This book examines the role of American Jews in the entertainment industry, from the turn of the century to the outbreak of World War II. Eastern European Jewish immigrants are often credited with building a film industry during the first decade of the twentieth century that they dominated by the 1920s. In this study, Steven Carr reconceptualizes Jewish involvement in Hollywood by examining prevalent attitudes towards Jews among American audiences. Analogous to the Jewish Question of the nineteenth century, which was concerned with the full participation of Jews within public life, the Hollywood Question of the 1920s, 30s, and 40s addressed the Jewish population within mass media. This study reveals the powerful set of assumptions concerning ethnicity and media influence as related to the role of the Jew in the motion picture industry.
A provocative, original, and richly entertaining group biography of the Jewish immigrants who were the moving forces behind the creation of America's motion picture industry. The names Harry Cohn, William Fox, Carl Laemmle, Louis B. Mayer, Jack and Harry Warner, and Adolph Zucker are giants in the history of contemporary Hollywood, outsiders who dared to invent their own vision of the American Dream. Even to this day, the American values defined largely by the movies of these émigrés endure in American cinema and culture. Who these men were, how they came to dominate Hollywood, and what they gained and lost in the process is the exhilarating story of An Empire of Their Own.
A 2018 FINALIST FOR THE PULITZER PRIZE “[Hitler in Los Angeles] is part thriller and all chiller, about how close the California Reich came to succeeding” (Los Angeles Times). No American city was more important to the Nazis than Los Angeles, home to Hollywood, the greatest propaganda machine in the world. The Nazis plotted to kill the city's Jews and to sabotage the nation's military installations: Plans existed for murdering twenty-four prominent Hollywood figures, such as Al Jolson, Charlie Chaplin, and Louis B. Mayer; for driving through Boyle Heights and machine-gunning as many Jews as possible; and for blowing up defense installations and seizing munitions from National Guard armories along the Pacific Coast. U.S. law enforcement agencies were not paying close attention--preferring to monitor Reds rather than Nazis--and only attorney Leon Lewis and his daring ring of spies stood in the way. From 1933 until the end of World War II, Lewis, the man Nazis would come to call “the most dangerous Jew in Los Angeles,” ran a spy operation comprised of military veterans and their wives who infiltrated every Nazi and fascist group in Los Angeles. Often rising to leadership positions, they uncovered and foiled the Nazi's disturbing plans for death and destruction. Featuring a large cast of Nazis, undercover agents, and colorful supporting players, the Los Angeles Times bestselling Hitler in Los Angeles, by acclaimed historian Steven J. Ross, tells the story of Lewis's daring spy network in a time when hate groups had moved from the margins to the mainstream.
As studio bosses, directors, and actors, Jews have been heavily involved in film history and vitally involved in all aspects of film production. Yet Jewish characters have been represented onscreen in stereotypical and disturbing ways, while Jews have also helped to produce some of the most troubling stereotypes of people of color in Hollywood film history. In Hollywood's Chosen People: The Jewish Experience in American Cinema, leading scholars consider the complex relationship between Jews and the film industry, as Jews have helped to construct Hollywood's vision of the American dream and American collective identity and have in turn been shaped by those representations. Editors Daniel Bernardi, Murray Pomerance, and Hava Tirosh-Samuelson introduce the volume with an overview of the history of Jews in American popular culture and the American film industry. Multidisciplinary contributors go on to discuss topics such as early Jewish films and directors, institutionalized anti-Semitism, Jewish identity and gossip culture, and issues of Jewish performance on film. Contributors draw on a diverse sampling of films, from representations of the Holocaust on film to screen comedy; filmmakers and writers, including David Mamet, George Cukor, Sidney Lumet, Edward Sloman, and Steven Spielberg; and stars, like Barbra Streisand, Adam Sandler, and Ben Stiller. The Jewish experience in American cinema reveals much about the degree to which Jews have been integrated into and contribute to the making of American popular film culture. Scholars of Jewish studies, film studies, American history, and American culture as well as anyone interested in film history will find this volume fascinating reading.
A groundbreaking book that dissects a slanderous history dating from cinema’s earliest days to contemporary Hollywood blockbusters that feature machine-gun wielding and bomb-blowing "evil" Arabs Award-winning film authority Jack G. Shaheen, noting that only Native Americans have been more relentlessly smeared on the silver screen, painstakingly makes his case that "Arab" has remained Hollywood’s shameless shorthand for "bad guy," long after the movie industry has shifted its portrayal of other minority groups. In this comprehensive study of over one thousand films, arranged alphabetically in such chapters as "Villains," "Sheikhs," "Cameos," and "Cliffhangers," Shaheen documents the tendency to portray Muslim Arabs as Public Enemy #1—brutal, heartless, uncivilized Others bent on terrorizing civilized Westerners. Shaheen examines how and why such a stereotype has grown and spread in the film industry and what may be done to change Hollywood’s defamation of Arabs.
This author's analytical approach will be appreciated by historians as well as film buffs. He examines Hollywood's response to the rise of fascism and the beginning of the Second World War. Welky traces the shifting motivations and arguments of the film industry, politicians, and the public as they negotiated how or whether the silver screen would portray certain wartime attributes.
