Friday, July 5, 2013

New Article From Whitewraithe: How Hollywood Conquered A Superpower, Part I

I want to present the following article from my friend, Whitewraithe, who writes the blog: Pragmatic Witness II, at, entitled: "How Hollywood Conquered A Superpower, Part I", that I know that all of my own readers will enjoy immensely... So without any further delay, here is part one of this important expose right here, and I do have a few comments to follow:

How Hollywood Conquered a Superpower – Part I
By Whitewraithe~

On October 16, 1960, Soviet Premier Nikita Khrushchev addressed the United Nations. In his famous speech during the early years of the Cold War he made this proclamation, “America will fall without a shot being fired. It will fall from within.”

Fifty-three years later Khrushchev’s chilling statements have come to pass with unsettling ramifications. However, the crafty culprit of America’s silent destruction was not the usual suspects, although, powerful politicians administered their poison, as well; but rather, it was a panoply of un-usual suspects that took center stage and began chipping away at the nation’s cultural infrastructure, until little by little, they brutally penetrated the very heart of America and shook it to its core. This panoply of un-usual suspects was none other than – Hollywood.

Rise of Hollywood


In early 1910, director D. W. Griffith was sent by the Biograph Company to the west coast with his acting troupe, consisting of actors Blanche Sweet, Lillian Gish, Mary Pickford, Lionel Barrymore, and others. They started filming on a vacant lot near Georgia Street in downtown Los Angeles. While there, the company decided to explore new territories, traveling several miles north to Hollywood, a little village that was friendly and enjoyed the movie company filming there. Griffith then filmed the first movie ever shot in Hollywood, In Old California, a Biograph melodrama about California in the 19th century, when it belonged to Mexico. Biograph stayed there for months and made several films before returning to New York. After hearing about Biograph’s success in Hollywood, in 1913 many movie-makers headed west to avoid the fees imposed by Thomas Edison, who owned patents on the movie-making process.

In Los Angeles, the studios and Hollywood grew. Before World War I, movies were made in several U.S. cities, but filmmakers gravitated to southern California as the industry developed. They were attracted by the mild climate and reliable sunlight, which made it possible to film movies outdoors year-round, and by the varied scenery that was available. There are several starting points for cinema (particularly American cinema), but it was Griffith’s controversial 1915 epic Birth of a Nation that pioneered the worldwide filming vocabulary that still dominates celluloid to this day.

In the early 20th century, when the medium was new, many Jewish immigrants found employment in the U.S. film industry. They were able to make their mark in a brand-new business: the exhibition of short films in storefront theaters called nickelodeons, after their admission price of a nickel (five cents). Within a few years, ambitious men like Samuel Goldwyn, William Fox, Carl Laemmle, Adolph Zukor, Louis B. Mayer, and the Warner Brothers (Harry, Albert, Samuel, and Jack) had switched to the production side of the business. Soon they were the heads of a new kind of enterprise: the movie studio. (It is worth noting that the US had at least one female director, producer and studio head in these early years, Alice Guy-Blaché.) They also set the stage for the industry’s internationalism; the industry is often accused of Amero-centric provincialism.

Other moviemakers arrived from Europe after World War I: directors like Ernst Lubitsch, Alfred Hitchcock, Fritz Lang, and Jean Renoir; and actors like Rudolph Valentino, Marlene Dietrich, Ronald Colman, and Charles Boyer. They joined a homegrown supply of actors — lured west from the New York City stage after the introduction of sound films — to form one of the 20th century’s most remarkable growth industries. At the motion pictures’ height of popularity in the mid-1940s, the studios were cranking out a total of about 400 movies a year, seen by an audience of 90 million Americans per week.

Golden Age of Hollywood. 1st row, l-r: Greta Garbo, Humphrey Bogart, Lauren Bacall, Clark Gable, Katharine Hepburn, Fred Astaire, Ginger Rogers, Marlon Brando, Marx Brothers, Joan Crawford. 2nd row, l-r: John Wayne, James Stewart, Buster Keaton, Claudette Colbert, Gene Kelly, Burt Lancaster, Judy Garland, Gregory Peck, Elizabeth Taylor, Kirk Douglas. 3rd row, l-r: Bette Davis, Audrey Hepburn, Jean Harlow, Alfred Hitchcock, John Ford, Howard Hawks and Lauren Bacall, Grace Kelly, Laurence Olivier, Marlene Dietrich, James Cagney. 4th row, l-r: Ava Gardner, Cary Grant, Ingrid Bergman, Henry Fonda, Marilyn Monroe, James Dean, Orson Welles, Mae West, William Holden, Sophia Loren. 5th row, l-r: Vivien Leigh, Joan Fontaine and Gary Cooper, Spencer Tracy, Barbara Stanwyck, Lillian Gish, Tyrone Power, Shirley Temple, Janet Leigh and Charlton Heston, Rita Hayworth, Mary Pickford.

