🔴 Signs of Netanyahu’s Successful Influence on Trump Begin to Emerge

Journalists asked Trump about a ceasefire in Israel’s war against Gaza.

🗣️ He responded:
"I have no certainty that peace will last."

He added:
"I have seen very savage people... I have never witnessed such violence before. No one has ever seen anything like this. (As a result) I can't guarantee that peace will hold!"

🔻 Trump's remarks, particularly his reference to unprecedented violence and what he calls Palestinian "savagery", were likely influenced by Israel’s propaganda film, "The Atrocity Film," which was reportedly shown to him during Netanyahu’s U.S. visit.

🔻 Israel and Netanyahu’s primary goal in this visit is to shape Trump's perception and decisions—something they excel at.

#Trump #Netanyahu #Gaza #Israel #Propaganda #MiddleEast #Palestine #Geopolitics
https://t.me/Monji_EmamMahdi/32458
🌐 @rahyafte_en

🔍 George Orwell: Author or Spy? That is the Question!

In a shocking revelation, declassified documents expose George Orwell—the celebrated author of 1984 and Animal Farm—as a British intelligence asset working for MI6 and the CIA. Was he a literary genius or a covert operative shaping Cold War propaganda?

📌 The Secret NSDD-77 Directive
- Signed by President Ronald Reagan in 1983, this classified order authorized the CIA to revive Operation PSB—the largest academic espionage campaign of the 20th century.
- Goal: Ideological warfare against anti-capitalist movements by infiltrating humanities, philosophy, and literature.
- Strategy: "A book can be as powerful as a battle"—using translations to spread secular liberalism and destabilize religious regimes.

🕵️ Orwell’s Hidden Role
- MI6’s Secret Files confirm Orwell was an operative in the Information Research Department (IRD), tasked with "real guidance operations"—recruiting intellectuals, journalists, and artists for psychological warfare.
- His books (Animal Farm, 1984) were commissioned propaganda, translated into 18 languages and adapted into films by the CIA.
- Orwell even provided MI6 with a blacklist of 130 "suspected communists," leading to purges in media and academia.

📚 The Iranian Connection
- Post-1979 Revolution, secular translators in Iran promoted Orwell’s works alongside CIA-backed philosophers like Hannah Arendt and Karl Popper.
- Ezzatollah Fooladvand, a prominent Iranian translator, praised Orwell in prefaces, ignoring his espionage ties.
- Animal Farm saw 13 different Persian translations post-2005—flooding the market with anti-revolutionary narratives.

🎭 The Bigger Picture
Orwell’s mission: Discredit revolutions, portray utopianism as tyranny, and promote liberal capitalism as the only "free" system. His books remain required reading in Western media’s "1001 Books You Must Read Before You Die"—a list heavily influenced by intelligence agendas.

⚡ The Takeaway
- Not all "classics" are innocent. Many are weapons of ideological warfare.
- Who controls the narrative? Intelligence agencies have long manipulated literature, philosophy, and art to shape global thought.
- Stay vigilant. Not every "truth-teller" is what they seem.

🔗 https://jscenter.ir/jews-and-the-media/jews-and-culture/15736

#GeorgeOrwell #MI6 #CIA #Propaganda #ColdWar #PsychologicalWarfare #1984 #AnimalFarm #DeepState

✅ @rahyafte_en

🔍 Wikipedia: A Zionist-Controlled "Free Encyclopedia"
How Jewish Elites Manipulate Global Knowledge

https://jscenter.ir/jews-and-the-media/jews-and-culture/21888

---

📚 Wikipedia’s Origins

· Founded by Jimmy Wales (a Jewish atheist) in 2001 under the Wikimedia Foundation.
· Claims to be a "free encyclopedia" but operates as a gatekeeper of information.
· Wales funded Wikipedia through Bomis, a pornographic search engine he co-founded.

---

🕍 Zionist Ties & Israeli Collaboration

· Wales was a keynote speaker at Israel’s Presidential Conference (2009), discussing "the future of Jewish people."
· He participated in panels with Shimon Peres and maintained close ties with Tony Blair (his wife was Blair’s secretary).
· Wikipedia’s 2011 annual conference was held in Haifa, Israel—boycotted by Arab and Palestinian groups.

