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(1987) made the statement that " . . . a single human life could have infinite value." Oliver Stone's 1987 contribution , was " . . . a radical critique of the capitalist trading mentality." The movie " . . . argues that most small investors are dupes, and that the big market killings are made by men like . . . " the character played by Michael Douglas. "Stone's target is the value system that places profits and wealth and the Deal above any other consideration. His film is an attack on an atmosphere of financial competitiveness so ferocious that ethics are simply irrelevant, and the laws are sort of like the referee in pro wrestling, part of the show." This Roger Ebert description of Oliver Stone's message in accurately mirrors part of the message of this book, (i.e., that " . . . the value system" of the U.S. film industry " . . . places profits and wealth and the Deal above any other consideration . . . (in an) atmosphere of financial competitiveness (between insiders and outsiders) so ferocious that ethics are simply irrelevant, and the laws are sort of like the referee in pro wrestling, part of the show.")

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In addition to the more contemporary books about Hollywood noted above that came out in the summer of 1992, the earlier work by anthropologist Hortense Powdermaker (), adds a contrasting perspective from a different era. Dr. Powdermaker studied and wrote about Hollywood in the late '40s. She suggested that the " . . . choice of the social scientist is between being aware of his values and making them explicit, or being unaware and letting the reader get them by inference. It seems more scientific to openly present the values, which can then be rejected by a reader if he chooses, than to have them hidden and implicit." Powdermaker " . . . spent a year in Hollywood, from July 1946 to August 1947 . . . " Her " . . . hypothesis was that the social system in which (movies) . . . are made significantly influences their content and meaning." Powdermaker readily admits that her " . . . hypothesis is hardly original . . . (in that) [a]ll art, whether popular, folk or fine, is conditioned by its particular history and system of production."

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In other words, regardless of whether the " . . . executive reads or listens, acts singly or with others, he usually projects his own taste onto the public." The " . . . important decisions on scripts are conditioned by the taste, judgment and personality of executives. Decisions about casting and cutting or on shooting a picture on location or in the studio, on the production's budget, and the settlement of disputes which may arise between any of the important people involved in the movie are likewise the responsibility of the production executive." Of course, all of the above decisions made by a film's producer and/or its supervising studio executive will inevitably have creative effects on the ultimate film.

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As noted above, it may also be true that there have been more so-called anti-Nazi films produced or released for consumption by the American public than films about all of the other U.S. war-time enemies put together. If that were true, such a result, would once again suggest that those who control the American film apparatus, do in fact use their power and discretion to create and offer negative portrayals of the enemy most feared or hated by the filmmaking community itself. In any case, none of these references to movies that portray an anti-Nazi point of view or provide a sympathetic portrayal of Jews is intended to discredit the perspective portrayed, but only to illustrate that the excessive number of such movies support the contention of this book that clear patterns of bias exist in Hollywood films and that too many movies reflecting such views have been produced or distributed by the U.S. film industry to the exclusion of movies that could have been made by other groups within our society, who also have important stories to tell through this significant communications medium. This pattern of bias, in fact reflects the rather arrogant contention that the perspective of this small group of these politically liberal, not very religious Jewish males of European heritage is more important that the perspective of others in our society, and thus deserves more attention in the movies.

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In the same year that Gomery made the above noted statements (1991), David Rosenberg offers the opinion in his book , that movies provide " . . . a shared culture . . . " and they " . . . cross cultural boundaries . . . " George Custen, writing about biopics, expressed the opinion the following year (1992) that movies " . . . are not the prime media agent cultivating historical images that they once were . . . However, film still exerts a powerful influence on people's notions of what counts as history, what properly constitutes a life. Today, because of their still potent popularity and their apparent readability, films are an attractively persuasive source of information. The Hollywood biographical film created and still creates public history by declaring, through production and distribution, which lives are acceptable subjects."

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