During the Golden Age of Hollywood, which lasted from the end of the silent era in American cinema in the late 1920s to the early 1960s, thousands of movies were issued from the Hollywood studios. The start of the Golden Age was arguably when The Jazz Singer was released in 1927, ending the silent era and increasing box-office profits for films as sound was introduced to feature films.

The studio system


In 1930, MPDAA President Will Hays created the Hays (Production) Code, which followed censorship guidelines and went into effect after government threats of censorship expanded by 1930. However, the code was never enforced until 1934, after the Catholic watchdog organization The Legion of Decency – appalled by some of the provocative films and lurid advertising of the era later classified Pre-Code Hollywood- threatened a boycott of motion pictures if it didn’t go into effect. Those films that didn’t obtain a seal of approval from the Production Code Administration had to pay a $25,000 fine and could not profit in the theaters, as the MPDAA owned every theater in the country through the Big Five studios.

Throughout the 1930s, as well as most of the golden age, MGM dominated the film screen and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether. Some MGM stars included the “King of Hollywood” Clark Gable, Lionel Barrymore, Jean Harlow, Norma Shearer, Greta Garbo, Joan Crawford, Jeanette MacDonald and husband Gene Raymond, Spencer Tracy, Judy Garland, and Gene Kelly. But MGM did not stand alone. Another great achievement of US cinema during this era came through Walt Disney’s animation company. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs. This distinction was promptly topped in 1939 when Selznick International created what is still, when adjusted for inflation, the most successful film of all time, Gone with the Wind.

Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles (1915–1985) and often regarded as the ‘greatest film of all time’, fits that description. In other cases, strong-willed directors like Howard Hawks (1896–1977), Alfred Hitchcock (1899–1980) and Frank Capra (1897–1991) battled the studios in order to achieve their artistic visions.

The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Wuthering Heights, Only Angels Have Wings, Ninotchka, and Midnight. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, It’s a Wonderful Life, It Happened One Night, the original King Kong, Mutiny on the Bounty, Top Hat, City Lights, Red River, The Lady from Shanghai, Rear Window, On the Waterfront, Rebel Without a Cause, Some Like It Hot and The Manchurian Candidate.

But cracks in the film industry began to emerge with the occasional provocative subject matter, such as carnal knowledge and illegitimacy, along with some risqué movie scenes that might cause the average, decent American to wince at the screen. Although, discreetly filmed by a skilled director, the result like a cat escaping a temporary prison, the idea was now out in the open and firmly planted in the viewer’s brain for future reference.

Waterloo Bridge, released in 1940, was a perfect example of the movie industry gently tapping the human psyche by introducing provocative issues, after Pre-Code Hollywood, with immoral tales that an audience of that time would consider indecent. The main plot of Waterloo Bridge takes place during World War I, when a young ballerina (Vivien Leigh) is forced into prostitution after she loses her job, and the War Department delivers news that her fiancé (Robert Taylor) was killed in action.

What the movie industry did next would eventually transform the country into a writhing cesspool of deprivation and debauchery. More on that later.

Those initial “cracks” spelled the beginning of the end for America’s European Christian cultural heritage, that had previously established a morally decent society wherein the family and the institution of marriage was considered sacred. Add in the introduction of The Scofield Reference Bible, which eventually undermined and corrupted Christianity’s message and their fundamental faiths, two World Wars and the “forgotten war” in Korea in the early 1950s, the start of the “Nuclear Age” in 1945 and religious society begins to break down. Partly due to this degeneration within the culture is the constant reminder of death at an early age. Instead of looking to the church or their faith for spiritual comfort, many may have turned inward or to their partners if they were unmarried as social mores probably were the farthest thing from mind.