---

🕵️ CIA & Mossad Influence

· BBC revealed that CIA agents routinely edit Wikipedia to shape narratives.
· Israeli intelligence uses Wikipedia as a core intelligence-gathering tool.
· Zionist organizations run training programs to control Wikipedia content.

---

💰 Funding by Zionist Foundations

1. Open Society Institute (George Soros):
· Jewish billionaire behind color revolutions (Ukraine, Georgia, Serbia).
· Funds Wikipedia to promote pro-Zionist narratives.
2. Mitchell Kapor Foundation (Jewish-owned).
3. Arlene & Arnold Goldstein Family Foundation (pro-Israel).

---

🔍 Google’s Complicity

· Google algorithmically promotes Wikipedia to the top of search results, legitimizing it as a "credible source."
· This artificial boost helps Zionist-controlled content dominate global information streams.

---

⚠️ The Illusion of "Neutrality"

· Wikipedia claims to be "open" but censors anti-Zionist views and promotes pro-Israel propaganda.
· Articles on Palestine, Iran, and Islam are systematically biased and manipulated.

---

🔥 Conclusion

Wikipedia is not a neutral platform—it is a Zionist psychological operation masquerading as a "free encyclopedia." Its goal: control global knowledge and advance Israeli interests.

📚 Sources:

· BBC, Wikipedia, Israeli media
· Zionist foundation reports

#Wikipedia #Zionism #Propaganda #Censorship #JimmyWales #GeorgeSoros #InformationWar

✅ @rahyafte_en

🔴 The Rothschilds & J.P. Morgan: Controlling Media and Finance

https://jscenter.ir/jewish-and-science/jewish-and-economy/6431

---

🏦 Who Was J.P. Morgan?

· John Pierpont Morgan (1837–1913) was an American banker and financier.
· He controlled numerous financial institutions and played a key role in forming General Electric (1892) and U.S. Steel.
· Founded J.P. Morgan Chase, now one of the world’s largest banks.

---

🕵️ The Hidden Truth: Rothschild Ownership

· When Morgan died in 1913, his will revealed he owned only 19% of J.P. Morgan companies.
· The remaining 81% was owned by the Rothschilds.
· Morgan was merely a frontman for the Rothschild banking empire.

---

📰 The 1917 Congressional Revelation

· U.S. Congressman Oscar Callaway exposed in 1917:
· J.P. Morgan acted as a cover for Rothschild operations.
· In March 1915, Morgan affiliates (steel, shipbuilding, munitions) recruited 12 top media executives to control the U.S. press.
· They bought the editorial policies of the 25 most influential newspapers.
· Editors were paid monthly to censorship news related to:
· Military preparedness
· Financial policies
· National/international issues affecting Rothschild interests

---

🧩 The Media Manipulation Blueprint

1. Select Key Newspapers: Control the top 25 papers to dominate public opinion.
2. Install Loyal Editors: Ensure only Rothschild-approved narratives are published.
3. Monthly Payments: Buy silence and compliance from media executives.

---

💎 Conclusion

· The Rothschilds have controlled global finance and media for over a century through proxies like J.P. Morgan.
· What is presented as "news" is often carefully curated propaganda serving Zionist banking interests.

📚 Source:
“Zionism on the Path to Dominance” by Andrew Carrington Hitchcock

#Rothschild #JPMorgan #MediaControl #BankingCartel #DeepState #Propaganda

✅ @rahyafte_en

🔴 The Jews Who Control Hollywood & Media!
An Inside Look at Zionist Domination

https://jscenter.ir/jews-and-the-media/jews-and-media/11678

---

🎬 Jewish Ownership of Hollywood

· Joel Stein (Jewish columnist, LA Times):
"Anyone who thinks Jews don’t control Hollywood is a complete idiot."
· Key Jewish studio heads:
· Peter Chernin (Fox News)
· Brad Grey (Paramount Pictures)
· Robert Iger (Disney)
· Michael Lynton (Sony Pictures)
· Barry Meyer (Warner Bros.)
· Leslie Moonves (CBS)
· Jeff Zucker (NBC Universal)
· Jewish actors & influencers:
· Barbra Streisand, Gwyneth Paltrow, Adam Sandler, Ben Stiller

---

📰 Media Monopoly

· Abraham Foxman (ADL Director):
"All eight major film studios are run by men who happen to be Jewish."
· Ben Stein (Jewish actor/economist):
"Of course Jews run Hollywood—so what?"
· Shahar Ilan (Haaretz):
"It’s obvious Jews control American media. Denying it insults public intelligence."

