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It is also appropriate to specifically point out, that in a series of books that allege and provide persuasive evidence that Hollywood is controlled by a small group of Jewish males of European heritage, who are politically liberal and not very religious, and who have gained and maintain their control over the U.S. film business by unfair, unethical, anti-competitive, predatory, and, in some cases, illegal business practices, including rampant nepotism, favoritism, cronyism, blacklisting and other forms of discrimination, it is most relevant to then show that a disproportionate number of the producers, directors, writers, actors and actresses benefiting from that discrimination, also have a Jewish heritage. The above survey and this book's chapters on "More Bias in Motion Picture Biographies" and "Patterns of Bias: Movies Mirror Their Makers" do just that.

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As noted earlier, Powdermaker also states that "'Hollywood is no mirrorlike reflection of our society, which is characterized by a large number of conflicting patterns of behavior and values.' Instead, Hollywood had emphasized some of those values to the exclusion of others." Also, as noted earlier, in talking about Hollywood's politically liberal slant, David Prindle says " . . . it is not Hollywood's willingness to embrace national problems in movies and on television that is disturbing. It is the relentless one-dimensional viewpoint that dominates the films and television that come out of the industry."

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The present studio dominated system also allows certain insider filmmakers or filmmakers with insider backing to pursue their own hidden agendas (i.e., plans of things to be done or intentions that are not apparent or divulged). Filmmakers make movies for many reasons. Making money, becoming famous, earning the respect of professional peers, providing entertainment and communicating important ideas would seem to be high on anyone's list of the typical reasons why movies are made, although the order of importance certainly may differ amongst individuals. The feature film, as a communications medium, with its large screen, color technology, special effects, lighting techniques, exquisite photography, incredible sound, excellent talent on and off the screen, is also, without question, one of the most effective forms of communicating ideas that the world has yet devised. It would indeed be naive for anyone to assume that the communication of ideas is not an important motive for any serious filmmaker or filmmaking concern. A feature film also affords a unique opportunity for those who control or dominate the process of decision-making as to which movies or ideas are included in motion pictures, to insert such ideas or select and actively promote the movies which best express the views held by those same decision-makers.

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The highest ranking black person on the 1993 list of the 101 most powerful people in entertainment and who primarily works in the film industry was an actress, Whoopi Goldberg, ranked at 55. The highest ranking black male was writer/director Spike Lee at position #63. Again, there were no black studio executives or agents on the list. Remember, once again, that it is this small group of top major studio/distributor executives who generally determine which movies are produced, released and viewed by the vast majority of Americans, who gets to work on those movies in the top creative positions and the content of the scripts.

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Canada is perhaps the " . . . only country in the capitalist world that has allowed free access to its feature film market and ownership of its screens by foreign multinational firms without any control over the market. Traditional barriers, such as screen quotas and box-office levies, are shunned by the Canadian federal government." Thus, ultimately, the " . . . system (in Canada) is structured to exclude almost all Canadian films except by chance. The traditional argument is that if it is a 'good' Canadian film, it will get played. In other words, it is not the structure of the industry and the market relationships that preclude Canadian films in the national market but it is their poor 'quality.' This argument is largely a myth perpetuated by the dominant distributors and exhibitors in Canada." This same misleading and dishonest argument, of course, is made by the American major studio/distributors and exhibitors in reference to independent films in the U.S.

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When talking about the movie sound system being developed by Warner Bros. in the late '20s Harry Warner actually offered the opinion that movies with sound " . . . may even serve to eliminate war among the nations . . . " He said, "[w]e know that American movies are bearing a silent message of our progress to people inhabiting the globe. These same films may now go a step farther. They may even carry an actual message through speech spoken by some character, perhaps of America's doctrines for world peace."