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Thesis statements for tuesday with morrie » Write my essay joke
Medved appears here to be offering his own version of the Jack Valenti patented "straw man" debating tactic by exaggerating the position of contemporary movie industry critics. Few, if any, responsible contemporary film industry critics are claiming Hollywood is a "Jewish empire" today and we can all agree with the rather safe Medved statement that the major studio/distributors are no longer "Jewish family businesses in the way they once were . . . " But we also should resist being mislead by Michael Medved's sly and careful choice of words into thinking that control of the film business (i.e., control as to which films are made, who gets to work on movies and what is the content of those films) actually follows ownership of the vast corporate conglomerates who own the studios. On this one issue, Medved has raised a multi-layered smokescreen designed to obscure discussion of the more important issues relating to "Who controls Hollywood?" (i.e., what single racial, ethnic, cultural and/or religious group is the most powerful in the American film industry today and how much greater is their power than any of the other groups who seek to exercise power in the film industry?) The answer, as stated above and notwithstanding Medved's extraordinary efforts to confuse the issue is: a small group of white males of European Jewish heritage who are politically liberal (generally) and not very religious. This Jewish sub-group gained its control over the U.S. film industry in and around 1915 (as Gabler states) and has not relinquished that control through the writing of this book in 1995. Furthermore, this narrowly-defined group still has far greater control over the film industry than any other readily identifiable group.
Gabler quotes producer Pan Berman on Dore Shary's intentions as a filmmaker. Berman said, Shary " . . . had become the message maker . . . He was more than most of us determined to make messages on the screen. We were all doing it, but he lived for it." Take notice of this statement by Berman: "We were all doing it . . . " In other words, here is a filmmaker admitting that everyone in the film industry was involved in inserting messages into their movies or making statements with their movies, while the studio executives were denying that it was being done and falsely claiming that "movies are merely entertainment". This same conflict between reality and the Hollywood spin on the truth continues today.
WHAT'S REALLY GOING ON IN HOLLYWOOD
As a further illustration of the thinking of studio executives with regard to their priority of making films commercial, producer Buck Houghton wrote in a discussion relating to movie titles that " . . . the most commercial title of all is still unused and available: 'Sex and Violence'." Recognizing that the Houghton statement was offered partly for its humorous value, it is one of those jokes that is at least half true (i.e., many of the top level studio executives actually believe that sex and violence are the most commercial elements of feature films and that making money is the most important reason to make films). Thus, another result of the lack of diversity at the top in Hollywood is the emphasis on commercial appeal as opposed to artistic merit.
It would again have been more honest and straightforward of O'Donnell and McDougal to say that the industry appears to be controlled by a small group (the actual number is irrelevant and appears to be just another attempt by O'Donnell and McDougal to make an outrageous statement that will be quoted in the press) of mostly Jewish males of European heritage, who to be sure, from a racial point of view are considered to be white, but who are considered to be "insider's" in the film industry precisely because they have a common cultural heritage with the other Jewish males who control the film industry, and not because they are white. The term "mostly" was added to allow for the real world fact that a few non-Jewish white males are likely to appear in anyone's list of the top fifty or so most powerful people in Hollywood at any given time. So it is fair to say that men control Hollywood at the highest levels to the exclusion of women. And it is fair to say that a small group of mostly Jewish men control Hollywood to the exclusion of Jewish women, Jews whose backgrounds are other than European and non-Jewish men, although a few of these most powerful men who share control in Hollywood, may at any given time be non-Jewish. This loosely defined group, however, primarily made up of men who share an European Jewish heritage, (i.e., the one common thread that helps bind them together or give them a common background is that they hold themselves out as being Jewish, sometimes in the religious sense, but more commonly in the cultural sense). Thus, again, the O'Donnell/McDougal attempt to make a flat statement about "white males" appears to be misleading, racist demagoguery and potentially offensive to those non-Jewish white males struggling in the film industry in non-leadership positions.
