AmNote on PBS, TV Network News, and the Movie Industry: The Jewish Propaganda Machine From the programming found on the Public Broadcasting System (PBS), the Jew influence on the publicly supported TV broadcasting network is obvious. Recently, the number of Jew oriented programs has increased. For example, Nova's "Holocaust on Trail" aired 10/31/00, "Hilter's Lost Sub" on 11/14/00, and "Nazi Prison Escape" aired on 2/6/01, with "Hitler's Search for the Holy Grail" airing on 11/27/00. Earlier broadcasts on Nova were "Lost Tribe of Israel" on 2/22/00 and "Decoding Nazi Secrets" on 11/9/99. At one time the program "Nova" was about science, however now its objective seems to be the spread of Jewish propaganda. A Frontline program, called "Nazi Gold" that aired on 6/17/97, was obviously a part of the Jew plot to extort money from Swiss banks; money that rightfully belongs to the German people from whom the Jews swindled it.
No other minority segment of the population, like American Indians or African Americans, gets as much positive coverage by PBS, and the media in general, as the Jews. Why? Because the Jews control PBS and many of the news networks, and therefore control the news that makes it out to the public and unfairly colors it with favorable Jewish themes and positions. For example, "Holocaust on Trial" was an obvious hatch job on David Irving. It seems if someone disagree with Jewish "Holocaust" dogma, they will find away to use publicly funded TV to do a number on them by trying to publicly embarrass them. Errol Morris's film "Mr. Death" is another example of a personally attack on someone, Fred A. Leuchter, Jr., that doesn't support the "Holocaust" dogma. Fred A. Leuchter, Jr. is a man whose forensic analyst of supposedly "gas chamber" found no evidence that those claims were true.
Jews makeup about 2.2 percent of the U.S. population, yet from the number of with Jewish-themed programs seen on PBS, and on the major TV network, and Hollywood movies, one would think Jews were 97.8 percent of the U.S. population. Why such as dominate view from such a small minority? It is because PBS, network news, TV, and the movies reflect the experience of those that control mass communications—the Jews. That is why there is so much Jewish claptrap present in mass communication. Look at the Jews that host daytime talk shows; "Jerry Springer", "Sally Jessy Raphael", "Maury Povich" "Ricki Lake", "Judge Judy", etc. Look at the number of shows that either have Jewish characters, actors, writers, producers, or TV executives. Since Jews comprise only about 2 percent of the population, statistically, if there were 5 regular cast members on a TV show and 20 TV programs, then out of a hundred actors on these 20 TV show, 2 actors might be Jews—but, in reality, there are that many Jews or more on just one TV program, such as "Sabrina, The Teenage Witch", "Buffy, The Vampire Slayer", "Friends", "Seinfeld", etc. Most TV shows have at least one Jew on the cast, such as "Everyone Loves Raymond", "Will and Grace", "King of Queens", "The Sopranos", "The X-Files", etc. An even more lopsided situation is found in the representation of Jews in the Writer's Guild, where a larger percentage of TV writers are Jewish. That's why there is so many hackneyed references to matzo balls and chicken soup, and TV show that introduce themes that center around Judaism, like "7th Heaven"!
TV news magazines, such as CBS's Jewish produced "60 Minutes", constantly has Jew program segments, as does NBC's "Dateline" and ABC's "20/20". Why are incidents in Israel given so much TV news coverage? The same overrepresentation of Jews and Jewish opinion exists in the Jew dominated movie industry, also. Germans are the largest ethnic group in American. How many German-American based TV shows or movies are there? Hispanics are about 10 percent of the U.S. population. Where is the Hispanic representation in the TV and film industry, both in programming, as well as actors and workers. Every phase of mass communications is dominated by the Jews and Jewish propaganda. Why hasn't the government stepped in with more than lip service and remedied the exclusionary and racial practices within the mass media industry? Because Jews buy influence with campaign contributions to politicians, including the President and Congress.