The influence of Jews in American entertainment from the early days of Hollywood to the present has proved an endlessly fascinating and controversial topic, for Jews and non-Jews alike. From Shtetl to Stardom: Jews and Hollywood takes an exciting and innovative approach to this rich and complex material. Exploring the subject from a scholarly perspective as well as up close and personal, the book combines historical and theoretical analysis by leading academics in the field with inside information from prominent entertainment professionals. Essays range from Vincent Brook’s survey of the stubbornly persistent canard of Jewish industry "control" to Lawrence Baron and Joel Rosenberg’s panel presentations on the recent brouhaha over Ben Urwand’s book alleging collaboration between Hollywood and Hitler. Case studies by Howard Rodman and Joshua Louis Moss examine a key Coen brothers film, A Serious Man (Rodman), and Jill Soloway’s groundbreaking television series, Transparent (Moss). Jeffrey Shandler and Shaina Hamermann train their respective lenses on popular satirical comedians of yesteryear (Allan Sherman) and those currently all the rage (Amy Schumer, Lena Dunham, and Sarah Silverman). David Isaacs relates his years of agony and hilarity in the television comedy writers’ room, and interviews include in-depth discussions by Ross Melnick with Laemmle Theatres owner Greg Laemmle (relative of Universal Studios founder Carl Laemmle) and by Michael Renov with Mad Men creator Matthew Weiner. In all, From Shtetl to Stardom offers a uniquely multifaceted, multimediated, and up-to-the-minute account of the remarkable role Jews have played in American movie and TV culture.
David Mamet's interest in anti-Semitism is not limited to the modern face of an ancient hatred but encompasses as well the ways in which many Jews have internalized that hatred. Using the metaphor of the Wicked Son at the Passover seder (the child who asks, "What does this story mean to you?") Mamet confronts what he sees as an insidious predilection among some Jews to exclude themselves from the equation and to seek truth and meaning anywhere--in other religions, political movements, mindless entertainment--but in Judaism itself. He also explores the ways in which the Jewish tradition has long been and still remains the Wicked Son in the eyes of the world. Written with the searing honesty and verbal brilliance that is the hallmark of Mamet's work, The Wicked Son is a powerfully thought-provoking look at one of the most destructive and tenacious forces in contemporary life.
The remarkable story of the Jewish moguls in Hollywood who established the first anti-Nazi Jewish resistance organization in the country in the 1930s. Finalist, Celebrate 350 Award in American Jewish Studies The 1939 film Confessions of a Nazi Spy may have been the first cinematic shot fired by Hollywood against Nazis in America, but it by no means marked the political awakening of the film industry’s Jewish executives to the problem. Hollywood’s Spies tells the remarkable story of the Jewish moguls in Hollywood who paid private investigators to infiltrate Nazi groups operating in Los Angeles, establishing the first anti-Nazi Jewish resistance organization in the country—the Los Angeles Jewish Community Committee (LAJCC). Drawing on more than 15,000 pages of archival documents, Laura B. Rosenzweig offers a compelling narrative illuminating the role that Jewish Americans played in combating insurgent Nazism in the United States in the 1930s. Forced undercover by the anti-Semitic climate of the decade, the LAJCC partnered with organizations whose Americanism was unimpeachable, such as the American Legion, to channel information regarding seditious Nazi plots to Congress, the Justice Department, the FBI and the Los Angeles Police Department. Hollywood’s Spies corrects the decades-long belief that American Jews lacked the political organization and leadership to assert their political interests during this period in our history and reveals that the LAJCC was one of many covert “fact finding” operations funded by Jewish Americans designed to root out Nazism in the United States. “A remarkable tale.” —The Wall Street Journal “Expose[s] a buried story about underground plots waged by Nazis against major Hollywood figures.” —Los Angeles Review of Books
Is antisemitism on the rise in America? Did the "hymietown" comment by Jesse Jackson and the Crown Heights riot signal a resurgence of antisemitism among blacks? The surprising answer to both questions, according to Leonard Dinnerstein, is no--Jews have never been more at home in America. But what we are seeing today, he writes, are the well-publicized results of a long tradition of prejudice, suspicion, and hatred against Jews--the direct product of the Christian teachings underlying so much of America's national heritage. In Antisemitism in America, Leonard Dinnerstein provides a landmark work--the first comprehensive history of prejudice against Jews in the United States, from colonial times to the present. His richly documented book traces American antisemitism from its roots in the dawn of the Christian era and arrival of the first European settlers, to its peak during World War II and its present day permutations--with separate chapters on antisemititsm in the South and among African-Americans, showing that prejudice among both whites and blacks flowed from the same stream of Southern evangelical Christianity. He shows, for example, that non-Christians were excluded from voting (in Rhode Island until 1842, North Carolina until 1868, and in New Hampshire until 1877), and demonstrates how the Civil War brought a new wave of antisemitism as both sides assumed that Jews supported with the enemy. We see how the decades that followed marked the emergence of a full-fledged antisemitic society, as Christian Americans excluded Jews from their social circles, and how antisemetic fervor climbed higher after the turn of the century, accelerated by eugenicists, fear of Bolshevism, the publications of Henry Ford, and the Depression. Dinnerstein goes on to explain that just before our entry into World War II, antisemitism reached a climax, as Father Coughlin attacked Jews over the airwaves (with the support of much of the Catholic clergy) and Charles Lindbergh delivered an openly antisemitic speech to an isolationist meeting. After the war, Dinnerstein tells us, with fresh economic opportunities and increased activities by civil rights advocates, antisemititsm went into sharp decline--though it frequently appeared in shockingly high places, including statements by Nixon and his Chairman of the Joint Chiefs of Staff. "It must also be emphasized," Dinnerstein writes, "that in no Christian country has antisemitism been weaker than it has been in the United States," with its traditions of tolerance, diversity, and a secular national government. This book, however, reveals in disturbing detail the resilience, and vehemence, of this ugly prejudice. Penetrating, authoritative, and frequently alarming, this is the definitive account of a plague that refuses to go away.
