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Based on the study set forth in this book's chapter on "Patterns of Bias: Movies Mirror Their Makers" and the companion volume , Hollywood appears to have an obsession with movies that express anti-Nazi, anti-German, anti-Fascist, anti-totalitarian, anti-right wing, anti-white supremacist, anti-Ku Klux Klan, anti-Southern, anti-government, anti-Republican, anti-conservative and anti-Christian themes, ironically mixed in with pleas for tolerance. The results of the study of films reported in this volume indicate that on the other hand, Hollywood also seems to be compelled to consistently portray Jewish characters, stories, themes, sub-plots or issues in a more favorable manner.

Lennie’s Death | Of Mice and Men

Adam Levine and Behati Prinsloo welcomed their second child. See what they named their baby girl.

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John W. Cones is a securities and entertainment attorney based in Los Angeles, where he maintains a private solo practice advising independent feature film, video, television and theatrical producer clients. A frequent lecturer on film finance and distribution, his lectures on "Investor Financing of Entertainment Projects" have been presented in Los Angeles, Las Vegas, Dallas, Houston, Boise, Sacramento, Portland, San Francisco, Nashville, Charleston and Washington, D.C. and have been sponsored by the American Film Institute, IFP/West, state film commissions, independent producer organizations and American University. He has also lectured for the USC Cinema-TV School, the UCLA (graduate level) Producer's Program, UCLA Extension and the UCLA Anderson Graduate School of Management.His previous publications include, (a collection of 100 sample film industry agreements, available in hard-copy form or on computer diskettes) , , t, and numerous magazine and journal articles on related topics.
Definitions of some 3,600 terms used in the film industry in the finance and distribution of feature films. In addition, to the definitions, examples of usage and commentary are provided for some terms.A collection of 100 sample film industry agreements relating to acquisition, development, packaging, employment, lender financing, investor financing, production, distribution, exhibition, merchandising and licensing. A comprehensive overview of film finance with a discussion of advantages and disadvantages of forty-three different ways to finance feature films and other entertainment projects. A provision by provision critical analysis of the single most important film industry agreement. The book also provides samples of five different film distribution agreements in its appendix.--An anlayis of the various populations in the diverse U.S. society that have been consistently portrayed in Hollywood films in a negative or stereotypical manner.

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Although there appears to be a tendency for the so-called Hollywood insiders and others who have special knowledge and information about what is really going on in Hollywood to keep quiet, occasionally, someone does step forward to offer limited, but valuable criticism of the business side of the film industry and how that relates to the films that are available to be seen by mass audiences. An honor roll of some of those who have not been intimidated by the Hollywood power structure and who have come forward in recent years to write about their own perspective on the corruption in Hollywood should include Dan Moldea, Kenneth Anger, Pierce O'Donnell, Dennis McDougal, Steven Bach, William Cash, Steven Sills, David McClintick, Michael Medved and Terry Pristin. These are the few who have not kept quiet. Aside from the many quotes included in this book and attributed to such authors and others, the balance of the statements made are my own and represent my opinion only.

Apr 28, 2007 · Was George's killing of Lennie justified? Why or why not?
Harry Potter and the Death that Follows “Always the innocent are the first victims

31/01/2005 · — Tony Macklin

Sam Goldwyn Was Wrong: All Movies Send Messages--Hollywood has come in for its share of criticism over the years, however, many people within and without the Hollywood-based U.S. film industry have chosen and will continue to choose to respond to the criticism with a shrug of the shoulders and a "So What?" In their view, it makes no difference that Hollywood is controlled by a narrowly-defined interest group, particularly since many who respond in this manner, are beneficiaries of that control. These individuals could care less that the Hollywood control group gained and has maintained its power through the nearly 90-year history of Hollywood using unethical, unfair, unconscionable, anti-competitive, predatory and/or illegal business practices. They rather routinely ask: "What difference does all of this make, after all, movies are merely entertainment, aren't they?" Well, let's see.


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The research underlying this work ultimately occupied 2,222 pages of text. The material was originally divided into nine books (, , , , , , , and ). However, this current title () provides an overview of five of those books by excerpting the summaries and conclusions of those works, while omitting the detailed notes relating to specific films. Anyone interested in reviewing any of the original nine titles with the more complete presentation of the basic research may obtain copies through the author/publisher.

PATTERNS OF BIAS: MOVIES MIRROR THEIR MAKERSGeorge CustenPatterns of bias similar to those revealed in the previous chapter appear in Hollywood movie presentations of historical figures. The results of the study reported in this chapter provides followup to an earlier review of movie biopics conducted by Professor George Custen. Whereas his study of biopics ended with films in the '60s, this more comprehensive study carries the topic through into the mid '90s.Analysis of this body of films, the Hollywood biopics, considers the geographic setting for such films, the occupations portrayed, time and sex biases, ideology, historical accuracy and the race, culture and ethnicity of the biopic subjects. In some instances, the conclusions of the author of the earlier work in this area (George Custen's) are compared with those of the more contemporary study. In other instances, this later study places an emphasis on different issues which are critical in gaining an understanding of the Hollywood-based U.S. film industry.

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Thus, one of the less than desirable direct results of a film industry dominated by a small group of men who share similar backgrounds (see the chapter on "Who Really Controls Hollywood" below) is a likely bias in the content of the movies. For example, as Pristin points out, the practice of nepotism " . . . is at least partly responsible for Hollywood's insularity, narrow perspective and largely homogeneous work force." Pristin goes on to say that the " . . . industry has long been criticized for employing relatively few women, blacks and other minorities, especially in its upper ranks. More diversity among management personnel would likely lead to a more interesting mix of movies . . . " It may thus be accurately stated, that economic control of the Hollywood-based U.S. film industry cannot be separated from creative control of the films produced and released.