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Tender Comrades by Patrick McGilligan,Paul Buhle Pdf
More than sixty years ago, McCarthyism silenced Hollywood. In the pages of Tender Comrades, those who were suppressed, whose lives and careers were ruined, finally have their say. A unique collection of profiles in cinematic courage, this extraordinary oral history brings to light the voices of thirty-six blacklist survivors (including two members of the Hollywood Ten), seminal directors of film noir and other genres, starring actresses and memorable supporting players, top screenwriters, and many less known to the public, who are rescued from obscurity by the stories they offer here that, beyond politics, open a rich window into moviemaking during the Golden Age of Hollywood.
The Blacklisted Bible by Daniel L. Smith-Christopher Pdf
Choosing ten films that were considered “suspicious,” “un-American,” or even “dangerous” by the conservative media, and especially the infamous “House Un-American Affairs Committee” (HUAC) between 1947–1953, each chapter briefly outlines how progressive Christians should have supported the message of the film rather than condemned it. Each chapter explains why the film was considered controversial, and then proposes a number of arguments drawing heavily on Scripture, arguing that Christians should have, and still should, consider these films about social justice issues to be deeply biblical, and not “un-American.” Intended for an adult education series, this book can serve as a kind of “handbook” for a church or parish “Film Series” that raises serious questions of social justice and Christian response.
Tender Comrades by Patrick McGilligan,Paul Buhle Pdf
More than sixty years ago, McCarthyism silenced Hollywood. In the pages of Tender Comrades, those who were suppressed, whose lives and careers were ruined, finally have their say. A unique collection of profiles in cinematic courage, this extraordinary oral history brings to light the voices of thirty-six blacklist survivors (including two members of the Hollywood Ten), seminal directors of film noir and other genres, starring actresses and memorable supporting players, top screenwriters, and many less known to the public, who are rescued from obscurity by the stories they offer here that, beyond politics, open a rich window into moviemaking during the Golden Age of Hollywood.
This book calls for a re-evaluation of the films of Robert Rossen. Over a 30-year period, he was the most accomplished writer and director who was also a longtime member of the Communist Party, but his achievement has not been recognized, his films have been belittled or ignored, his legacy denied. Rossen's films reflected his times and the American scene with a dramatic intensity and personal expression unmatched by any other filmmaker of the period. The stages of his political journey, from idealism about Communism to his rebellion against the Party's betrayal of those ideals, influenced the rendering of his concerns and themes--the flaws of human nature, the complexities of motives, the paradoxes of betrayal, personal and political. Yet Rossen testified against his fellow filmmakers, and so his morals and character have been denounced, his work diminished as fatally marred by his moral flaws. The opposite is true. Here is a thorough analysis of each of his 22 films and their place in the developing themes of his body of work. It integrates this study of the films with a documented narrative of his relationship to the Party, its history and conflicts, its duplicities--especially the relations of the Party and its followers to the oppressions of the Soviet Union. And so it challenges the validity of the conventional wisdom about the moral issues of the blacklist period.
J. Edgar Hoover Goes to the Movies by John Sbardellati Pdf
Between 1942 and 1958, J. Edgar Hoover's Federal Bureau of Investigation conducted a sweeping and sustained investigation of the motion picture industry to expose Hollywood's alleged subversion of "the American Way" through its depiction of social problems, class differences, and alternative political ideologies. FBI informants (their names still redacted today) reported to Hoover's G-men on screenplays and screenings of such films as Frank Capra's It's a Wonderful Life (1946), noting that "this picture deliberately maligned the upper class attempting to show that people who had money were mean and despicable characters." The FBI's anxiety over this film was not unique; it extended to a wide range of popular and critical successes, including The Grapes of Wrath (1940), The Best Years of Our Lives (1946), Crossfire (1947) and On the Waterfront (1954). In J. Edgar Hoover Goes to the Movies, John Sbardellati provides a new consideration of Hollywood's history and the post-World War II Red Scare. In addition to governmental intrusion into the creative process, he details the efforts of left-wing filmmakers to use the medium to bring social problems to light and the campaigns of their colleagues on the political right, through such organizations as the Motion Picture Alliance for the Preservation of American Ideals, to prevent dissemination of "un-American" ideas and beliefs. Sbardellati argues that the attack on Hollywood drew its motivation from a sincerely held fear that film content endangered national security by fostering a culture that would be at best apathetic to the Cold War struggle at best, or, at its worst, conducive to communism at home. Those who took part in Hollywood's Cold War struggle, whether on the left or right, shared one common trait: a belief that the movies could serve as engines for social change. This strongly held assumption explains why the stakes were so high and, ultimately, why Hollywood became one of the most important ideological battlegrounds of the Cold War.
A wide-ranging and idiosyncratic look at sixty years of politics and film that uncovers how American movies have mirrored and even challenged anxieties and paranoid perceptions embedded in American society since the start of the Cold War. The first book to take a sweeping look at 60 years of film and analyze them thematically.
