YDS: The Clare Spark Blog

February 3, 2015

Jews not killed for “just being Jews”?

SammyrunThis blog continues https://clarespark.com/2015/01/18/is-antisemitism-rational-or-irrational/. I add to the prior blog that such historians as Deborah Lipstadt (in Beyond Belief) have alleged that Jews were killed for “just being Jews.” This is true insofar as all Jews, including the most assimilated or atheistic, are viewed by their enemies as a illegitimately powerful “race” inexplicably surviving and thriving for thousands of years. But as a statement directed at a broad audience, it requires a more complex and contextualized elaboration. (This blog will be different from my previous discussions of antisemitism thanks to my son-in-law Maimon Chocron, whose emphasis on Jewish survival and astonishingly rapid upward mobility, seen as “unnatural” by antagonists, sent me off in unanticipated new directions.)

Briefly, “the Jews” (preferring “individual rights” over “stability”) always represented a threat as declared by rulers/demagogues: intellectual combativeness, revolutionary socialism, finance capitalism/the power of money (for Hitler, the real force behind the Soviet Union), modernity, Woman, globalism, the madness induced by urban life, the “anti-race” (Hitler) which means they were internationally cohesive and allegedly not loyal to their “nations” of temporary residence, or worse, “unnatural” and hostile to Nature itself, and to the natural order of things.

And the natural order of things is “The Great Chain of Being,” in which each of us knows her or his place. “It ain’t natural” to defy, let alone “dominate” the Great Mother Nature (see https://clarespark.com/2015/03/21/great-goddess-feminism-the-phyllis-chesler-model/). “Natural harmony,” like “the [tightly woven] social fabric,” must be preserved, at all costs. No wonder Jack the Ripper was surmised to have been a “low class Polish Jew” Aaron Kosminski (as reported in The Independent).

Aaron Kosminski: 19th C image

Aaron Kosminski: 19th C image

In other words, whereas peasants from Southeastern and Central Europe could immigrate to America and gradually climb up the class ladder, Jews seemed to their envious fellow-immigrants to be uncanny; how was it possible to go from poverty to great riches and cultural power in one generation? This is memorialized in Budd Schulberg’s popular novel What Makes Sammy Run. They must be greedy crooks, right? as shown in Once Upon a Time in America (http://en.wikipedia.org/wiki/Once_Upon_a_Time_in_America). After all, Budd’s father, B. P. Schulberg was not an immigrant. Wikipedia doesn’t even see him as Jewish: http://en.wikipedia.org/wiki/B._P._Schulberg. For a very recent review of Schulberg’s novel (understandably condemned by the CP for anti-Semitism), see http://inverarity.livejournal.com/265552.html.

Moreover, Herman Melville invited eternal damnation in Moby-Dick when he referred to the pure and placid face of Nature that only masked “the charnel house within.” For this blasphemy (and others) he was furtively read as a Jew or “Hebraic” by leading critics, such as Henry A. Murray and Charles Olson, while one more daring Princeton professor titled his book Melville’s Quarrel With God. To argue with God is tantamount to deicide.

Evan B. Harris, White Whale and Shells

Evan B. Harris, White Whale and Shells

For these reasons, I rank “intellectual combativeness” (a.k.a. the close reading of texts and political moods) to be the key to Jewish success in America. Returning to “Hollywood,” first generation immigrants read the populist/progressive mood that prevailed in their adopted country, saw that upper-class Protestants were busily uplifting the masses to stave off socialism in America, and such as Samuel Goldwyn and Louis B. Mayer made movies that catered to popular taste—a backwoods, country taste that Budd Schulberg would hold up to ridicule in A Face in the Crowd, or that Ben Urwand would mock in Sergeant York. See https://clarespark.com/2012/07/03/andy-griffiths-greatest-performance/.