---

🏛️ Zionist Billionaires’ Media Wars

· Billionaire Jews like David Geffen and Sam Zell compete to buy major media empires (e.g., Tribune Company, owning Chicago Tribune, LA Times, 23 TV stations).
· Sam Zell (Zionist billionaire) owns Tribune and proudly supports Israel. His favorite journalists: Charles Krauthammer, Thomas Friedman, David Brooks (all hardline Zionists).

---

📡 Local Newspapers? Not Really.

· Nathaniel Kapner (ex-Jewish Christian scholar):
"There’s no such thing as a local newspaper anymore. They’re all controlled by Zionist corporations hundreds of miles away."
· The Newhouse family (Jewish) owns:
· Vogue, The New Yorker, Golf Digest, Glamour, Parade
· The Salzberger family (Jewish) owns:
· NY Times, Boston Globe, Gainesville Sun, and dozens more.

---

🧠 Propaganda Machine

· Media outlets (Time, Newsweek, NBC, ABC, CBS, CNN, Fox) are all Jewish-run and promote:
· Pro-Israel narratives
· Wars in the Middle East
· Silencing of Palestinian voices
· Alfred Lilienthal (Jewish author, The Zionist Connection, 1978):
"The most effective part of Jewish networking is media control."

---

🇺🇸 Beyond Media: Total U.S. Control

· Zionists also dominate:
· Education
· Wall Street
· Federal Reserve
· Congress
· White House (e.g., Rahm Emanuel, Obama’s Chief of Staff)
· Judiciary

---

⚠️ The Truth Is Suppressed

· Anyone questioning Jewish media control is labeled "anti-Semitic" or "Nazi."
· Talk show hosts tell critics to "go hang themselves."

---

💎 Conclusion

· Yes, Zionist Jews control Hollywood and media.
· They use this power to shape public opinion, advance Israeli interests, and silence dissent.
· Stay vigilant—truth is precious.

📚 Sources:

· Joel Stein (LA Times)
· Haaretz, Daily Forward
· Nathaniel Kapner, Alfred Lilienthal

#Hollywood #MediaControl #Zionism #JewishInfluence #Propaganda #WakeUp

✅ @rahyafte_en

🔴 "The Birth of a Nation" & John Ford: Cinema’s Capacity for Deception
How Hollywood Weaponized Film to Forge False Narratives

https://jscenter.ir/slave-jews/muslim-zionism/20758

---

🎬 John Ford: The Mythmaker

· John Martin Feeney (1894–1973), aka John Ford, entered Hollywood at 20 and quickly became a legendary figure.
· Started as "Jack Ford" and gained fame through D.W. Griffith’s "The Birth of a Nation" (1915).
· Directed 112 films—still the most prolific director in cinema history.
· Won 4 Best Director Oscars (The Informer, The Grapes of Wrath, How Green Was My Valley, The Quiet Man).

---

🎥 "The Birth of a Nation": A Racist Masterpiece

· Directed by D.W. Griffith, this silent film was:
· Funded by the Democratic Party and President Woodrow Wilson.
· Based on the novel The Clansman (1905), glorifying the Ku Klux Klan.
· A landmark in cinematic technique but also virulently racist.
· It proved cinema could be used for mass manipulation and historical falsification.

---

⚫️ Cinema as a Tool of Deception

· Ford learned from Griffith that film could:
· Fabricate reality through light, movement, and music (later sound and color).
· Brainwash masses by blending "art," "industry," and "media."
· Serve liberalist agendas by promoting myths like the "American West."
· Ford’s Westerns (e.g., The Iron Horse, Stagecoach) became tools for:
· Whitewashing history
· Promoting American exceptionalism
· Marginalizing indigenous and non-white voices

---

🤝 Ford’s Zionist Connections

· Ford strategically aligned with Jewish studio bosses who controlled Hollywood.
· Worked with influential figures like Thomas Edison and Thomas H. Ince.
· His career was built on understanding power dynamics between art, money, and propaganda.

