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Israel/Zionism See other Israel/Zionism Articles Title: How the Jews stole Edison's invention and built Hollywood to defy the goyim Unmentioned in whitewash jobs like An Empire of Their Own, the kykes first got into movies because setting up porn peep shows was a better return on the real estate they sat on than other projects. Look at Laemmle's satanic portrait and don't miss the Disney graphic at bottom! Their title= Walt Disney's ordeal at the hands of Hollywood Jews. NN ARTICLE Unknown to most Americans is the fact that the first motion picture camera was invented by Thomas Alva Edison in East Orange, New Jersey. A lifelong inventor, Mr. Edison had over 1,000 inventions patented when he died in 1931. Inventing a motion picture camera that worked properly was the easy part for Edison. Keeping Jews from using the camera without paying him royalties for his invention was the hard part. As soon as the German born Jew, Carl Laemmle found out about motion pictures, he started figuring ways to exploit the new invention. Efforts by Laemmle and other Jews to deprive Edison of his fees for using his cameras forced Edison and other movie makers like Dickson, Casler, Koopman, Long, Smith, Klein and Marion to form a protective association called the TRUST. As fast as these Jews could get their hands on Edison's equipment and started using it, the Trust would file lawsuits against them to stop their illegally using his patented equipment. Not to be outdone, Laemmle and some other New York Jews, rushed around Europe in their efforts to circumvent the long arm of the Trust. Cameras based on Edison's invention were smuggled into the United States by Jews as well as raw film. Edison and the Trust had made arrangements with the Eastman Kodak Company to exclusively produce film for it and those who had been sanctioned to use the equipment by the Trust. Laemmle and his Jewish co-racialists found film manufacturers in Europe to supply them with Kodak-like film which was also smuggled into the United States. When the courts moved at a snail's pace or refused to stop these Jews from using Edison's invention, the Trust would send out it's own enforcement 'police' which would seize and smash the illegal equipment. As one author noted, this forced them to set up an elaborate warning system. Jewish lookouts would keep watch while they were filming and when they observed the Trust 'police' on their way, they would quickly pack up their cameras and flee as fast as possible to another 'filming' location. However, Laemmle knew that while the Trust controlled most of the movie cameras, they could not get their films into circulation without 'movie houses.' Edison and other non-Jewish movie makers distributed their movies through numerous non-Jewish independent 'movie house' owners across America. However, those owning the movie houses were completely independent and had no central distribution center or movie house chains. Before Edison perfected his camera other individuals had developed a system of rapidly moving cards which depicted short scenes. The 'pictograph' system as it was called, was quickly seized upon by Jews as a means of making a fast buck by developing a series of cards depicting 'movies' of naked women or sex acts by couples. To exploit the 'pictograph' market Jews used their homes and buildings in New York to set up 'Nickelodeons,' which turned useless real estate into a means of making a fast buck---on this early form of pornography. The Jewish 'Nickelodeon' system spread from New York and Carl Laemmle used the 'Nickelodeons' as a framework for organizing his own distribution system among his more than willing co-racialists nationwide. To fight the Trust they formed the Distributing and Sales Company. To get the 'goyim's' support, Laemmle allowed some non Jews to become involved and bring their movie houses and money into the venture. The non- Jews Robert Cochrane and Pat Powers merged their holdings with Laemmle. However, most of the funding for the DSC came from Jewish investors Laemmle had managed to get control over distribution facilities and over 300 theaters nationwide. In his drive for power over the Trust and his competitors, Laemmle formed Universal Movie Distributors with Cochrane and Powers. After destroying his competitors at Mutual Film Distributors, Laemmle then proceeded to use his investors to push Cochrane and Powers out of Universal, and before long he was in total control and was nicknamed the 'King of the Film Renters' At this point the control of the movie industry went from the non-Jewish hands of the Trust into the hands of Laemmle, Fox and other Jews. They had won the fight for the control to the thinking of the American public. The movie producers aligned with the Trust felt they were producing