Michael Eisner's Disney and the rest of Jew Hollywood have used a film campaign to disparage Arabs and tarnish their image. For example, in the Disney studio's animated film production, "Aladdin" (1992), the theme song brazenly refers to Arabia asbarbaric ("It's barbaric, but hey, it's home"). There are many more Hollywood examples such as: in "Exodus" (1960), brutal Arabs kill an attractive 15-year-old Jewish girl played by Jill Hayworth; in "Network" (1976, and winner of four Academy Awards), a crusading television news commentator warns that Arabs, "the medieval fanatics," are taking control of the US; in "True Lies" (1994), an Arab terrorist with nuclear weapons has to be stopped; in "Executive Decision" (1996) yet another group of Arab militants hijacks an American plane; and in "Kazaam" (1996), an Arab criminal and a black genie enjoy eating a "centuries-old Arab delicacy," a plate of goats' eyes; in "The Siege," Muslims wage a bombing campaign against innocent Americans and in response, federal authorities declare martial law and carry out mass arrests of Muslims and Arabs across the United States; etc. Jews are not portray in Hollywood using terrorist images, even though terrorism was used by the Jews against the British during their occupation in Palestine, before the formation of Israel, and is still being used today against Palestinian. Instead positive images of Jews are manufactured in Jew Hollywood, such as in "The Chosen", "Fiddler on the Roof", and "Schindler's List".
PBS's propaganda machine is also in collusion with Spielberg's objective of rewriting World War II to suit the Jews. On 4/19/01, PBS ran an unedited, full length presentation of "Schindler's List", including simulated sex and full nudity of both men and women. "Schindler's List" is nothing more than a concoction of Jewish urban legends about World War II, including the main premise of the movie, since a Schindler's list of Jews to be saved never existed. Steven Spielberg's only purpose in choosing "Schindler's List" as a story was to use it as a vehicle to spread Jewish propaganda. "Schindler's List" is a three-and-half hour cartoon in which all Jews are good and victimized and all Germans are bad and persecutors—nothing could be further from the truth!
Spielberg has an ongoing program with Universal Pictures to show "Schindler's List" for free to all U.S. high school students. Spielberg's agenda is to indoctrinate American high school students into believing the "Holocaust" is true by passing off the lies of "Schindler's List" as history. Though Spielberg has attempted to mislead moviegoers by filming "Schindler's List" in a black and white documentary style, "Schindler's List" is not a documentary, instead it is a slick, Hollywood film promoted by Zionist to spread Jewish propaganda and "Holocaust" hysteria. The so-called "Holocaust" in which Jews died in concentration camps was the result of the Nazis losing to the Allied forces during the latter part of World War II. In order to turn the tide, the Nazis sent all their resource to their frontline troops and absolutely nothing to the concentration camp, including food and medicines, and so concentration camp prisioners died of starvation and diseases, and not in Auschwitz "gas chambers". "Schindler's List" should not be force-fed to children as historical truth—it is not!
Don't let Spielberg's phony patriotism in association with "Saving Private Ryan" fool you—Israel and Jews come first with him, and not America and Americans! Where was Spielberg during the Vietnam War? Spielberg sat in a film school classroom and not in a foxhole! Spielberg's wartime experience came in a sound stage, and not on a battlefield. In California, "Holocaust" studies are a required part of the school curriculum, but evidence contrary to the historical accuracy of the "Holocaust" is not presented. Impressionable American school children are the targets of a diabolical social engineering program being conduct by Jews to undermine American values and further their Judaic agendas in the United States! Spielberg is a "Holocaust" deceiver that uses film images to create false memories in people's minds. Steven Spielberg, leave our kids alone!
