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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
Jews (VN: Satanic Khazars)headed the most prestigious studios, Metro-Goldwyn-Mayer being
number one with Louis B. Mayer at the helm issuing orders with an iron
fist.
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.
The precursor to the 1960s paradigm shift were the subtle changes
already occurring between the 1940s and the late 1950s with the advent
of
“film noir.”
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.