---

🎨 The Evolution of Cinematic Manipulation

· Ford pioneered the use of:
· Sound (1929’s The Black Watch)
· Color (1939’s Drums Along the Mohawk)
· His techniques influenced giants like Orson Welles, Ingmar Bergman, Scorsese, and Spielberg.

---

⚔️ Ford as a "Soft War Officer"

· Ford was not just a director—he was a propaganda agent for:
· U.S. imperialism
· Zionist-led media narratives
· Liberal ideological expansion
· His Westerns reinforced colonialist myths and erased real history.

---

📜 Conclusion

· John Ford exemplifies how cinema was weaponized to:
· Distort truth
· Promote racist ideologies
· Serve powerful elites
· His legacy is a warning: "Art" can be the most potent tool of deception.

📚 Source:
Jewish Studies Center

#JohnFord #BirthOfANation #Hollywood #Propaganda #Zionism #CinematicDeception #WhiteSupremacy

✅ @rahyafte_en

🔸 According to Welles’s narration, the “prophecies” predicted a future alliance between Islamic nations and Communist powers, culminating in a nuclear strike on the United States in 1999.

This was not prophecy — it was propaganda, designed to:
1️⃣ Stoke fear of nuclear war to justify U.S. military expansion.
2️⃣ Promote hatred toward Islam and Iran after 1979.

As with so many Hollywood productions, the message was clear: mysticism and fear are profitable tools for empire.

🧩 The Real Purpose Behind the Nostradamus Cult

For over four centuries, secretive financial elites have revived the Nostradamus myth whenever global narratives required it — from Napoleon’s wars to Hitler’s rise, from Cold War fears to modern apocalyptic storytelling.

These “prophecies” are not visions of the future but scripts for shaping public perception. The same cabal that once controlled European monarchs now manipulates global media — and Nostradamus remains their timeless mask.

🕎 In essence, the “Prophecies of Nostradamus” are a Kabbalistic instrument of influence — a way for Jewish-Zionist power centers to encode their ambitions and fears into popular culture, using mysticism as camouflage for manipulation.

🏁 Final Reflection

The endurance of Nostradamus’s fame is not the mark of a prophet — it is the success of a propaganda machine. His vague verses became a mirror into which every generation projects its fears, guided by the invisible hand of the same powers that birthed him.

From the Kabbalah to Hollywood, the “prophecies” have served one unbroken chain of purpose:
to mystify the masses, sanctify deception, and weaponize myth in service of empire.

#Nostradamus #OrsonWelles #Kabbalah #Freemasonry #Zionism #Hollywood #Propaganda #HistoryUnmasked 🌍

✅ @rahyafte_en

🎬 The Birth of a Lie: How Cinema Learned to Deceive
https://jscenter.ir/jews-and-the-media/jews-and-hollywood/20758

On the anniversary of cinema's creation, a look at its powerful—and often dark—potential.

The story of cinema is not just one of art and entertainment, but also of mass persuasion and historical forgery. A pivotal figure in unlocking this potential was John Ford, a legend whose career began with one of the most controversial films ever made.

🎞️ The Apprenticeship: "The Birth of a Nation" (1915)

Ford's breakthrough came with an honorary role in D.W. Griffith's "The Birth of a Nation." This film was a landmark in cinematic technique but also one of the most racist films in Hollywood history.

· It glorified the Ku Klux Klan and portrayed Black Americans as dangerous and inferior.
· It was a custom-ordered project, produced with the material and moral support of the Democratic Party and President Woodrow Wilson.
· Most importantly, it proved that cinema was not just an art or industry, but a powerful media tool capable of shaping beliefs, distorting history, and speaking to the masses through light, movement, and, later, sound.

For the young John Ford (then Jack Ford), this film was a masterclass. It showed him cinema's immense capacity for "lying" and especially for "forging history."

🤠 The Rise of a Mythmaker

Ford quickly understood the power and wealth equations in American cinema, then dominated by a influential Jewish community. He collaborated with pioneers like Thomas Edison and rose to direct 60 silent films in his first decade.

His key insights shaped his legendary career:

1. Embracing Sound (1929): He recognized the decline of silent film and the new power of "sound" to make media lies more believable.
2. Embracing Color (1939): He soon adopted Technicolor, further enhancing cinema's persuasive realism.
3. Mastering the Western: He became synonymous with the Western genre, which he used to its full potential. The Western, born from liberalist thought, has a unique ability to fabricate truths and create reality from falsehoods, pushing the media goals of the liberal system.