A slick, Hollywood May "sweeps" television version of "Anne Frank" was aired by Michael Eisner's ABC on May 20-21, 2001. Zionists claim that Anne Frank's diary was written by a thirteen year-old Jewish girl in an Amsterdam attic during the latter years of World War II. But, the diary of Anne Frank is a forgery created by her father, Otto Frank, in order to fulfill his daughter's desire to be a writer (if that is true) and to financially capitalize on the war. A more sinister motive lies in the miraculous "discovery" of Anne Frank's diary in 1947, which coincides with the Zionist movement to establish a Jewish state in the Middle East. The mysterious appearance of the diary raises suspicions that the diary was in fact a Zionist propaganda weapon meant to create sympathy for Jews in order to boost support and diminish opposition to the formation of Israel. Anyone that has ever read "Anne Frank: The Diary Of A Young Girl" can hardly believe its authorship was that of a thirteen year-old girl—with good reason! Yet, if there was ever a diary of Anne Frank, it has been so bastardized for publication by her father and others, and by the theater, television, and the movies, that any traces of the orginal has disappeared into Zionism, ratings, and box office. What "new" edition of the "Anne Frank: The Diary Of A Young Girl" is true—whichever sexual explicit version that can make the biggest profit for the Holocaust industry! An Anne Frank urban myth says she died in a Nazi "gas chamber" in Auschwitz, but Anne Frank, and her sister Margot, actually died of typhus some time in March, 1945, in the Bergen-Belsen concentration camp.
The only way to keep the Anne Frank myth alive was for the Jewish Anne Frank Foundation in Amsterdam to go to court and make it illegal to claim that the diary is a fake. So much for freedom of speech in the Netherlands, but, of course, the truth has always been the enemy of the Jews. The action by the Jewish Anne Frank Foundation points out the fact that the only way to keep a lie alive is to ban the truth, since the claims of the "Holocaust" deceivers for the "Holocaust" do not hold up under the scrutiny of investigation. The Jews can't allow people to look at the all the evidence and decide for themselves, because people would discover that the Jews are the evil ones manipulating them! ABC's "Anne Frank" serves as a good example of the ongoing use of television programs and movies as Jewish propaganda weapons to brainwash American into accepting the Jewish agenda. "Anne Frank" and "Schindler's List" also serve as examples of the threat that media Jews, such as Michael Eisner and Steven Spielberg, pose to American freedom of thought and way of life!
Who's so interested in Jews except other Jews? It is hard to believe that 97.8 percent of the non-Jewish population is writing and calling PBS and news networks demanding more Jew programming on TV. There's more than enough now! How many phony "Holocaust" movies can Jew Hollywood dream up before audiences becomes bored with the foolishness? Jews have worked very hard to misdirect viewers into looking at the Nazis, because Jews themselves cannot stand the scrutiny of examining their role in bring the Nazis to power with their corruptive political and social conduct in pre-WW II Germany; "Look at them, not us". The Jews always hide their evil behind something, otherwise people might see it and know the truth about them—that's why Jews are infamous for hiding in the background pulling the strings and letting someone else be the beard!
The media is oversaturation with Jewish programming, because Jews have wormed their way into positions of power in the industry, including the power of sponsorship by Jew foundations and corporate CEOs, which gives Jews exaggerated media influence in the U.S. and thus the ability to impose their will on America.Don't believe for an instant that Jews don't abuse their positions of power to advance Israel and the Jew agenda in America. Jews in the media have "brainwashing" Americans via TV and movies, into believing that Jews have been treated unfairly, which is untrue. For example, on the TV sitcom "Happily Ever After" the hand puppet bunny begins a tirade out of the blue indicting the Swiss banking system for keeping Nazi gold, supposedly taken from the Jews, to which the canned audience wildly applauds. This incident is clearly an attempt by the Jewish media to manipulate public opinion via entertainment programming in order to promote a Jewish agenda. It is also another part of the Jew plot to extort money from Swiss banks; money that rightfully belongs to the German people from whom the Jews swindled it. It is all part of the worldwide "Holocaust" industry that uses sympathy to swindle honest people of their money!
Network news distorts the news nightly to give Jews a favorable image. For example, Israel is slaughtering Palestinians, but network news covers up the massacre by not showing it, and, by the way, all done with U.S. military aid to Israel. Many negative news stories about Jews or Israel, that are published by the foreign press or seen on foreign TV, never see the light of day in U.S. newspapers or on TV network news—even if the events of the news story take place in America.
