Film and Television: Swamp central.

Draining the swamp that is the current film and TV industry.

The Film and TV industry has long been used as a weapon by the US government to spread ideas of freedom and liberty across the world. In that effect, it has been tremendously successful. However, this industry has been poisoned in recent years due to adversaries who have identified its top-down structural weakness, and is now actively being used by foreign powers to culturally subvert America. It has rotten to the core, and will require significant overhaul.

Some severe problems exist in film and TV which will require addressing.

Sexual deviancy is a perennial problem in the film industry.

It is not merely accepted, but expected, that there be some kind of sexual exchange between decision makers and potential candidates, in the higher levels of film and TV production. Harvey Weinstein, Roman Polanski, and Bill Cosby for example, are the norm. Powerful men and women often demand that talent perform devious acts in order to secure fortune and fame. Furthermore, talents often offer themselves to be used in such a way, for obvious reasons.

There should be a supervisory body or ombudsman to cope with this kind of behavior. Sexual deviancy leads to blackmail and collusion, resulting in lost opportunities for competitive talent.

Parents are fueling pedophilia.

Parents wishing to become wealthy and famous have often sent their children to sexual predators in the film industry to be molested. Other parents who may not agree with the molestation but do not know have also placed their children in vulnerable positions. There are currently no repercussions to either party, nor are there any forms of defense or supervision against this exploitative behavior.

The kind of behavior by parents that place their children in danger, be it witting or unwitting, should be criminalized. Child talents are incredibly vulnerable and must be protected at all cost.

Diversity, Equity, and Inclusion initiatives are discriminatory.

Bridgerton, the new Snow White and Cleopatra are only some examples of racial distortion in the film industry, which has cast or replaced certain roles or characters due to their skin color. There is neither commercial reasoning nor genuine excuse to push this agenda except to sow racial division in America. The film industry is also seeing massive de-skilling of labour with a large number of initiatives that discriminate men in favour of women by giving women disproportionately more representation than their participation proportion in the industry.

This type of reverse discrimination in the name of so-called equality should be treated as discrimination.

Foreign investments are knee-capping American productions.

In recent years, American films seeking to enter foreign markets such as China have solicited investments from these countries. As such, foreign censors and politics have tremendous control on what content Americans can view domestically. The Martian, for example, painted the Chinese in an unusually positive light as the saviours of an American astronaut marooned on Mars. Gravity also made China out to be a space-faring superpower who could be relied upon when Americans are in trouble. This soft-power projection on to Americans by China (and other future ideological adversaries) will become a severe problem if allowed to continue, as Americans may feel the need to defend the adversaries even when the nation is wronged in a conflict.

There should be a cap on how much a foreign nation can invest in American film and television. They must also not be allowed to censor American content, or project soft power.

Film academies and awards have created a hierarchical industry.

Professionals in the Oscar and Emmy academies should not be the only and final say in awards for film and television. In recent years, the Oscar academy has turned into a corrupt and transaction-based system which allows ruthless and shrewd producers to push otherwise mediocre films to notoriety for profit. Film awards of various forms further foster an oligarchic culture in the film and television industries that gives individuals and interest groups much more power and sway over which projects should be pushed to the public.

Film awards should involve public voting, weighted at 75%, in addition to professional voting, weighted at 25%, to be chosen each year. Public voting should serve as society’s imposition of values on the content it consumes. Professional voting is also important as it does form a basis for minimum acceptable technical standards for TV and movies.

The film awards could be turned into a month-long celebration of film each year, encouraging film lovers to watch domestic movies and participate in each film’s claim to fame by popular American choice. The same can be done for Television series, with a longer timeframe. Americans should be active participants in film culture, and not relegate the responsibility to self-proclaimed Hollywood elites who can be bought and turned against the American people.

Film schools are abetting leftism.

Film schools focused on artistry are giving false-hope to students aspiring to be filmmakers. The graduates enter society and industry with lofty expectations which are seldom rewarded. In destitution, these film makers turn to ideologies which reflect their frustration and produce cinematic works which sow division.

New film schools formed on merit-based education would greatly benefit aspiring filmmakers. Schooling should emphasize on travel to foreign countries, diversifying student interests, and broad-ranging subjects such as languages, music, humanities, and arts; culturally enriched individuals can create more cultural masterpieces. The graduation process should mirror the practical business of film and TV: students must pitch and present their ideas, write it, and subsequently produce it as a team, with focus on audience appeal and commercial success.

Teachers must be drawn from a pool of commercially successful filmmakers instead of theoretical scholars. Students are given entry to film schools based on their ability to deliver commercial products. This system of education breaks from traditional film education, which focuses on artistic expression, and instead shift its weight to commercial viability and practical film making.

Lack of apprenticeship programs for employment in the film industry.

The film industry employs over 450 different types of jobs. A blockbuster film production can employ up can employ up to 5000 people, including camera operators, cinematographers, truck drivers, caterers, make-up artists, costumers / tailors, visual effects artists, musicians, writers, actors, and many more. All in all, films require a large amount of labour from an enormous pool of various trades.

For America to continue its success in film, more apprenticeship and trainee programs should be designed to allow the general population to engage with or work in the film industry. Various fiscal policies can be used to stimulate employment as well as provide experiential part-time jobs for students of various age. In an era where we may be increasingly replaced by artificial intelligence for various tasks, many jobs in the film industry can and will remain viable for years to come.

Lack of accountability and ethics in film production

A myriad of malpractice exist in the film industry. Most commonly, film producers often pilfer production budgets for private benefit without accountability. Film festivals are often infested and overrun with prostitution. Producers often take money from investors and throw extravagant or lavish parties without consequence. This kind of decadence breeds an exceptionally unhealthy culture.

There should be an ethical violation system set up to maintain stringent professional standards for producers. Producers must keep their private hedonistic desires private.

Excessive consumption of short form media

Short-form media on platforms such as Instagram or TikTok are designed to maximize phone interaction, reduce attention span, and overstimulate consumers. While it would be impossible to eliminate this format, it’s important that healthy alternatives exist to wholly or partially replace this type of content for those who wish to consume more meaningful content.

An annual online film festival that showcases short films and documentaries made by aspiring film makers can be held. Americans vote to choose the best short films and documentaries, with prize monies awarded to the winners, to encourage them to make more films and TV shows in the future.

Short films and documentaries are a better and more meaningful form of entertainment alternative to short-form media the likes of TikTok or Instagram, which often have little value to offer for the betterment of society.

Cultural revitalization.

In recent years, South Korea has become a powerhouse for cultural output as their film industry took flight. With reduced censorship and lack of centralized industrial incest, Parasite not only won the hearts of audiences worldwide, but also the once-glorious Oscar-academy award.

It’s time for America to reclaim what is rightfully their own and revitalize the film industry.