🏆 The "Soft Power Officer"

John Ford can be seen as a prime example of a "soft power officer."

· He directed a record 112 feature films, making him the most prolific director in world cinema.
· He won a record four Academy Awards for Best Director (The Informer, The Grapes of Wrath, How Green Was My Valley, The Quiet Man).
· He influenced giants like Orson Welles, Ingmar Bergman, Martin Scorsese, and Steven Spielberg.

His legacy is the full realization of cinema's triple function: not just as art or industry, but as a supremely effective mass media tool for storytelling and, as he learned early on, for strategic deception.

Source: Jewish Studies Center - "The Birth of a Nation and John Ford; Discovering Cinema's Capacity for Lying"

#CinemaHistory #Hollywood #JohnFord #Propaganda #MediaStudies #FilmAnalysis #TheBirthOfANation

✅ @rahyafte_en

🎬 The End of "Art for Art's Sake": How WWI Weaponized Cinema
https://jscenter.ir/jews-and-the-media/jews-and-hollywood/21086

On the anniversary of cinema's creation, we examine the war that exposed its true power as a tool for mass influence, not just entertainment.

World War I was a turning point in cinematic history. This global conflict stripped away cinema's innocent facade as a mere "art form" and revealed its immense potential as a tool of "soft power" and public diplomacy. It became clear that the "silver screen" could shape public opinion, rally nations, and forge modern myths.

📽️ Case Study: "The Battle of the Somme" (1916)

This five-part documentary, produced with direct support from the British War Office, is a prime example:

· It brought 20 million British viewers into cinemas within just six weeks of its release (from a population of ~46 million).
· British Prime Minister David Lloyd George personally promoted it, urging citizens to "see this picture" which showcased "the bravery of our men."
· After influencing the domestic audience, it was rapidly distributed internationally by the government's public diplomacy apparatus, affecting viewers in 18 other countries.

This film proved that cinema could be a powerful engine for social capital and national morale.

🌍 The Ideological Shift: From Theism to "Isms"

Beyond geopolitical changes, WWI triggered a profound civilizational shift. It weakened traditional, theism-centered (God-focused) values and paved the way for man-made, humanist ideologies to fill the void.

· The war created the perfect conditions for removing religion from public life.
· The post-war world saw the rise of competing secular "isms": Socialism in the USSR, Individualism in the USA, Nationalism in Nazi Germany and Fascist Italy.
· Cinema, as a new and powerful medium, was quickly seized upon by these emerging ideologies. A "tsunami of isms" flooded the cinematic landscape, each using it to promote its worldview.

💡 The Triple Revelation: Industry, Art, Medium

Before WWI, cinema was seen mainly as a novel industry—a technical and commercial venture. Its artistic and, most importantly, its media/mass communication dimensions were obscured.

· Its high financial barriers and need for artistic talent naturally led to significant involvement from the globally connected Jewish community, which had the capital and artistic networks.
· After the war, theorists like Ricciotto Canudo began calling cinema the "Seventh Art," emphasizing its aesthetic value. While this developed film's artistic language, it also served as a brilliant smokescreen.
· The slogan "Art for Art's Sake" or "cinema for cinema" diverted public attention from its core function: a mass media tool. This disguise allowed the new "isms" to maximize their use of cinema for propaganda while the public saw only "art."

🔚 Conclusion

World War I ended the naive era of cinema. It proved film was not just an industry or an art, but a potent three-fold entity: Industry-Art-Media. The conflict ripped off the veil, showing governments and powers that whoever mastered this medium could shape minds, build social capital, and advance ideologies on an unprecedented scale. The age of cinematic innocence was over; the age of cinematic power had begun.

Source: Jewish Studies Center - "World War I; The End of the 'Art for Art's Sake' Myth in Cinema"

#CinemaHistory #WWI #Propaganda #SoftPower #FilmStudies #Media #TheBattleOfTheSomme

✅ @rahyafte_en

The "High Cinema Committee": Zionism's Influence & Blacklists in World Cinema
https://jscenter.ir/jews-and-the-media/jews-and-hollywood/4971

On the anniversary of cinema, a look at allegations of a covert committee formed to steer global film culture in favor of Zionist interests.