Even the freedom of the Internet has been compromised by the Israeli controlled Anti-Defamation League (ADL) pressuring search engines, such as Yahoo!, to stop the listing of websites that contain negative information about Jews. In fact, if you are reading this website, you did not find it by searching Yahoo. Yahoo refuses to index this website on their search engine (Update: this site has been re-indexed on several major search engines, including Yahoo; for how long it will remain so is unknown!). Yahoo and Google are funded by Jewish money, as by the likes of Andy Bechtolsheim, the co-founder of Sun Microsystems. Yahoo is headed by Jews and run by Jews, who don't want you to know about the sneak attack on the USS Liberty by the Isrealis that killed 34 and wounded 171 American sailors; the thief of uranium from the Apollo, PA nuclear plant by the Israelis to built nuclear weapons; the Jewish stockbrokerages' manipulation of the dot.coms on the Nasdaq and their insider trading that cost millions of Americans their savings; the spying by the ADL on American citizens for the Israelis, and particularly on Blacks; the Isreali bioweapons program that genetically targets Arabs and Blacks; the central role the Jews played in fostering and promoting apartheid in South Africa for financial gain; the slaughter of Palestinians in the West Bank, which rightful belongs to the Arabs; the social engineering of American via TV, network news, and the movies to accept Judaism and the Jewish lies of WW II; the manipulation of the political process in America by the Jews, as in the case of Mark Rich and the New Square Jews, and its parallels to pre-WW II Germany; the AntiChristian conspiracy by the Jewish media to sully the name of Jesus; and everything else that is found on this website. What harm does this website do? It presents you with the facts and allows you to makeup your own mind—and thinking is something the Jews cannot allow you to do, since the Jews know their behavior cannot withstand your scrutiny. So if you think there is freedom of thought in the United States, you are wrong when it comes to the Jews—they just cannot allow it, because if you know about what they are up to, you can stop them. This is just another example of the Jews' and ADL's ongoing campaign to suppress the truth about Jewish anti-American and racist activities!
The media Jews and their Jewish contributors are becoming bolder with their TV programming and movies, because there is no one there to stop them! One thing is for certain, that a truthful portrayal of the USS Liberty incident, the uranium theft from the nuclear plant in Apollo, Pa., the treason of Jonathan Pollard, the Jewish participation in apartheid, the ADL/police abuse of American's civil rights, or the Savings and Load scandals, or anything that would reflect negatively on the Jews or Israel will not appear on PBS, network TV/news, or in the movies! It is all an example of Jew sanitized media in America! Jewish control of the media and the misinformation it disseminates about the Middle East has become a danger to the American people. Americans are unaware of crimes committed in the Middle East by the Jews in the name of America, as pointed out by the World Trade Center and Pentagon airliner attacks, which were motivated by Israeli atrocities (see WTC/Pentagon Airliner Attacks)!
 Holocaust On Trail —Nova Transcript
NARRATOR: The Final Solution and the slaughter of millions of Jews during World War II is the defining tragedy of the 20th century. But there are those who claim that the Holocaust is a myth - that the millions who died are mere phantoms, that the few who survived are liars. Today, more than 50 years after those terrible events, the very reality of the Holocaust is being challenged. In the first days of the new millennium, an extraordinary trial opens at the High Court in London. At stake is the historical truth of the Holocaust. The plaintiff is David Irving, hailed by his supporters as the pre-eminent historian of the Third Reich, reviled by his critics as an apologist for the Nazi's greatest crime. Irving is fighting a one-man libel action against American scholar Deborah Lipstadt and her publisher, Penguin Books over her 1993 book Denying the Holocaust. She has branded Irving a dangerous revisionist, claiming he bends historical evidence to match his own ideological agenda. Irving counters that Lipstadt has conspired to ruin his reputation and threaten his livelihood. In a U.S. Court, Irving would have to prove Lipstadt's accusation is not only false, but made with reckless disregard for the truth. In Britain, the burden of proof is the other way round: the law sides with Irving, unless Lipstadt can prove that her statements are true. So the outcome of the case is by no means certain. [click here to continue]
