The heart of an application—the essay

Another 1992 film, (Orion) was " . . . about the inhumanity of a modern government hospital . . . " The film traced " . . . the reality of a veterans hospital in much the same way conveyed the lunacy of warfare." That same year, (1992) was " . . . about the cycle of crime and gangs that places a generation of young black men on a merry-go-round between violence in the streets and in prison." The film showed " . . . clearly how the gangs use drugs and violence to enforce a new kind of slavery. If people are addicted to crack, they will need money to buy it. That helps the gangs (in) two ways: (1) they sell the drugs, making money, and (2) they can encourage addicts to steal, deal, and prostitute for drug money, and then tax the proceeds of their crimes."

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The following year, (1939), actor Claude Gillingwater committed suicide with a gunshot wound to his head. He had appeared in . Also, that year (March 9, 1939), actress Gladys Frazin, who appeared in jumped to her death " . . . from her New York apartment window . . . "

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The 1940s, saw some 24 Hollywood personalities come to their premature deaths by various means. Actor, director, screenwriter Charlie Chase " . . . began drinking heavily and died of a heart attack at age 46 . . . " in 1940. The next year, actress Jenny Dolly " . . . took some drapes, made a noose from them, and hanged herself from a shower rod in her Hollywood apartment." She had appeared in . Also, in 1941, Julian Eltinge committed suicide . . . by taking sleeping pills . . . " Brooklyn born Claire Maynard appeared " . . . in two Fox films: Henry King's . . . and . . . (but) Fox did not renew her contract . . . " She committed suicide in July of 1941.

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" . . . a fired studio boss usually lands on his feet--either at another studio, his own production company or a talent agency. It is one big happy Club . . . " they say, again making reference to the fact that membership in that club is " . . . reserved almost exclusively for white males." The O'Donnell/McDougal writing team go on to say that "[b]y their bad taste, lack of creativity, biases, and anti-competitive business practices, many studio executives have abused the public trust . . . "

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This book and its companion volumes take the position that it is simply not acceptable in a free, democratic and diverse society which values the free flow of information and the competition of ideas in an open marketplace, for the citizens or their government, to stand idly by and allow any narrowly defined interest group (regardless of whether such group is defined in terms of its race, religion, cultural background, ethnicity or otherwise) to control or dominate any important communications medium, including film. These books argue that movies mirror the values, interests, cultural perspectives and prejudices of their makers, thus to the extent that the film industry is controlled by any narrowly-defined interest group, the values, interests, cultural perspectives and prejudices of most other segments of our diverse society will not be regularly or accurately reflected on the screen (at best, they are being filtered through the cultural sensibilities of another group).

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Concluding Observations--Once again, in a good faith effort to discourage any malicious misreading or misrepresentation of the underlying themes of this book by parties on either side of the questions presented, it is necessary to deal with the possible and even likely false criticism that this book may, in some way, be anti-Semitic. As most people recognize, anti-Semitism requires hostility directed towards Jews generally, or toward one or more Jews because they are Jewish. This book does not rise to a level of "hostility" directed toward anyone, much less persons of Jewish heritage. Rather, it merely criticizes the business-related behavior of a small group of people, most of whom happen to be politically liberal and not very religious Jewish males of European heritage. Nothing in this book or its companion volumes suggests that the behavior of this Hollywood control group (i.e., that small group of Jewish males of European heritage, who are politically liberal and not very religious) is typical of Jews generally. Also, nothing in any of such volumes suggests that any members of the Hollywood control group behave the way they do because they are Jewish. Instead, this book assumes their behavior is atypical and occurs despite their Jewish heritage.