Following the international success and acclaim of Steven Spielberg's "Schindler's List" (1994), a strategic idea reportedly took root among certain Zionist leaders: to formally harness the power of cinema.

🎬 The Formation of the "High Cinema Committee"

Allegedly, a committee was formed with the explicit goal of producing propaganda films to serve Jewish, Zionist, and Israeli state interests. Its reported founding members included:

· Ezer Weizman, former President of Israel (Chairman).
· Shulamit Aloni, then Minister of Communications.
· David Sultan, former Israeli ambassador to Egypt.
· Eliyahu Ben-Elissar, a representative of Mossad.
· Representatives from Canon and ITV companies.
· Steven Spielberg, the acclaimed director.

🎯 Reported Objectives & Actions

The committee's initial two mandates were said to be:

1. Planning the production of films beneficial to Zionism.
2. Recruiting and enlisting major international film stars.

Its alleged activities reportedly expanded to include:

· Blacklisting Films: Working to exclude prominent Arab, Islamic, and pro-Palestinian films from international festivals, especially those addressing the occupation of Lebanon, the Golan Heights, and Palestine.
· Blacklisting Stars: Placing international celebrities who spoke against Israeli policies on a "blacklist," reportedly barring them from Israel. Names mentioned include Alain Delon, Jean-Paul Belmondo, Sophia Loren, Emma Thompson, Kevin Costner, and Isabelle Adjani.
· Corporate Maneuvering: Allegedly intervening to block the Japanese purchase of Paramount Pictures, facilitating its acquisition by interests aligned with the committee through a Jewish-origin bank.
· Influencing Awards: A cited example is the 1994 Cannes Film Festival, where the Best Actress award reportedly was denied to Isabelle Adjani (for Queen Margot) due to her refusal to renounce her Algerian Muslim heritage, and given to the film's secondary actress instead—a move claimed to violate festival norms.

😢 The Case of Isabelle Adjani

The treatment of French-Algerian actress Isabelle Adjani is highlighted as a prime example of alleged "character assassination." She stated:

"The Jews attack me because I insist on my Arab identity... They attack me from all sides and have spread the rumor that I have AIDS!"

💎 Conclusion: Allegations of a Cultural Battlefield

These claims, sourced from critiques of Zionist influence, paint a picture of the global film industry as a cultural and ideological battlefield. The alleged "High Cinema Committee" is presented not as a artistic body, but as a soft-power instrument with the objectives to:

· Control narratives regarding Israel and Zionism.
· Marginalize opposing voices through blacklists and award manipulation.
· Consolidate economic control within the film industry.
The narrative concludes that cinema,as the "Seventh Art," became another domain for asserting influence and sidelining critical perspectives, particularly from the Arab and Islamic world.

Source: Jewish Studies Center - "Zionism and the High Cinema Committee"
Original Source: Saeed Tabiat Shenas, Zionism and Cinema, Tehran: Qibla Aval Publications.

#Cinema #FilmIndustry #Zionism #Propaganda #Hollywood #CannesFilmFestival #StevenSpielberg #IsabelleAdjani

✅ @rahyafte_en

Stars & Systems: Allegations of Zionist Influence in Hollywood
https://jscenter.ir/jews-and-the-media/jews-and-hollywood/4898

On the anniversary of cinema, a critical look at claims regarding the relationship between Zionism, Hollywood power, and international film stars.

Beyond financing and production, a key pillar of alleged Zionist influence in global cinema is its reported relationship with film stars. This relationship is said to serve a long-term cultural strategy, not just through making pro-Zionist films, but by shaping the entire cinematic ecosystem.

🌟 The Star Strategy: Fundraising & Diplomacy

The connection is presented as mutually beneficial:

· Celebrity Fundraising: Studio moguls like Jack Warner and stars like Elizabeth Taylor are cited as raising significant funds for Israel, especially during the 1967 war. Taylor alone is reported to have donated $1.25 million over two years.
· Public Diplomacy: A consistent effort was allegedly made to foster relationships between global stars and Israeli leaders. High-profile meetings—like Moshe Dayan with Roger Moore, Teddy Kollek with Kirk Douglas, and Menachem Begin with Elizabeth Taylor—were widely publicized in Israeli media to project an image of a cultured, star-friendly state.