To Hell And Back With Mr. Death —The Toronto Star
Death carries a slide-rule in Errol Morris' new documentary. Not only that, he's slope-shouldered, wears tightly knotted ties with short-sleeved shirts and has eyes that bulge behind TV-frame glasses. There's a slightly metallic whine to his voice and his teeth are a size or two too big for his mouth. He could be Don Knotts' younger brother or maybe a high-school geography teacher. He is, in other words, further evidence of the veracity of Hannah Arendt's legendary observation about the banality of evil. In this case anyway, death is a nerd. His name is Fred A. Leuchter, Jr., and he's the subject of a new feature-length non-fiction movie called Mr. Death: The Rise And Fall Of Fred A. Leuchter, Jr. The film was made by Morris, a Massachusetts-based filmmaker who, based on a resume that includes Gates Of Heaven (about a pet cemetery), The Thin Blue Line (about a wrongful murder conviction), A Brief History Of Time (about Stephen Hawking) and Fast, Cheap And Out Of Control (about obsessive eccentrics), ranks as one of the key documentarists of our era. Mr. Death had its Canadian premiere at the Toronto International Film Festival last September (it opens commercially today), which was appropriate, if slightly twisted, since the darkest turn made by the movie is made in this city. And if there's any justice under the sun (or sun for there to be justice under), it will be one of this year's most talked-about movies. (It already is. This past week, Mr. Death was screened as part of the current British libel trial pitting revisionist author David Irving - who appears in Morris's film - against American historian Deborah Lipstadt. Irving has dragged Lipstadt into a London court for calling him ''one of the most dangerous spokespersons for Holocaust denial,'' a charge Morris's movie would not seem to discredit.) Mr. Death is, quite simply, a startling piece of work. Not surprisingly, given his hopelessly geeky demeanour, Leuchter is a technician - a student of nuts and bolts, a stickler for details, a man who happily sweats the small stuff because, as I'm sure he'd remind us, it's the small stuff out of which big things are made. The kind of guy who's probably happiest in basements. (If he brings to mind the kind of fussy, horn-rimmed bureaucrats of mass murder embodied by Adolf Eichmann, Morris trusts the connection to our own powers of intellectual association, a gesture of intellectual faith hardly rampant in the realm of contemporary journalism.) [click here to continue]
Outsiders Who Dreamt Up America —The Daily Telegraph
It's a delicate subject. Mention the relationship between Hollywood and Jews and you can land in some very hot water. Journalist William Cash discovered this in 1991 when he wrote an article for The Spectator about the increasing influence of Jews on the American entertainment industry. More than a dozen movie luminaries - including Charlton Heston, Barbra Streisand and Steven Spielberg - sent an impassioned letter of complaint to the magazine, chastising Cash as a latter-day Nazi and complaining about the trite and vulgar Jewish stereotypes in which he had couched his argument. Yet the thrust of his piece was accurate. The movie industry in America has always been controlled by Jewish men and women in a town, Hollywood, that was created by Jewish immigrants. [click here to continue]
In Focus: Jews Who Invented Hollywood —The Arizona Republic
Louis B. Mayer, founder of MGM, invented the Oscars not long after he and his fellow studio heads invented the Hollywood movie industry. Meanwhile, according to an A&E documentary airing tonight, Mayer and Adolph Zukor (Paramount), Carl Laemmle (Universal), Jack Warner (Warner Bros.), William Fox (20th Century Fox) and Harry Cohn (Columbia) were inventing the American Dream. "A dream," posits the piece, "dreamt by Jews who were fleeing a nightmare." The special, based on the Neal Gabler book An Empire of Their Own: How the Jews Invented Hollywood, examines how a handful of Eastern European immigrants came to dominate the American film industry at midcentury, and how their shared ethnic background contributed to the formation of the nation's fantasy mindscape.
