Sources at Israeli Embassy in Washington say negative representation of Jewish state on television series like ‘Veep,’ ‘House of Cards’ justifies ‘conspiracy theories about the Israeli and Jewish control of American politics’
Popular American television shows are presenting Israel in a highly critical manner, sources in Israeli Embassy in Washington say, expressing their concern that the negative characterization will badly affect the Jewish state’s image among viewers. One of the recent episodes of HBO comedy series « Veep, » starring Julia Louis-Dreyfus, focused on the Middle East conflict: The US vice president’s daughter, a college student who has a boyfriend of Iranian descent, slams Israel in an essay based on Oscar-nominated film « 5 Broken Cameras. »
The article undermines the relationship between the White House and the Jewish lobby, forcing the vice president to schedule a damage control interview. But the setting is quite unhelpful: She is seen discussing the friendship between America and the Jewish state with a pig roast in the background.
An episode in American political drama series « House of Cards » is also said to have presented Israel in a critical manner: In order to thwart the president’s choice for secretary of state, Representative Francis Underwood (played by Kevin Spacey) uses an editorial published by the candidate 30 years earlier in his college student newspaper, in which he criticized Israel’s « illegal occupation » of Palestinian land.
Jewish organizations rush to accuse the candidate of being anti-Semitic, and although he repeatedly claims that he did not write the article, the president is forced to withdraw the nomination.
« These series present Israel as a country which one should be very careful not to offend, and that anyone daring to criticize it is reprimanded by the Jewish lobby, » a senior state official says. « This justifies all conspiracy theories about the Israeli and Jewish control of American politics. »(…)
PM to Hollywood stars: Make movies about Israel Netanyahu rubs shoulders with Hollywood royalty at the home of Israeli film producer Arnon Milchan.
Qui contrôle Hollywood? Allez, dites-le. par Joel Stein, Los Angeles Times, 19 décembre 2008
Lights! Camera! Jews! Blockbuster flicks featuring swindlers like ‘Wolf of Wall Street’ and ‘American Hustle’ are up for Oscars. J.J. Goldberg wonders what this says about how America sees its Jews.
Voir aussi « The Good Wife » et « Scandal » qui abordent le sujet de la « gestion de crise » (« damage control », « crisis management ») :
Read the whole Chapter 29 (p.279-305) in FALSE FLAGS–TEMPLATE FOR TERROR, by Michael Collins Piper (2013)
Sur la gestion de crise:
« Le terroriste de Boston un extrémiste de droite qui lisait des journaux conspirationnistes, négationnistes et anti-juifs » Psychiatrisation et criminalisation du journalisme d’enquête et des théories du complot: bientôt des campagnes dans les écoles. Vos idées et votre « santé mentale » sous haute surveillance
AUDIO – SPINGOLA SPEAKS – with guest Michael Collins Piper 26 Dec, 2013
Deanna’s guest today was Michael Collins Piper, author of False Flags: Template for Terror, and many other books. (MP3) Related: The Crowd: A Study of The Popular Mind by Gustave Le Bon 1896 Continue reading →
Juif.org: Vous avez dit conspiration ? Vous avez dit lobby ? Vous avez dit finance mondiale? Les conspirationnistes dénoncent la finance mondiale dont le pouvoir occulte serait immense. Les conspirationnistes parlent du « lobby », du complot mondial. Les conspirationnistes savent que l’argent du pétrole coule à flot.
Hollywood Is ‘Owned’ by the Arabs
New book by well-known Jewish writer exposes secret story behind popular mainstream legend and who first put the myth into circulation . . .
by Michael Collins Piper
In recent years Internet icon Alex Jones rocked the world of independent media when he proclaimed his judgment that “Hollywood is owned by the Arabs.” In fact—many doubts about Jones’s declaration notwithstanding—this was not the first time a bigmedia voice put this theme before the American public.
As far back as 1976, the premise that “the Arabs” were grabbing control of the American media was central to the plot of a popular Hollywood motion picture called “Network.” This was the legendary film in which a fictional television news anchor, Howard Beale, went mad while live on the air and famously told his audience to shout out their windows the now-famous war-whoop:
“I’m as mad as hell and I’m not going to take this anymore!” Among Beales’s complaints was that the Arabs were taking over the American economy and the broadcast media in particular.
The film was a box-office blockbuster, widely touted by themassmedia, and it captured 10 Academy Award nominations, winning four, including the award for best actor, given posthumously to the late Peter Finch who starred as Beale, the so-called “mad prophet of the airwaves.”