🎥 Luring Production & Crafting Narratives

Israel actively promoted itself as a filming location, citing its scenery and low-cost Arab labor. Stars who filmed there, like Kirk Douglas, became de facto ambassadors. In a 1983 letter for Israel's 35th anniversary, Douglas painted an idyllic picture, encouraging others to film biblical, western, and love stories there.

This extends to narrative control. American playwright David Mamet, honored at the Jerusalem Festival in 2002, praised Israeli resilience after touring sites of Palestinian attacks, stating, "I am a loyal Jew and a friend of Israel." He planned to film a script about the Israeli Air Force there.

🎬 Stars in Alleged Propaganda Films

The ultimate use of star power, critics argue, is in films with clear political narratives:

· Joanna Pacuła: The Polish actress was reportedly chosen for "This Is Not Jerusalem," a film about a kibbutz attacked by Palestinians, disrupting idyllic relations.
· Brooke Shields: Starred in "Sahara," a film by Israeli director Menahem Golan (Cannon Films) accused of presenting a deeply offensive portrait of Arabs and Islam.
· "The Ambassador" (1984): This US-Israel co-production starred Robert Mitchum as a U.S. ambassador killed by Palestinians while trying to make peace, Fabio Testi as a confused PLO leader, and Ingrid Bergman in a film about Golda Meir.

💎 Conclusion: An Inextricable Link?

The critique presents a vision where Zionist influence in Hollywood is not a peripheral activity but a core strategic endeavor. It alleges a system where:

· Economic power (investment, co-productions) merges with soft power (star diplomacy).
· Narrative control is exerted both by making specific films and by marginalizing others.
· The line between celebrity endorsement and state propaganda becomes blurred.

As actor Charlton Heston reportedly told an Arab journalist when asked why Zionists invest in stars: "Israel cannot not play in Hollywood. It's like an actor who cannot remove the dialogue from the film."

The argument concludes that for decades, Zionists have sought to "hunt" film stars, using—or allegedly abusing—their influence to achieve political and propaganda goals, making stardom another front in a broader cultural campaign.

Source: Jewish Studies Center - "Zionism and Film Stars"
Original Source: Saeed Tabiat Shenas, Zionism and Cinema, Tehran: Qibla Aval Publications.

#Hollywood #Zionism #FilmIndustry #Propaganda #CelebrityCulture #Israel #DavidMamet #ElizabethTaylor #KirkDouglas

✅ @rahyafte_en

🎬 The Cold War's Grip on Iranian and World Cinema
https://jscenter.ir/jews-and-the-media/jews-and-hollywood/9715

On the occasion of the screening of "#Abi_va_Rabi" – Iran's first silent feature film, shown at Mayak Cinema (Dec 30, 1930):

The post-World War II era saw the world divided into a bipolar order, with the Soviet Union and the United States as rival superpowers. While they never engaged in direct military conflict, their global rivalry—known as the Cold War—lasted 45 years and reshaped international relations.

The term "Cold War" itself was first used by an American Jewish politician, Bernard Baruch.

🎥 Cinema as the Main Battlefield

This period proved that the primary arena of superpower conflict was not direct warfare, but the realm of "Soft Conflict" – a battle for hearts and minds. Cinema became the ultimate weapon in this struggle.

· In the Eastern Bloc, Vladimir Lenin declared, "For us, cinema is the most important art," and put his wife in charge of Soviet film. The state used it for socialist propaganda in films like Battleship Potemkin and Solaris.
· In the Western Bloc, Hollywood took the lead. It projected American myths, lifestyle, and liberal values worldwide, constantly strengthening its media power to win the ideological war.

Historical analysis suggests that many regional wars (Vietnam, Afghanistan, Korea) and crises (Berlin Wall, Suez) during this time were, in essence, proxy battles and tools for these superpowers to expand their global influence through media and propaganda dominance.

🇮🇷 The Lost Path of Iranian Cinema

While the world was engaged in this cultural-ideological war, the Iranian film industry, which began in 1904, took a passive and directionless path.

