[video=youtube_share;uU_PflW5Ct0]https://youtu.be/uU_PflW5Ct0[/video]
https://mp3mp4pdf.net/media/sm81.mp3
[Continuing from last entry]
American scholar Victor B. Cline did an analysis of thirty-seven movies that were shown in Salt Lake City in the 1970s. He found that 58 percent of the films presented dishonesty in a heroic light or as justified by the hero because of the circumstances, and that 38 percent of the films presented criminal activity as something that pays off or as a successful and an exciting pastime with no negative consequences. In 59 percent of the films, the heroes killed one or more people. Seventy-two percent of the heroines were presented as sexually promiscuous to some degree. In fact, only one film suggested normal sexual relations between a man and a woman legally married to each other. In only 22 percent of the films were any of the principal figures seen engaged in what might be termed healthy and reasonably satisfying marriages.
A common argument against criticism of violence and sexuality in films is that such things exist in real life and that films only reflect the nature of reality, rather than having any negative impact. But from the figures above, this is demonstrably false. Moreover, numerous movies produced by Hollywood leftists naturally reflect their values and in turn have changed the values of society. According to film critic and former Hollywood screenwriter Michael Medved, the liberal-minded social revolutionaries in Hollywood are molding the values of society by assaulting the legitimacy of the family, promoting sexual perversion, and glorifying ugliness.
Others argue that the profusion of morally degenerate content in the film industry is merely driven by market forces. But whatever the means, diabolical goals are being achieved to frightening effect. The speed and power with which the film industry has been used to take down public morality is astounding. Some movies lionize beasts or monsters; those that depict man transforming into beasts or even bestiality are approved of and praised by the Hollywood mainstream. This is the real-life reflection of how the devil has brought the world under its rule—mankind has come to embrace monsters.
These anti-tradition movies probe into and reflect on social issues with superficial intricacy, but they are actually excuses to create a complex and vivid environment in which to immerse the audience. A studiously crafted atmosphere allows the audience to think of moral standards as being circumstantial. Ugly deeds that conventional society disapproves of can always in some way be rationalized, given sympathetic treatment, or even made to appear positive. The ultimate message, implanted in the brains of the audience, is that there isn’t a clear divide between right and wrong or good and evil, that traditions are boring and suppressive, and that morality is relative.
From Chapter Thirteen: Hijacking the Media
One radical student organization claimed, “We are not potential Bonnie and Clydes, we are Bonnie and Clydes.”
https://mp3mp4pdf.net/media/sm81.mp3
[Continuing from last entry]
American scholar Victor B. Cline did an analysis of thirty-seven movies that were shown in Salt Lake City in the 1970s. He found that 58 percent of the films presented dishonesty in a heroic light or as justified by the hero because of the circumstances, and that 38 percent of the films presented criminal activity as something that pays off or as a successful and an exciting pastime with no negative consequences. In 59 percent of the films, the heroes killed one or more people. Seventy-two percent of the heroines were presented as sexually promiscuous to some degree. In fact, only one film suggested normal sexual relations between a man and a woman legally married to each other. In only 22 percent of the films were any of the principal figures seen engaged in what might be termed healthy and reasonably satisfying marriages.
A common argument against criticism of violence and sexuality in films is that such things exist in real life and that films only reflect the nature of reality, rather than having any negative impact. But from the figures above, this is demonstrably false. Moreover, numerous movies produced by Hollywood leftists naturally reflect their values and in turn have changed the values of society. According to film critic and former Hollywood screenwriter Michael Medved, the liberal-minded social revolutionaries in Hollywood are molding the values of society by assaulting the legitimacy of the family, promoting sexual perversion, and glorifying ugliness.
Others argue that the profusion of morally degenerate content in the film industry is merely driven by market forces. But whatever the means, diabolical goals are being achieved to frightening effect. The speed and power with which the film industry has been used to take down public morality is astounding. Some movies lionize beasts or monsters; those that depict man transforming into beasts or even bestiality are approved of and praised by the Hollywood mainstream. This is the real-life reflection of how the devil has brought the world under its rule—mankind has come to embrace monsters.
These anti-tradition movies probe into and reflect on social issues with superficial intricacy, but they are actually excuses to create a complex and vivid environment in which to immerse the audience. A studiously crafted atmosphere allows the audience to think of moral standards as being circumstantial. Ugly deeds that conventional society disapproves of can always in some way be rationalized, given sympathetic treatment, or even made to appear positive. The ultimate message, implanted in the brains of the audience, is that there isn’t a clear divide between right and wrong or good and evil, that traditions are boring and suppressive, and that morality is relative.
From Chapter Thirteen: Hijacking the Media
One radical student organization claimed, “We are not potential Bonnie and Clydes, we are Bonnie and Clydes.”