It's a fascinating two hours. "There is, of course, a school of thought that says it doesn't make any difference who makes the movies," said Gabler, meeting recently with TV critics in Pasadena, Calif. "Whether they were made by gentiles, Jews - whether they were made by Italians or Russians - it's all the same. I don't subscribe to that school of thought. "I believe that the fact that every major American studio was founded by and controlled by an Eastern European Jewish immigrant is significant. "The fact that each of these individuals operated within a certain kind of psychological environment is reflected in the kind of movies they made. "There's a connection between the creator and the project." [click here to continue]
Movies' Themes Continue To Shift —Milwaukee Journal Sentinel
Sharon Pucker Rivo, director of the National Center for Jewish Film at Brandeis University, says the focus of recent Holocaust films has shifted from the early themes of victimization to the ways Jews tried to help themselves. "The first spate of Holocaust-related films tended to focus on the destruction of Eastern European Jewish life, the survivor as victim," she says. "Resistance and rescue are now more dominant themes than victimization and oppression." The key film in the transition, she says, was the 1986 "The Partisans of Vilna," produced by Washington, D.C., filmmaker Aviva Kempner. The exact number of Holocaust-related films is unknown, but is estimated at close to 500. [click here to continue]
There Never Was A Schindler's List —The Ottawa Citizen
Oskar Schindler, the Nazi profiteer lauded by Hollywood for saving 1,200 Jews, was not a hero but a scoundrel, his widow tells Charles Laurence. Schindler's widow doesn't want to weep, not if she can help it. An arthritic, bent-backed woman who will be 90 next week, she looks back at a life made known by a best-selling book and an Oscar-winning film -- and sees only betrayal and bitterness. The book was Schindler's Ark, and the film Steven Spielberg's Schindler's List. Emilie's husband was Oskar Schindler, the louche Nazi war profiteer who became an unlikely hero -- a VERY unlikely hero, it turns out -- when he saved 1,200 Jews from certain death in the gas chambers of the Holocaust. Oskar Schindler died in 1974. His deeds had always been acknowledged by Jews in Israel; they supported him with pensions, free holidays and, in the end, paid for his grave in Jerusalem. And there were his own Schindlerjuden, as they became known, the survivors who testified to his extraordinary story. But his widow has watched with acid wonder as Thomas Keneally's book and then its Hollywood version created the myth of Oskar Schindler, a myth rooted, like so many, in a need to find something worthwhile in the worst of circumstances. [click here to continue]
Perspective On The Holocaust; When Will Jews Let It Rest? —The Los Angeles Times
For the life of me I can't understand what possessed Steven Spielberg to make "Schindler's List," to glorify a latter-day Robin Hood who profited at the expense of Polish Jewry. In brief, this is Oskar Schindler, as depicted in the film, which, being shot almost completely in black and white, conveys the impression of a documentary: Schindler, a failed German businessman, goes to Krakow in 1939 to make his fortune as a supplier of the German army. He takes over a factory that the Nazis have appropriated from the Jewish owners. He persuades Krakow Jews, whose bank accounts are being frozen, to provide him with the capital he needs to start the manufacture of cookware; since they can't own money, he pays them back in pots and pans. He hires Jews because they are cheaper than Poles. He ingratiates himself with the most vile of the Nazi Establishment to keep his contracts -- and his obscene profits -- growing. In his personal life, too, Oskar Schindler is less than heroic, to put it mildly. He indulges in every excess of vanity and sensuality. With a wife back home, he keeps a mistress in Krakow while maintaining a years-long affair with his secretary. He lives like a prince (in a home expropriated from Jews), wears the finest silk suits and jewelry, drives -- or is chauffeured -- in the most luxurious cars. All that he has is afforded by the round-the-clock labor of Jews, his virtual slaves. I would call it "Swindler's List." [click here to continue]
Steven Spielberg Offers Schools 'Schindler's List' —The Hartford Courant
High school classes throughout Connecticut will be offered free screenings of the Holocaust film " Schindler's List" under a project being promoted by the film's director, Steven Spielberg. State education officials began working out details of the project this week after Spielberg telephoned Gov. Lowell P. Weicker Jr. to push the idea. "They spoke for approximately a half-hour," said Avice Meehan, a spokeswoman for the governor. The governor "views this as a tremendous opportunity to educate high school students about a very tragic period in world history," she said. The project began in California, where studies of the Holocaust are a required part of school curriculum, said Janae Goodman, an official in Gov. Pete Wilson's Los Angeles office. The idea for the free screenings began when Wilson called Spielberg to congratulate him about the movie. Spielberg and Wilson then sent letters about the project to the nation's governors. Weicker was among the first governor to be called directly by Spielberg, said a spokesman for his production company. [click here to continue]
