It was not only scenes: Nazi pressure managed to kill whole projects critical of the rise of Adolf Hitler. Indeed, Hollywood would not make an important anti-Nazi film until 1940. Hitler was obsessed with the propaganda power of film, and the Nazis actively promoted American movies like 1937's Captains Courageous that they thought showcased Aryan values.
Historians have long known about American companies such as IBM and General Motors that did business in Germany into the late 1930s, but the cultural power of movies -- their ability to shape what people think -- makes Hollywood's cooperation with the Nazis a particularly important and chilling moment in history. -- Andy Lewis Read more...
How Hollywood bowed to the wishes of Hitler: 1930s studio bosses censored films on the whim of the Nazis - and one MGM exec even agreed to divorce his Jewish wife | Mail Online
A Harvard film scholar has revealed in terrifying detail how Hollywood was at the whim of the Nazis throughout the 1930s - censoring films and dropping others in a sinister collaboration with Hitler.An Empire of Their Own: How the Jews Invented Hollywood: Neal Gabler: 9780385265577: Amazon.com: Books
In one particularly extreme case, one non-Jewish MGM executive divorced his Jewish wife at the demand of Germany's Propaganda Ministry - and she ended up in a concentration camp.
In his new book, Ben Urwand has revealed how studios including MGM, Paramount and 20th Century Fox failed to stand up to Hitler and painted his regime as heroic and desirable.
'I want to bring out a hidden episode in Hollywood history and an episode that has not been reported
accurately,' the Harvard scholar said.
An Empire of Their Own: How the Jews Invented Hollywood - Wikipedia, the free encyclopedia
An Empire of Their Own: How the Jews Invented Hollywood is a non-fiction book whose topic is the careers of several prominent Jewish movie producers in the early years of Hollywood. Author Neal Gabler focuses on the psychological motivations of these film moguls, arguing that their background as Jewish immigrants from Eastern Europe shaped their careers and influenced the movies they made.
Gabler's main thesis is that these producers (whom Gabler terms 'Hollywood Jews') generally came from poor, fatherless backgrounds, and felt like outsiders in America because of their Jewishness. In Hollywood, these producers were able to run their own industry, assimilate into the American mainstream, and produce movies that fulfilled their vision of the American dream. Gabler asserts that the nature of their business and their movies can often be traced back to their feelings of alienation as immigrants.