But here’s the big secret about “Network,” and this won’t surprise the more savvy among AFP’s readers: The veteran screenwriter responsible for putting forth this thesis—that “Hollywood is owned by the Arabs”—was a fervent, long-time and quite publicly vocal American Jewish devotee of Israel, Sidney Aaron “Paddy” Chayefsky who, at one juncture, was actually writing—on an unpaid, volunteer basis—over-the-top, anti-Arab propaganda for the Anti-Defamation League, one of the leading focal points of the pro-Israel lobby in America.
Chayefsky was best known prior to “Network” for having won Academy Awards for two classic films, “Marty” in 1956 and “The Hospital” in 1972.
What is interesting, however, about Chayefsky’s production for the screenplay “Network” is that it came at a time when Chayefsky, who seldom focused on particular political causes, was nonetheless a hardline Zionist.
These as well as other little known details about Chayefsky appear in the pages of a new book by Jewish writer Dave Itzkoff, a media writer for The New York Times. Itzkoff’s book, Mad As Hell, is both a biography of Chayefsky and the fascinating inside story of the making of “Network.”
Within the pages of the book Itzkoff describes Chayefsky’s political focus. He writes of “a growing fixation on the affairs of Israel (that was) becoming increasingly apparent in Chayefsky’s public remarks, revealing a more aggressive and admittedly paranoid streak.”
In one interview Chayefsky claimed that all of the Jews in the world were, as Itzkoff put it, “in danger of imminent genocide” in 1971. This pro-Israel obsession resulted in Chayefsky’s work as a pro-Israel propagandist.
According to Itzkoff, “Privately, Chayefsky channeled his fervor into uncredited advertisements for the Anti-Defamation League, such as an announcement, published at the height of the 1973 oil crisis that warned ‘These Arabs would like you to believe that if we give in to their blackmail and change our Mideast policy that everything will be just like it used to be.’”
Prior to doing “Network,” among Chayefsky’s intended projects included “The Rabbi Mystery Show,” featuring a character described by the screenwriter as “a retired and revered old rabbi,” who solved crimes alongside his police officer son.
Chayefsky also struggled over a screenplay for a never-produced film based in Palestine at the time of Israel’s founding in which a young Jewish militant declares: “I’ll tell you about your civilized world. . . . For 2,000 years, Jews have been crucified, burnt at the stake, thrown to the lions, into the ovens, into the gas chambers, crushed into ghettos, forcibly converted, exiled, deported, slaughtered by Cossacks and peasants, Greeks, Romans, Spaniards, Frenchmen, Englishmen, anybody and everybody, popes and Protestants and every mad minister from Haman to Hitler—and I’m tired of it. . . .We’re an endangered species, sowe don’t trust the civilized world anymore. We’ll take care of our own survival. Don’t come to me with your bloody Christian hands and scold me about killing. . . .We kill to survive. We kill so that we and our descendants shall live.”
Chayefsky’s proposed film ended with a squad of British police officers being gunned down by the heroine of the story.
The film “Network” is really where Chayefsky made his mark putting Zionist propaganda before the world. In his preparatory notes for the screenplay, Chayefsky wrote, “The basic joke is that the networks are so powerful that they can make true what isn’t true and never even existed.” Clearly, Chayefsky understood the power of the media and that became evident when he rose to fame.
According to Chayefsky’s biographer, Itzkoff, “Network” incorporated “all the angst, anxiety and paranoia” that Chayefsky had ever felt. One of Chayefsky’s concerns was what Itzkoff described as “the creeping influence of foreign powers—Arab powers—in the American economy.” And Chayefsky felt this supposedly growing influence was being ignored.
If there is any doubt about Chayefsky’s political and religious orientation, Itzkoff notes that when “Network” director Sidney Lumet suggested actress Vanessa Redgrave for a starring role in the film, Chayefsky objected saying that Ms. Redgrave was a supporter of the Palestine Liberation Organization.
When Lumet responded “Paddy, that’s blacklisting,” Chayefsky replied, “Not when a Jew does it to a Gentile.”
So the inside story of “Network” and the propaganda value that it has had for the Zionist cause has clearly now been revealed in this new biography of Chayefsky.
Perhaps commentators might want to read the book before once again making the ridiculous claim that “Hollywood is owned by the Arabs.”
Michael Collins Piper is an author, journalist, lecturer and radio show host. He has spoken in Russia, Malaysia, Iran, Abu Dhabi, Japan, Canada and, of course, the United States. He is the author of Final Judgment, The New Jerusalem, The High Priests of War, Dirty Secrets, My First Days in the White House, The New Babylon, Share the Wealth: Huey Long vs Wall Street, The Judas Goats: The Enemy Within, Target: Traficant and The Golem: Israel’s Nuclear Hell Bomb.
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