· For its first 26 years, Iranian screens were dominated by foreign films from America, France, Germany, the USSR, and Egypt.
· When Iran finally produced its first silent film, Abi and Rabi (1930), and later its first talkie, The Lor Girl (1934), it did so without a clear intellectual direction or regard for the profound global transformations.
· Instead of addressing national concerns or the impact of World Wars, Iranian cinema under the Pahlavi regime became a tool for Western cultural infiltration. It focused on shallow entertainment, romantic melodramas, and gradually morphed into the infamous "Film Farsi" genre.

🍿 The "Film Farsi" Phenomenon

By the 1960s, Iranian cinema had crystallized into "Film Farsi," a unique hybrid that mixed shallow Hollywood and Bollywood storytelling techniques. Its hallmarks became:

· Sensationalism (sex, alcohol, cabaret dancing)
· Violence (fistfights)
· Shallow plots centered on trivial relationships
· A growing emphasis on indecency and breaking social norms

The peak was the massive commercial success of films like Ganj-e Qarun (1965), a copy of Indian melodramas. However, by the early 1970s, the Iranian society began to reject this culture of "distraction" and moral decay that Film Farsi promoted.

The Cold War era starkly revealed cinema's power: it could dismantle cultures or help civilizations rise. While the superpowers wielded it as a strategic weapon, pre-revolutionary Iranian cinema, unfortunately, became a vehicle for cultural alienation and lost identity.

Source: Jewish Studies Center - "The Reign of the Cold War in Iranian and World Cinema"
Author: Dr. Musa Ismailnejad

#ColdWar #IranianCinema #FilmHistory #Hollywood #Propaganda #FilmFarsi #AbiAndRabi #SoftPower #MediaStudies

✅ @rahyafte_en

🕵️‍♂️ On the Anniversary of Marco Polo's Death (Jan 18, 1324)
💰 Jewish Financiers & The Eastern "Gold Fever" That Fueled Colonialism

The "river of gold" flowing from the East and the Americas to Spain and Portugal ignited an insatiable thirst across Europe. From royal courts to merchant hubs, the allure of overseas "discovery" and trade became a powerful obsession.

Certain financial families, long-connected to the East, actively fanned these flames. One of their most effective tools? Spreading mesmerizing tales of the endless, easily attainable treasures of the Muslim world and the Orient. 🗺️✨

These legends, reflected in 16th-century European poetry, blended with:
•The fables of the Alhambra's treasures
•The wonders of One Thousand and One Nights
•The (supposed) adventures of Marco Polo

They created an irresistible "gold fever" for the East. Even maps featured symbolic temptations: a naked woman luring Christian knights, or a headless man with a face on his chest! Names given by European "explorers" were equally seductive: "Cape of Good Hope," "Ivory Coast," "Gold Coast."

📜 The Power of the (Questionable) Travelogue
The newly-invented printing press spread these tales far and wide.Key texts that drove European greed and adventure included:

• The Voyage of Nearchus (attributed to Alexander the Great's admiral): This "rediscovered" text reportedly guided Portuguese and English ambitions in the Persian Gulf and India.

• The Travels of Marco Polo (Il Milione): The ultimate medieval best-seller about the Far East. It claimed Polo served Kublai Khan for 17 years. But was it real? 🤔
Modern scholars like Frances Wood argue Polo never went beyond Constantinople! She points out he never mentions the Great Wall of China, and no Chinese records mention him—despite detailed logs of other foreign visitors. Was his book fabricated propaganda to fuel the colonial rush?

• The Travels of Niccolò de' Conti: This Venetian's tale, published under the Pope's order, is filled with sensational (and likely fabricated) claims meant to portray the East as exotic and morally "other," justifying conquest.

⚖️ The Bottom Line
These narratives weren't innocent stories.They were a form of soft power and psychological preparation, crafted and circulated by powerful financial interests to:

1. Stoke the greed of European rulers and adventurers.
2. Dehumanize and "otherp Eastern cultures.
3. Morally justify the coming centuries of brutal colonization and resource extraction.

The quest for Eastern gold was built on a foundation of myths, many of them possibly lies.

🔍 Source (Persian): Excerpt from "Jewish Financiers and British Colonialism" by Abdollah Shahbazi.
https://jscenter.ir/jewish-methods/jews-and-colonialism/1293

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#History #Colonialism #MarcoPolo #Propaganda #Geopolitics #EastWest #GoldRush #Thread

✅ @rahyafte_en