Spielberg Offers Free 'List' Copies For Kids —The Denver Post
Steven Spielberg, whose Holocaust film "Schindler's List" won Hollywood's best picture and best director Oscars, has offered to make free copies of the movie and theater space available so juniors and seniors in Colorado high schools can view it, Gov. Roy Romer said last night. Romer announced the offer as he welcomed about 23 neighbors to the Governor's Mansion for a Democratic caucus in precinct 535. He said he had contacted Spielberg, who has made the film available for the education of high school students in California, to ask if the filmmaker would match the offer in Colorado. The offer is conditioned on local school districts agreeing to provide transportation to and from the film; Spielberg also has asked that the Holocaust be discussed before and after the movie, Romer said. The program got the backing from the leaders of the The Anti-Defamation League earlier in the day. [click here to continue]
Anne Frank, More Comprehensively —The Christian Science Monitor
Anne Frank was not a survivor, to borrow a term overused in present-day parlance. She was born in Germany in 1929, fled with her family to the Netherlands at the age of four, and was flushed out of the secret annex where they had hidden for two years to die in a concentration camp in 1945, a few months short of her 16th birthday. Yet, as even the most cursory reading of her diary amply demonstrates, she had all of the qualities that are supposed to characterize survivorship: intelligence, courage, honesty, compassion, resilience, resourcefulness, and a good sense of humor. Anne Frank hoped to become a writer. In the spring of 1944, after hearing a radio broadcast of the Dutch government-in-exile about the importance of letters and diaries as documents, she began revising and expanding her own diary to provide a broader picture of the times. Anne's father, Otto Frank, the only member of the immediate family to survive the camps, recovered the diary after the war and from her two versions prepared a third. Some passages from the manuscripts were omitted: comments Otto Frank deemed disrespectful to his late wife, critical remarks about others whose feelings might be hurt, and some of Anne's direct references to sexual matters, such as menstruation and birth control. [click here to continue]
Flat Earth; Fiction v Fact —The Independent (London)
What would Anne Frankmake of last week's proceedings in an Amsterdam court? After a case brought by the Anne Frank Foundation, it is now a crime to claim, as a recent book does, that her famous diary was a forgery written by her father after the Second World War. In future anyone found guilty of denying the diary's authenticity will be liable to a fine approaching pounds 8,000. The action arose from a revisionist diatribe called Anne Frank, A Critical Approach. Its extreme-right publisher, Siegfried Verbeke, says it is already available on the internet, but the foundation, which described the court's verdict as "a very important step", is looking at trying to suppress it there too. I wonder at the wisdom of this. Apart from showing a lack of confidence in the ability of truth to prevail over lies, it will now be open to any Holocaust-denier who wants martyrdom to invite a fine, refuse to pay it and demand to be sent to jail. Then it will be argued that the authorities are trying to suppress the "truth". The people the Anne Frank Foundation is fighting crave any kind of attention, and this seems to give them a foolproof way of getting it. Get the point? [click here to continue]
Jews, Blacks And Trouble In Hollywood —The New York Times
Perhaps it was one of those unspoken issues that keep smoldering until something finally ignites it. For years, blacks had rightfully complained about their unconscionably small numbers in positions of power in Hollywood, but in July during a panel discussion on blacks in the entertainment industry at the convention of the National Association for the Advancement of Colored People in Los Angeles, the debate took a strange and disquieting new turn. Why had blacks been denied access to the levers of power in the entertainment industry? Legrand Clegg, the chief deputy city attorney in the Los Angeles suburb of Compton and president of a media watchdog group called the Coalition Against Black Exploitation, provided the answer. It was ''Jewish racism in Hollywood,'' Mr. Clegg told the panelists to rousing applause, and he proposed a ''summit meeting with the Hollywood Jewish community'' to raise the issue. A few weeks later, the production heads Mike Medavoy of Columbia/Tri-Star and Jeffrey Katzenberg of Disney addressed the same subject at a conference of black journalists. And on a TV talk show the flames were fed yet again when the director Spike Lee, amid charges that he had maliciously stereotyped Jews in his new film, ''Mo' Better Blues,'' said that he could not make an anti-Semitic film because Hollywood is run in large part by Jews.