Jon Lomberg's harmonious Great Chain of Being

Jon Lomberg’s harmonious Great Chain of Being

For such reasons, I view antisemitism as both rational and irrational. Jews, as either capitalists or communists, are seen as strange and unfair competitors (the pseudo-“rational” component of antisemitism), while the feelings of Jew haters (the irrational part), contain the residues of ancient, medieval, and modern hostilities.

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November 23, 2013

The pitfalls in writing histories of the movies

Ben UrwandThere is a sprawling bibliography of both trade books and academic studies of the movie industry.  Into this minefield, strides Ben Urwand, whose book has been received with fury or, in some cases, approbation.

For Ben Urwand’s recent Harvard published book The Collaboration: Hollywood’s Pact with Hitler, “Hollywood”, “Jewish” moguls, “capitalism,” and the ostensibly Nazified/anticommunist/bigoted  American movie industry are conflated and held in contempt. (The “collaboration” that Urwand and the many critics of mass culture and mass media may have in mind is the bond between image and audience. Like other critics of technology and its assistance to demagogues, Urwand turns out to be an antimodern, even a sort of Tory, though he appears to be writing from the left. For instance, writing in the voice of “Doremus Jessup,” Sinclair Lewis wrote, “‘Is it just possible,’ [Doremus Jessup] sighed, ‘that the most vigorous and boldest idealists have been the worst enemies of human progress instead of its greatest creators? Possible that plain men with the humble trait of minding their own business will rank higher in the heavenly hierarchy than all the plumed souls who have shoved their way in among the masses and insisted on saving them?'” So modern mass media enable demagoguery of the kind that Lewis fears. Odd that Lewis doesn’t pin this on FDR in his It Can’t Happen Here  (1935), a book that Urwand admired and wished that it had been turned into a movie. (For a blog on the “cultural Marxists” see https://clarespark.com/2013/07/31/the-nefarious-cultural-marxists/.)

With respect to the Urwand book, the questions for an academic reviewer are easily summarized: Given the magnitude of the claim of the book, that from 1930 onward, “Hollywood” dismissed Jews from the screens it controlled, and worse, allowed Germans in both Weimar and in the Third Reich to censor movies, to the point where even the Holocaust was off limits for filmic presentation after WW2 until the 1960s, by what criteria should Urwand’s thesis be either defended or criticized?

Since Urwand cites German archives in his footnotes, one would expect the author to be fluent in the German language (he is self-taught in the language); to fully understand the culture of Nazi Germany (looking for continuities and discontinuities with the modern German past); and most importantly, to have reviewed the responses of Western Europe and America to the New World Order proposed by the various fascisms, putting up with Hitler and Mussolini until 1939, and keeping their distance from the Spanish Civil War. Urwand seems to know little about the history of anti-Semitism and isolationist suspicions of war-mongering “Jews” who were trying to snare American Christians into their nefarious “collaborationist” schemes. And since Urwand shows no reluctance in declaring (but not proving) why certain “anti-fascist” movie scripts were dropped by such famously conservative, pro-American moguls as Louis B. Mayer and other producers, we would expect the author to understand the intricacies of the movie business and the often chaotic or unrecorded decision-making, including the various forces that pre-censored and post-censored movies, especially after 1934 when the Production Code was established and controlled by Joseph Breen and the Catholic Legion of Decency. But we must not neglect the power that New York financiers exerted over the studios located in California–a matter explored by Cary Beauchamp in her recent biography of Joseph P. Kennedy, drawing upon previously restricted papers in the Kennedy Library (publ. 2008).

