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The early dynamics of the film industry framed the political and cultural debate over the “morality” of the movie industry that survives to this day.
No friend of either Jews or the film industry, he considered newsreels, shown in effect ‘free’ along with the features, a threat to his newspapers. “Hearst’s campaign received much support in Congress, where the definition of movie morality had expanded through the years to include not only sexual provocation but political subversion. What Hollywood got, as if on cue, was Walt Disney’s Steamboat Willie, the perfect nonsexual, apolitical movie starring a harmless little talking mouse who courted his sweetheart by singing her a song.
Overnight, every major studio in Hollywood that had for the better part of a decade turned out the kind of lurid, violent, sexually, suggestive fleshpot films guaranteed to put money in their banks, was now eager to align itself with not only the very popular, but now suddenly politically correct, filmmaker.” (Idem.) 18.
(Walt Disney: Hollywood’s Dark Prince; by Marc Eliot; Birch Lane Press; Copyright 1993 [HC]; ISBN 1–55972-174-X.) 2.
Disney’s image as a paragon of wholesome, Christian, “family” values against the perceived world of immoral, sexual, “Jewish” Hollywood was established by the success of Mickey Mouse (originally known as “Steamboat Willie.”) 3. Among these companies, the most powerful was the Wizard of Menlo Park, Thomas Alva Edison, the head of the studio that bore his name. “For more than a decade Edison had been the unchallenged premier maker and distributor of mostly esoteric, non-narrative, silent motion picture ‘studies.’ Edison was greatly disturbed by the sudden, sweeping popularity of the new century’s first novelty, street-corner nickelodeons, amusement parlors that first appeared on New York’s Lower East Side.
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