied to Hollywood films by French critic Nino Frank in 1946, was unrecognized by most American film industry professionals of that era. Cinema historians and critics defined the category retrospectively. Before the notion was widely adopted in the 1970s, many of the classic films noir were referred to as melodramas. Whether film noir qualifies as a distinct genre is a matter of opinion.