Ben Hecht as depicted on anti-Zionist website

Ben Hecht as depicted on anti-Zionist website

Urwand’s book is easily dismissed as the unsupported speculations of an ideologue bent on imitating Ben Hecht by separating antisemitism (‘bad’) and anti-Zionism (‘good’),* but not so an entire genre of movie history written from the academic Left and published by the most prestigious university presses. These authors include Thomas Doherty, Gregory D. Black, Clayton R. Koppes, and Steven Alan Carr. While a few of these academics criticize antisemitism in books depicting “Hollywood” as generically Jewish [Carr],  or note Joseph Breen’s open hostility to the scummy and omnipotent Jews who ran Hollywood [Black], in the end many resent the “Hollywood” representations of a phony melting pot, and idealizations of heterosexual romance, happy families, escapism, spectacle, glamour, happy endings, the suppression of labor vs. capital conflict, racism, and more, but most of all, they are dead set against the Dies Committee and “McCarthyism” as evidenced in the postwar blacklist after the Cold War was begun. Since many of their books were published after the Soviet archives were opened and books published verifying many of HUAC’s or McCarthy’s suspicions and accusations, one might conclude that capitalism and the profit-motive are the real targets of academic interest in the movies. (The authors who have written about the revelations in the Soviet archives include Mark Kramer, John Earl Haynes, Harvey Klehr, and Alexander Vassiliev.)

For prior blogs on Ben  Urwand’s book, see https://clarespark.com/2013/10/10/urwand-undoes-chaplins-dictator/, and https://clarespark.com/2013/09/13/urwands-collaboration-hollywoods-pact-with-hitler/. No reviews, even those dismissive of Urwand’s peculiar view of “collaboration”, have sketched in the appropriate historical context for evaluating this academic book’s claims. It was published by Harvard University Press, but those academic readers who supported it are anonymous. But in insisting that Hollywood profits supported the Nazi war machine, Urwand’s thesis reminds me of Edwin Black’s sensationalized work. That Urwand’s book has received some good reviews suggests that many movie journalists are unequipped to evaluate histories of the movie business.

*I am reading Hecht’s Child of the Century (1954) now, and Hecht is a waverer on the subject of Israel. More when I finish this autobiography. Urwand may have misunderstood the extent to which Irgun-admiring Hecht distanced himself from “Zionism.”

June 13, 2013

Hollywood’s “pact” with Hitler?

Illustration used byTablet

Illustration used byTablet

The May 10, 2013 issue of Tablet magazine featured a review of a forthcoming book published by Harvard University Press, The Collaboration: Hollywood’s Pact With Hitler, that is said to reveal a “creepy love affair” with Hitler. See http://tinyurl.com/lnbengk. I had a negative response to this article nailing Hollywood executives such as Carl Laemmle Sr., Jack Warner, and (by implication) MGM’s Louis B. Mayer. For many decades, I have studied the U.S. appropriation of Nazi methods in controlling the” little people” that prominent German refugees held responsible for the rise of Hitler. Indeed, the Frankfurt School critical theorists, elitists that they were, blamed mass media for Hitler’s appeal. I have detailed analysis of the populist and progressive support for Nazi methods of mind control on my website, and have shared them here.

But what I find particularly ironic is that David Mikics, the author of the Tablet piece is a postmodernist exponent of Jacques Derrida (the hero whose dubious alliances have been questioned by other postmodernists), while the author of the forthcoming book Ben Urwand, is  a Harvard Junior Fellow. How ironic? Harvard was the site of many ardent proposals that Nazi and German methods of managing the masses be taken up by progressives and populists in America. See for example this series of essays posted on my website: https://clarespark.com/2011/03/27/progressive-mind-managers-ca-1941-42/, https://clarespark.com/2009/12/13/klara-hitlers-son-and-jewish-blood/, and https://clarespark.com/2010/04/18/links-to-nazi-sykewar-american-style/.

One of the principal disseminators of protofascist social psychological methods, Henry A. Murray, former director of the Harvard Clinic, has sealed papers at Harvard University Archives, controlled by his widow Caroline Fish Murray (I tried to get into them in 1995 and was rebuffed unless I provided Mrs. Murray with an outline of the book I planned to write!)  Murray’s role in these propaganda offensives has been effectively covered up by the professoriate. Other figures associated with Murray, such as Gordon Allport and Walter Langer, have been similarly protected from academic scrutiny.