Tuesdays with Morrie Quotes by Mitch Albom - Goodreads
Finally, Medved claims that the " . . . overall lack of religious identification . . . " of the people who run Hollywood, " . . . points out the incomparable insanity in suggesting that Hollywood's Jews are following some supersecret script for world domination laid out for them in the Talmud some fifteen hundred years ago." The first part of this Medved statement (i.e., that a high percentage of the people who control Hollywood are not very religious) has been confirmed by other observers of the Hollywood community, and is consistent with my own experience in the industry. It is also consistent with the anti-religious bias observed in so many Hollywood films (noted by Medved and others; for further discussion of the bias issue see). Also, as Medved points out, the Hollywood control group's lack of support for mainstream religious beliefs is reflected in the kinds of movies they make. However, the rest of his statement appears to be just another Medved straw man argument. Notice that he does not identify who has actually made this rather extreme "ancient religious conspiracy" argument. That is not to say that someone in the history of man has not made such an argument, but it is not really fair for Medved to pull such an absurd argument out of thin air and place into the center of a contemporary debate about the control of Hollywood. This Medved statement again is merely another attempt to divert attention from other more moderate and plausible positions, that is, it is not necessary for a conspiracy to be involved for reasonable people to conclude that there is something amiss in Hollywood (see "The Conspiracy Dodge" in .
There is little evidence to suggest that the prospects for documentaries, at least in the commercial theatres, have changed any since the experience of Lorentz and Flaherty. The theatrical feature film distributors are able to squeeze most of the documentaries out of the commercial theatres, and fewer people get to see the documentaries, thus they earn less money than the more "commercial product". This means in turn that there is less money for documentary producers to spend in producing their next documentary, thus the gap between feature films and documentaries continues to widen. Unfortunately for our society, many of our most talented filmmakers, with important statements to make through film, are relegated to a small corner of the market by the current Hollywood system.
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Tuesdays with morrie final thesis - …
In the summer of 1992, a rather remarkable but little noticed series of coincidental events occurred: four separate film industry-related professionals (a film critic, a litigating attorney, a journalist and a securities/entertainment attorney), working independently of each other (each approaching his task from his own unique perspective as two individuals and one pair) published three separate books that were extremely critical of the U.S. film industry. All three books agreed on at least two important points, while still disagreeing on one or two other issues. These authors agreed that (1) motion pictures play an important role in society (they are more than mere entertainment) and (2) there are serious problems with the U.S. film industry. All four authors were also very critical of the way in which the film industry is operated today and critical of the results in terms of the motion pictures produced and distributed. These authors appeared to disagree about (or at least some were hesitant to honestly discuss) the question of who is primarily responsible for these problems and the question of how to remedy the situation. A fourth book that was also somewhat critical of the U.S. film industry, was published in 1993 but, again, was written without benefit of the three previous works since it was already at the publisher's when the other books came out. That was David Prindle's (see brief description below),In their book Los Angeles litigating attorney Pierce O'Donnell (along with co-author Dennis McDougal of the Los Angeles Times) provided a detailed review of the Buchwald v. Paramount lawsuit during which Pierce O'Donnell represented the plaintiff writer and producer against the major studio/distributor Paramount. In addition to points (1) and (2) above, the book and subsequent magazine articles about the same lawsuit, furnished a fairly good look at the way in which at least one major studio/distributor handles its financial relationship with the creative community. The book also states that the other studios conduct their business in the same or similar manner, and goes on to offer that an " . . . elite group of two dozen white males . . . " are primarily responsible for the industry's problems. Finally the O'Donnell/McDougal book makes some broad suggestions to the effect that a number of institutions and people should become involved in remedying the situation including Congress, the U.S. Justice Department, the President, the Federal Trade Commission, the talent guilds and the movie-going public. Unfortunately, little else is offered in the way of specific remedies.In Michael Medved's , film critic Medved basically made four points: (1) motion pictures are important, (2) Hollywood