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Bernstein, T. M. (1965). The careful writer: A modern guide to English usage (2nd ed.). New York, NY: Atheneum.

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It is thus important to note that neither Medved nor Kotkin nor any other writer/observer of the Hollywood scene reviewed in this survey of the literature of the industry, affirmatively stated that any other racial, ethnic, religious or cultural group actually controls or dominates Hollywood today. Medved merely stated that "Jewish control . . . [is] at an all-time low." Kotkin merely stated that " . . . Jewish direct control of the studios . . . [is] greatly reduced . . . " Medved continues with his smokescreen stating:

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The following year (1989), David Puttnam said he thinks " . . . the motion picture industry is misusing its power because of its greed . . . " Puttnam said: "I strongly feel that movies should teach. Enlighten. That's what cinema represents to me, an opportunity to give the audience something to feel. Something positive and uplifting." Like Dawn Steel, David Puttnam’s tenure as a studio executive did not last long.

It is never merely the presentation of a set of data.

In 1991, another Hollywood historian, Douglas Gomery asserted that the " . . . motion picture (is the) . . . dominant form of popular culture throughout the world . . . the cinema attracts vast millions to theatrical screenings and reaches still more people through television and video presentation. Most people see thousands of films as children and teenagers, and thousands more as adults . . . " Gomery said. He also states that "[s]cholars around the world have . . . discovered new ways to help us understand how films have shaped our lives and influenced our world." Unfortunately, these scholars have not been able to help the Hollywood studio executives understand such things.

Gabler went on to say that for " . . . immigrants, the movies were a powerful socializing force, acclimating them to American customs and traditions. For workers generally, they were a democratizing force, creating a sense of cultural identity and unity."

You need to rewrite the foggy and fuzzy sections.

In his 1988 book , Neal Gabler offered the opinion that "[u]ltimately, American values came to be defined largely by the movies the Jews made . . . by creating their idealized America on the screen, the Jews reinvented the country in the image of their fiction." On the other hand, as this book makes clear, it was not the "Jews" generally who accomplished what Gabler claims, but that much narrower and very specific Hollywood control group: Jewish males of European heritage who are (generally) politically liberal and not very religious; a group that is also not necessarily typical of Jews generally, and whose members do not necessarily behave the way they do because they have a Jewish heritage. If Gabler wants to praise "Jews" for Hollywood’s successes, then he must also be willing to blame them for its failures.

That same year, (1988), John E. O'Connor wrote that "[h]owever unfortunate, it appears likely that even well-educated Americans are learning most of their history from film and television." O'Connor further states that " . . . since the 1930s, film and television have become major factors in politics and culture . . . "

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The " . . . quintessential adult Western remains the Fred Zinnemann-directed and Stanley Kramer-produced (1952)." It starred Gary Cooper, " . . . as a lawman who struggles to save a town . . . The theme of the individual against the mob was sharpened by screenwriter Carl Foreman as a direct attack on the witch-hunts of the McCarthy era, which were just reaching their infamous apex (nadir?) at this point." So was this film really merely entertainment? Not exactly.

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Intelligent people who have the capacity to think critically, can also disagree with the messages purveyed by the movies. Danny Goldberg, Senior Vice-President, Atlantic Records (a division of Time Warner) who is also the Chairman of the Southern California ACLU Foundation, did just that. He reports that bothered him " . . . because it didn't give black people enough credit for the civil rights struggle, and it glamorized the FBI." Surely, if more African/Americans had been involved in the production of , at meaningful, decision-making levels, the movie would have given more credit to their contributions. That is the point. If you want more diversity on the screen, we must have more diversity at all levels in the U.S. industry, regardless of whether it is based in Hollywood or not.

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Looking again at the messages of movies in the '30s and '40s, the Frank Capra films " . . . celebrated the common man caught up in a world he did not understand . . . The celebration of middle class values and the blending of the rich and poor set up fundamental narrative parameters which would endure in Capra's films for twenty years." Gomery reports that in 1941, Orson Welles seemed " . . . obsessed with understanding the relationships between power and the powerful." Gomery suggested that the subject may have fascinated Welles so much " . . . because he so misunderstood Hollywood's use of power." In and , Welles explored " . . . how an egotistical man tried to live outside the law, above society, or both." The 1949 release starred Glenn Ford, Ida Lupino and Gig Young and talked about " . . . how greed and evil take over and ruin basically good people." S. Sylvan Simon directed.

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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.

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