All the facts unearthed in Urwand’s dissertation research are disturbing. But to neglect the widespread fascination with Hitler and Mussolini among American populists (Father Coughlin comes to mind), as well as the admiration of Mussolini’s corporate state by FDR, suggests to me that Urwand’s forthcoming tome on Hollywood may serve as revenge for the Hollywood blacklist (http://en.wikipedia.org/wiki/Hollywood_blacklist), as if leftists and liberals were holding up Hitler signs in protests against the Tea Party and Republicans in general. It should never be forgotten that the Hollywood left and its sympathizers today nailed Republicans and big business in general for supporting the Third Reich. (For a recent interview with Urwand see http://www.hollywoodreporter.com/video/author-ben-urwand-talks-hollywoods-597114.) UPDATE: I have read the book once and will write something brief set of impressions and reservations for Friday the thirteenth and Yom Kippur.  It is a bad book, but I never dreamed that Harvard would publish anything this outrageous. [Update 12-21-13: the documentation of “fact” in the Urwand book is highly suspect and even unpersuasive to a professional historian or to any careful reader who checks footnotes. Mark Horowitz did a good job taking the book apart in a recent TABLET, probably in response to widespread academic skepticism on the social democratic Left, the political position that Urwand seems to represent.]

November 8, 2012

The Magical power of “Negroes” and other Beautiful People

Viola Davis as magical

One Facebook friend reports polls concluding that Romney voters focused on the economy, while Obama voters responded to his “caring” persona. This is valuable intel, for it reminds us of the Magical Negro archetype described here: http://en.wikipedia.org/wiki/Magical_Negro. As Wiki tells it, this archetype is a throwback to the “noble savage” who emerges in the European age of expansion.

(This one of those “back to basics” blogs, basic tactics for political support that are cross-cultural and universal in their efficacy.)

But more, we should reflect upon the power of the Beautiful People, and the mass appeal they exercise. Why? Is it simply that “beauty” is a supremely rare quality that mesmerizes us in all times and places? Or is it something more primal, which returns us back to the emotions of early childhood and our dependency on mothers and fathers for care and protection?  After all, Mitt Romney projected a “caring” persona, as Anne Romney emphasized in her RNC account of their marriage, noting her husband’s constant attentions to needy neighbors and even strangers. But all the demonstrated compassion in the world is not enough to compensate for the image constructed by Democrats that Romney was the (uncaring) tool of Wall Street and the Big Money.

In prior blogs, I have written much about populism and its embedded antisemitism, how many ideologues continue to blame Hollywood “Jews” for corrupting the masses and either converting them to the Democratic Party and to the Left in general, or conversely, fastening the “mass” psyche to the material goodies promised by capitalist economies. Both claims are nonsensical, for such “Jewish” titans as Laemmle, Mayer, Goldwyn, or the Warner brothers adapted themselves to immigrant tastes and prejudices. The history of the Hollywood film is replete with bloodsucking bankers and other capitalist villains, valiantly opposed by the muscular Common Man. (For the femme fatale as a repudiation of the idea of progress, see https://clarespark.com/2011/04/27/james-m-cains-gorgon-gals-2/, retitled “Film Noir, decoded.”)

All tyrants use visual images (including architecture) to consolidate support and to divert mass rage away from themselves; pictures are deployed to evoke parental imagos.  The tyrant’s friends are beautiful—as lovely as the nursing Mother to her clamorous infant, or as her glittering earrings are to her toddler who pulls on them, while enemies are as repulsive as the angry father wielding a cane or whip (think of the omnipresent Big Brother) or old crones—women who no longer expect to please men, and who have nothing to lose by stirring the pot.

Female Chartist

And so, fed by a diet of idealized/demonized images, we continue the process that psychoanalysts describe as “splitting.” Our love objects, whether politician or other celebrity, can switch with alarming frequency from ministering angel to terrifying demon. Don’t look to popular culture for “integration, “ i.e., a less distorted view of The Loved/Hated One.

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