The charge of Jewish racism in Hollywood rises from two incontestable facts: 1) blacks are virtually unrepresented in the top echelons of production, the so-called glamour positions of motion picture studios; and 2) Jews are overrepresented there, given the percentage of each group in the general population of the country. What alarms Jewish leaders and executives is the cause and effect drawn between these facts. Or perhaps, more accurately, what terrifies them is that this syllogism might gain enough credence to trigger new anti-Semitism and further damage black-Jewish relations. [click here to continue]
Group Finds No Positive Latin Portrayals In Motion Pictures —Los Angeles Times
Two TV movies, two TV documentaries and one TV drama series were honored Wednesday with Imagen Awards for their positive depiction of Latinos. But the National Conference of Christians & Jews, which bestows the awards, found no motion pictures deserving of recognition. It was the sixth time in the nine-year history of the organization's Latino media image awards that no theatrical movie was honored. A spokesman termed the feature-film results disappointing and called on the film industry to step up efforts to hire Latinos and to create positive images that will help combat prejudice. [click here to continue]
Arab-Americans Urge Discrimination Inquiry —The New York Times
Arab-American leaders today asked the Federal Commission on Civil Rights to investigate ''an ugly, racist type of anti-Semitism'' against Americans of Arab descent. The leaders, in a briefing for the commission, accused President Reagan, the news media, the film industry and Jewish organizations of fostering the discrimination by generally portraying Arabs as terrorists. ''We are not terrorists,'' said Dr. James J. Zogby, executive director of the Arab-American Institute. ''We are not supporters of terrorism.'' [click here to continue]
ADL Blasts Yahoo! For Online Hate Clubs —USA TODAY
The Anti-Defamation League, which monitors what it calls the "dark side of the Internet, " fired off a press salvo against Yahoo! on Wednesday, saying the Web portal is violating its own rules banning "hateful" content. The ADL sent a letter to the company Jan. 6, calling on it to remove club sites belonging to several hate groups. When it didn't hear back from Yahoo!, it sent a release to the press. [click here to continue]
Jewish Groups Fight for Spoils Of Swiss Case —The New York Times
A battle is flaring between Jewish humanitarian groups, plaintiffs' lawyers and concentration camp survivors over the $1.25 billion paid by Swiss banks to settle Holocaust-related lawsuits, and potentially billions more from claims against companies in Germany, Austria and other countries. At the core of the dispute is the emotionally charged question of how to divide the bulk of that settlement, because only a small fraction of it will go to the heirs of Jews who had Swiss bank accounts on the eve of World War II and were killed by the Nazis. As a result, up to $1 billion may be up for grabs. In recent weeks, Jewish charitable groups have prepared competing proposals to distribute that portion of the fund, plans that could give them a major stake in the allocation and bolster their influence in the Jewish world. But some lawyers and survivors argue that the money should be paid directly to those who suffered. The success in the Swiss case has also spurred lawyers experienced in large class-action litigation to pursue a wave of lawsuits against banks and insurers in other European countries and manufacturers accused of profiting from forced labor during World War II like Volkswagen, Siemens, and the German operations of Ford. Those suits could yield billions of dollars more in settlements and tens of millions in lawyers' fees. In recent months, competing lawyers from the United States have barnstormed across Europe soliciting clients, publicly castigating each other and privately maneuvering to oust their adversaries. And the World Jewish Congress, which helped instigate the Swiss bank case, recently met with political and corporate leaders in Austria and Germany to warn that its claims must be dealt with before peace can be purchased. But as the disputes widen, a campaign once fired by moral outrage may be dissolving into a battle over power and money. Some now fear that aging survivors with few years left could again be victimized, this time by those claiming to fight in their names. "I don't want an industry to be made on the memory of victims, particularly because there are so few survivors out there who will benefit from it," said Abraham Foxman, national director of the Anti-Defamation League. [click here to continue]
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