quality movies and wouldn't distribute any 'less than perfect' films. Laemmle didn't have that problem, and to keep the films flowing into his theaters and going through his distributors, he used every piece of junk film he could get his hands on. His motto was 'the more the better.' The Trust simply couldn't keep up, because they could not understand the Jewish mentality. The Trust still kept fighting back so these Jews decided to pull up roots in the East and head West to Hollywood, California where there would be over 3,000 miles distance between the Trust, the courts and the Trust's 'police.' From that time on Hollywood became the motion picture capital of America. Edison and the members of the Trust felt that by producing wholesome movies they were helping to preserve the nation's morals. However, these Jews were not governed by moral standards. In the book Walt Disney Hollywood's Evil Prince, Marc Eliot says: "Unlike their early East Coast counterparts, the heads of Hollywood's studios were less interested in artistic experimentation than profit. They put on the screen what sold the most. The public was willing to pay to see films with sex and violence, and Hollywood was more than happy to make them. "By the early twenties, all that remained of Edison's Trust was the issue it had raised regarding the moral content of motion pictures. The federal government kept a close watch on Hollywood, the new capital of the film industry, to make sure the movies it produced remained 'socially acceptable.' However, Hollywood's moguls had no idea of what was meant by 'socially acceptable.' They didn't know if their movies were moral or immoral and couldn't have cared less... The more a film made, the better it was...Whenever the industry came under attack for being morally corrupt, none of Hollywood's owners believed the problem had anything really to do with morality." The members of the Trust couldn't understand that Jews wanted control of the movies so they could promote their own social and religious agenda. In An Empire of Their Own: How Jews Invented Hollywood, the Jewish author, Neal Gabler says: "...But one major reason Edison and his cohorts lost their hegemony was that they misinterpreted what was at stake. They never seemed to understand that they were engaged in much more than an economic battle to determine who would control the profits of the nascent film industry; their battle was also generational, cultural, philosophical, even, in some ways, religious. The Trust's members were primarily older white Anglo-Saxon Protestants who had entered the film industry in its infancy by inventing, bankrolling, or tinkering with movie hardware: cameras and projectors. For them, the movies themselves would always be novelties. The Independents, on the other hand were largely ethnics, Jews and Catholics, who had entered the industry by opening and operating its theaters." =Trying to stop Jews from controlling the distribution of movies had cost the Trust $300,000 in legal fees. The Hollywood Jews had been hit with 289 lawsuits. Undaunted by the action taken by Edison and the Trust, they kept using his equipment. In a last ditch effort to stop them, Edison and his friends organized the General Film Company as a film exchange. However, by now it was too late: they had gobbled up half the market and had formed a monopoly that would thumb its noses at the 'goyim' from the Trust. After Jews achieved complete control over the distribution of movies, they kept lowering the standards regarding morality and sex to the point where some members of Congress felt that film censorship was necessary and they introduced legislation to create a board of film censorship. To get around this censorship board Hollywood Jews rapidly moved to form a 'self regulating' organization called the Motion Picture Producers and Distributors of America. (MPPDA) A non-Jew was picked to head the MPPDA, and this was former Postmaster General Will Hays who had been national chairman of the Republican party. In his book Marc Eliot says: "The Jewish power faction in Hollywood hoped choosing a Christian to regulate the moral content of their films would improve the overall image of its industry." Some members of Congress considered Hollywood not only to be immoral but also subversive. In 1929, U. S. Senator Smith Brookhart summed up the deteriorating situation in Hollywood as a battle between competing studios led by 'bunches of Jews.' By the late 1920s most of the move theaters in America were Jewish controlled and the means of distributing movies. With Jewish control of the movie industry from A to Z it was almost impossible for a non-Jew to get a break. One of those who fought the system was Walt Disney.......... Post Comment Private Reply Ignore Thread
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