has been turning out a lot of trash of late, (3) the fault lies with a secularist Hollywood creative community and possibly the foreign and domestic international corporate conglomerates who own the major studio/distributors and (4) the way to get Hollywood back on track is to (a) get the Hollywood establishment to publicly acknowledge its obligation to accept reasonable standards for its own activities, (b) let Hollywood know how the public feels, (c) change the values of the people who shape our popular culture, (i.e., persuade Hollywood to alter its underlying attitudes) and (d) infiltrate Hollywood with more religious filmmakers who can produce new movies that reflect more traditional values. Thus, this critic of specific films has also evolved into a film industry critic. My own 1992 book offering, (Silman-James Press), first provides the definitions of some 3,600 terms relating to film finance and distribution, provides some examples of how those terms are used in the industry and then goes on to express some of the same criticism of the film industry in commentary appended to many of the definitions. At the time the dictionary was being prepared there were no other books on the market that were as blatantly critical of the overall film industry as the Medved and O'Donnell/McDougal books turned out to be and the dictionary/commentary format was considered to be a convenient way to both contribute to a higher level of understanding of film finance and distribution topics among those working in the industry, while at the same time, showing how financial control in the industry is inextricably intertwined with creative control. Thus, my book explained why many of the problems complained about in the Medved and O'Donnell/McDougal books actually come about as a result of the financial controls of the film industry exercised by the major studio/distributors. My dictionary also discusses certain more controversial issues of concern to both myself and others in the industry through commentary related to specifically defined terms. Prindle's 1993 book, also provides some useful analysis relating to Hollywood politics, economics and sociology. This current study of Hollywood () will comment on the Prindle, Medved, O'Donnell/McDougal books, at length, agreeing with those authors on some issues while disagreeing on others. In addition, some 145 other books (plus articles) relating to the film industry have been reviewed in preparation for the writing of this book and observations from those writings have been incorporated herein. Thus, this writing has evolved into a review of the literature of the industry, and utilizes the observations of other writers to either confirm the underlying research of this book and my ten years of experience as a practicing securities/entertainment attorney in Los Angeles, or to serve as a point of departure on matters of disagreement. Although there appears to be a tendency for the so-called Hollywood insiders and others who have special knowledge and information about what is really going on in Hollywood to keep quiet, occasionally, someone does step forward to offer limited, but valuable criticism of the business side of the film industry and how that relates to the films that are available to be seen by mass audiences. An honor roll of some of those who have not been intimidated by the Hollywood power structure and who have come forward in recent years to write about their own perspective on the corruption in Hollywood should include Dan Moldea, Kenneth Anger, Pierce O'Donnell, Dennis McDougal, Steven Bach, William Cash, Steven Sills, David McClintick, Michael Medved and Terry Pristin. These are the few who have not kept quiet. Aside from the many quotes included in this book and attributed to such authors and others, the balance of the statements made are my own and represent my opinion only.Literature of the Industry and Original Research--As already stated, this book and its companion volumes on Hollywood take a critical look at the film industry, thus attempting to review and critically analyze much of the literature regarding the business and legal aspects of this important field. This series of books are not intended to focus on original research, although a limited amount of such research is reported. Expressed in its simplest terms, what this book seeks to accomplish is to combine a review of the literature of the film industry with the experience of a working professional in that industry while comparing the views expressed in those books and articles with personal impressions and the impressions of others. This book then attempts to draw certain conclusions regarding important issues based on that variety of perspectives, recognizing that such conclusions are not unassailable, simply the honest expression of personal opinions, offered at a minimum to stimulate further research, writing and discussion. In addition, however, this book attempts to go beyond where most of the other writers on the film industry have gone with respect to the question of who is responsible for the current circumstances of the industry. The companion volume (), also seeks to go beyond these other offerings with respect to what remedies ought to be applied.
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