More evidence of corporate america supporting Hitler

The list of institutions and industries that have been accused of whitewashing their links to the Third Reich is long, including various governments, the Vatican, Swiss banks and American corporations like I.B.M., General Motors and DuPont.  In “The Collaboration: Hollywood’s Pact With Hitler,” Ben Urwand draws on a wealth of previously uncited documents to argue that Hollywood studios, in an effort to protect the German market for their movies, not only acquiesced to Nazi censorship but also actively and enthusiastically cooperated with that regime’s global propaganda effort.
In the 1930s “Hollywood is not just collaborating with Nazi Germany, it’s also collaborating with Adolf Hitler, the person and human being.”
The book offers the most stinging take by far, drawing on material from German and American archives to argue that the relationship between Hollywood and the Third Reich ran much deeper — and went on much longer — than any scholar has so far suggested.
Studio bosses, many of them Jewish immigrants, cutting films scene by scene to suit Nazi officials; producing material that could be seamlessly repurposed in Nazi propaganda films; and, according to one document, helping to finance the manufacture of German armaments.
“There’s a whole myth that Warner Brothers were crusaders against fascism, but they were the first to try to appease the Nazis in 1933.”
The author uncovered detailed records of regular studio visits by German officials, including Georg Gyssling, the special consul assigned to monitor Hollywood, who watched films, dictated scene-by-scene requests for cuts and engaged in bizarre debates. (Did “King Kong,” for example, constitute “an attack on the nerves of the German people?”) He also found records of a global network of monitors who made sure the cuts were made in all countries, including the United States.
Thea author also found a December 1938 report by an American commercial attaché suggesting that MGM was financing German armaments production as part of a deal to circumvent restrictions on repatriating movie profits. “The State Department’s record is atrocious, but the State Department did not finance the production of Nazi armaments. It did not distribute pro-Nazi newsreels in Germany. It did not meet with Nazi officials and do secret deals.”
“Collaboration, is what the studios were doing, and how they describe it.”

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