The Protocols reveal the Jews’ plans

Upon researching for this essay I turned to the infamous document known as THE PROTOCOLS OF THE LEARNED ELDERS OF ZION for evidence of the Jewish conspiracy against the Goyim through the entertainment industry. In a very short period I found the actual protocol that states in plain language their plans for the Gentiles/Goyim.

Protocol No.13 – DISTRACTIONS

1. The need for daily bread forces the GOYIM to keep silent and be our humble servants. Agents taken on to our press from among the GOYIM will at our orders discuss anything which it is inconvenient for us to issue directly in official documents, and we meanwhile, quietly amid the din of the discussion so raised, shall simply take and carry through such measures as we wish and then offer them to the public as an accomplished fact. No one will dare to demand the abrogation of a matter once settled, all the more so as it will be represented as an improvement … And immediately the press will distract the current of thought towards, new questions, (have we not trained people always to be seeking something new?). Into the discussions of these new questions will throw themselves those of the brainless dispensers of fortunes who are not able even now to understand that they have not the remotest conception about the matters which they undertake to discuss. Questions of the political are unattainable for any save those who have guided it already for many ages, the creators.

2. From all this you will see that in securing the opinion of the mob we are only facilitating the working of our machinery, and you may remark that it is not for actions but for words issued by us on this or that question that we seem to seek approval. We are constantly making public declaration that we are guided in all our undertakings by the hope, joined to the conviction, that we are serving the common weal.


3. In order to distract people who may be too troublesome from discussions of questions of the political we are now putting forward what we allege to be new questions of the political, namely, questions of industry. In this sphere let them discuss themselves silly! The masses are agreed to remain inactive, to take a rest from what they suppose to be political (which we trained them to in order to use them as a means of combating the GOY governments) only on condition of being found new employments, in which we are prescribing them something that looks like the same political object. In order that the masses themselves may not guess what they are about WE FURTHER DISTRACT THEM WITH AMUSEMENTS, GAMES, PASTIMES, PASSIONS, PEOPLE’S PALACES …. SOON WE SHALL BEGIN THROUGH THE PRESS TO PROPOSE COMPETITIONS IN ART, IN SPORT IN ALL KINDS: these interests will finally distract their minds from questions in which we should find ourselves compelled to oppose them. Growing more and more unaccustomed to reflect and form any opinions of their own, people will begin to talk in the same tone as we because we alone shall be offering them new directions for thought … of course through such persons as will not be suspected of solidarity with us.

4. The part played by the liberals, utopian dreamers, will be finally played out when our government is acknowledged. Till such time they will continue to do us good service. Therefore we shall continue to direct their minds to all sorts of vain conceptions of fantastic theories, new and apparently progressive: for have we not with complete success turned the brainless heads of the GOYIM with progress, till there is not among the GOYIM one mind able to perceive that under this word lies a departure from truth in all cases where it is not a question of material inventions, for truth is one, and in it there is no place for progress. Progress, like a fallacious idea, serves to obscure truth so that none may know it except us, the Chosen of God, its guardians.

5. When, we come into our kingdom our orators will expound great problems which have turned humanity upside down in order to bring it at the end under our beneficent rule.


Published in 1907, The Protocols are a relative guide to the Gentiles’ eventual obliteration from this planet unless they decide to fight back. Reading over this particular protocol again, I realized the Jews (without prior knowledge) may have stumbled on the concept of what would eventually develop into ‘reality television programming’ with this statement, “SOON WE SHALL BEGIN THROUGH THE PRESS TO PROPOSE COMPETITIONS IN ART, IN SPORT IN ALL KINDS.” Immediately, SURVIVOR came to mind.

End of Part I.

NTS Notes:  It is good to have Whitewraithe back, and writing again..... She has long said that she wants to get back to what she loves best, and that is to write about entertainment.  

This article shows indeed how the criminal Jews have infiltrated our media and especially the entertainment industry to undermine and brainwash ALL Gentiles, not just those in America!... It shows again how Hollywood, which I call "Jewlywood" is truly a cesspool of Jewish filth, and is indeed used for their plans for world domination as laid out in their most evil Protocols...

Whitewraithe was just on Deanna Spingola's radio show, at, today at 11am CDT, to discuss this writing, and other related topics... When the archive for that program becomes available, I will post the link here at this site for everyone to listen to....

Part II of this expose will be posted up shortly...

More to come


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