The British Control of Hollywood

Hollywood (Thames 1980)
TX: 29 January 1980

Narrator: James Mason

Hollywood Goes To War - Written, produced and directed by Kevin Brownlow and David GillMusic by Carl Davis

Manufacturing Hate on the Big Screen

As the WW1 progressed, the movies became more extravagant, more graphic and drew upon every base human emotion conceivable. Germans were portrayed as homicidal, sexually sadistic and driven by an urge to conquer the world. There were plenty of helpers in the lucrative hate business. At theaters, movies plotted in full conjunction with Hollywood producers such as The Prussian Cur, The Kaiser: The Beast of Berlin, The Claws of the Hun, The Prussian Cur, and Wolves of Kultur gushed forth in a fury and capitalized on this vulnerability and gullibility. President Wilson said on this films, "after this peace will come difficult to achieve".

As the CPI recruited eager film producers such as D.W. Griffith to make propaganda movies, the British government likewise commissioned him to produce "Hearts of the World" about brutal German occupation in France.

Erich "Von" Stroheim played the ugly, sneering German in such films as 'Sylvia of the Secret Service' and 'The Hun Within'. As a German in 'The Heart of Humanity' (1919), he tears the buttons from a nurse's uniform with his teeth, and when disturbed by a crying baby during a rape scene, he hurls it through a window. In 'The Unbeliever' (1918), Stroheim is a German soldier who executes children and shoots an apple off an old lady's head before he shoots her, brilliantly mixing up old Germanic legends to confuse and anger the public. In "Blind Husbands", he plays an Austrian junior army officer who wages a campaign of seduction toward a married woman. Stroheim usually aroused violent anti-German reactions from movie-goers appalled by his "German" onscreen brutality. In the 18 months that he was making these first pictures, America went from being a pacifist nation into a land that learned to Hate the Hun.

Following the decision of the American Senate in late 1919 not to ratify the Versailles Treaty with Germany, a series of investigations was launched into reasons for Americas entry into the war. During the course of these inquiries, many of the details concerning the nature and scope of Britains propaganda campaign in America between 1914 and 1917 came to light. The conclusion was that the United States had indeed been duped into becoming involved on the Allied side, particularly by secret British propaganda emanating from Wellington House. A series of historical investigations by American learned scholars reinforced this view and their conclusions were seized upon by isolationist elements in American politics. As a result of their sensitivity to foreign propaganda, in 1938 the Foreign Agents Registration Act was passed by the US Senate requiring the registration with the US government of all foreign propagandists operating on American soil. The Act would soon prove to become a charade with the commencement of the Second World War. Under British secret control of all US intelligence with the birth of the Office of Coordinator of Information (COI), and later the Office of Strategic Services (OSS) and finally the Central Intelligence Agency (CIA), the Foreign Agents Registration Act was to become powerless.


It required the deliberate and systematic diffusion of Allied wartime propagandist distortions to give birth to the pathological Germanophobia that later became such a familiar and integral part of Western thought processes. As Harry Paxton Howard recently expressed it:

Actually, in the literal sense of the word, the biggest job of revising history was done during the first World War when our "histories" were completely revised to show that Germany had always been our enemy, that Germany had started the war in 1914, that Germany had even started the Franco-Prussian War in 1870, and that in the Revolutionary War we had not been fighting the British but the Hessians -- not to mention such things as the Germans cutting the hands off Belgian babies, instead of the Belgians cutting off the hands of Congolese. This was a real revision of our histories which has distorted the American mind for more than forty years.

Category:

Film & Animation

Tags:

• Hollywood
• Goes
• To
• War

[Moslemtroglodytes]

In short it is due to such direct and indirect dependencies that the US movie industry became the government's instrument and chaindog obediently following all the vagaries of the official US war policy.In exchange for that the US movie industry hoped to use political support to conquer for America the world film market as the war eliminated many previous European competitors.There is an interesting article on that by Max Alvarez "Cinema as an imperialist weapon Hollywood and WWI".

[Moslemtroglodytes]

NAMPI engaged with zeal in aggressive censorship and witch-hunt esecially after Wilson’s Espionage Act took effect in June 1917 practically criminalizing any utterance critical of the war.William Fox, the Hungarian cinema magnate who ran Fox Film Corp., threatened to fire any Fox employee who was not “100 percent American.”Robert Golstein was jailed for his movie "The spirit of '76" which showed something Wilson didn't wanted Americans to see.

[Moslemtroglodytes]

In July 1917 W. Wilson appointed William A. Brady of World Film to head the National Association of the Motion Picture Industry (NAMPI), an organization directly dependent on the infamous Committee on Public Information.NAMPI had film people in government agencies such as the Traesury Department, the Department of the Interior or the United States Shipping Board thus being even further exposed to the control from Washington.

[Moslemtroglodytes]

I find the title "The British control of Hollywood" rather misleading.Before 1917 the British accused Hollywood of being controlled by the Huns.But in fact the US movie business was controlled by Washington,not London or Berlin.The latent dependence went back perhaps to 1916.After the US had entered the war in April next year it became quite apparent.

[yendytok]

This is good place to start - A brilliant interview with one of the greatest researchers ever, Professor Antony Sutton, the author of Wall Street and the Bolshevik Revolution and Wall Street and The Rise of Hitler, where he showes how bankers, businessmen and politicans in the west supported and financed both the communist and the nazis, all according to their hegelian dialectic plan for world control. PLEASE WATCH  Antony Sutton - Wall Street & Bolshevik Revolution Part 1.flv