When people say “comrade,” they change the world In the twentieth century, millions of people across the globe addressed each other as “comrade.” Now, among the left, it’s more common to hear talk of “allies.” In Comrade, Jodi Dean insists that this shift exemplifies the key problem with the contemporary left: the substitution of political identity for a relationship of political belonging that must be built, sustained, and defended. Dean offers a theory of the comrade. Comrades are equals on the same side of a political struggle. Voluntarily coming together in the struggle for justice, their relationship is characterized by discipline, joy, courage, and enthusiasm. Considering the egalitarianism of the comrade in light of differences of race and gender, Dean draws from an array of historical and literary examples such as Harry Haywood, C.L.R. James, Alexandra Kollontai, and Doris Lessing. She argues that if we are to be a left at all, we have to be comrades.
A Very Dangerous Citizen by Paul Buhle,David Wagner Pdf
In this first critical and cultural biography of blacklisted filmmaker Abraham Polonsky, the authors present an accomplished consideration of a survivor of America's cultural cold war and a superb study of the Hollywood left. 18 photos.
Night and the City (1950), directed by Jules Dassin and starring Richard Widmark, is the compelling story of a hoodlum on the make in postwar London. Andrew Pulver's study of the film traces the film's production history and places it in the context of British film noir and the urban mythology of its West End setting.
An engrossing tale of intrigue, passion, betrayal, and violence, "Hollywood Party" tells the full story of communism during Hollywood's golden age, from a conservative, unsympathetic point of view. of photos.
Dalton Trumbo, Hollywood Rebel by Peter Hanson Pdf
As a screenwriter, novelist, and political activist, Dalton Trumbo stands among the key American literary figures of the 20th century--he wrote the classic antiwar novel Johnny Got His Gun, and his credits for Spartacus and Exodus broke the anticommunist blacklist that infected the movie industry for more than a decade. By defining connections between Trumbo's most highly acclaimed films (including Kitty Foyle, Thirty Seconds Over Tokyo, and Roman Holiday) and his important but lesser-known movies (The Remarkable Andrew, He Ran All the Way, and The Boss), the author identifies how for nearly four decades Trumbo used the archetype of the rebel hero to inject social consciousness into mainstream films. This new critical survey--the first book-length work on Trumbo's screenwriting career--examines the scores of films on which Trumbo worked and explores the techniques that made him, at the time he was blacklisted in 1947, Hollywood's highest-paid writer. Hanson reveals how Trumbo dealt with major themes including rebellion, radical politics, and individualism--while also detailing lesser-known areas of Trumbo's screenwriting, such as his troubling portrayal of women, the dichotomy between his proletarian attitude and bourgeois lifestyle, and the almost surreptitious manner in which he included antiestablishment rhetoric in seemingly innocuous scripts. An extensive filmography is included.
Napoli/New York/Hollywood is an absorbing investigation of the significant impact that Italian immigrant actors, musicians, and directors—and the southern Italian stage traditions they embodied—have had on the history of Hollywood cinema and American media, from 1895 to the present day. In a unique exploration of the transnational communication between American and Italian film industries, media or performing arts as practiced in Naples, New York, San Francisco, and Los Angeles, this groundbreaking book looks at the historical context and institutional film history from the illuminating perspective of the performers themselves—the workers who lend their bodies and their performance culture to screen representations. In doing so, the author brings to light the cultural work of families and generations of artists that have contributed not only to American film culture, but also to the cultural construction and evolution of “Italian-ness” over the past century. Napoli/New York/Hollywood offers a major contribution to our understanding of the role of southern Italian culture in American cinema, from the silent era to contemporary film. Using a provocative interdisciplinary approach, the author associates southern Italian culture with modernity and the immigrants’ preservation of cultural traditions with innovations in the mode of production and in the use of media technologies (theatrical venues, music records, radio, ethnic films). Each chapter synthesizes a wealth of previously under-studied material and displays the author’s exceptional ability to cover transnational cinematic issues within an historical context. For example, her analysis of the period from the end of World War I until the beginning of sound in film production in the end of the 1920s, delivers a meaningful revision of the relationship between Fascism and American cinema, and Italian emigration. Napoli/New York/Hollywood examines the careers of those Italian performers who were Italian not only because of their origins but because their theatrical culture was Italian, a culture that embraced high and low, tragedy and comedy, music, dance and even acrobatics, naturalism, and improvisation. Their previously unexplored story—that of the Italian diaspora’s influence on American cinema—is here meticulously reconstructed through rich primary sources, deep archival research, extensive film analysis, and an enlightening series of interviews with heirs to these traditions, including Francis Coppola and his sister Talia Shire, John Turturro, Nancy Savoca, James Gandolfini, David Chase, Joe Dante, and Annabella Sciorra.
The Final Victim of the Blacklist by Gerald Horne Pdf
Before he attained notoriety as Dean of the Hollywood Ten—the blacklisted screenwriters and directors persecuted because of their varying ties to the Communist Party—John Howard Lawson had become one of the most brilliant, successful, and intellectual screenwriters on the Hollywood scene in the 1930s and 1940s, with several hits to his credit including Blockade, Sahara, and Action in the North Atlantic. After his infamous, almost violent, 1947 hearing before the House Un-American Activities Committee, Lawson spent time in prison and his lucrative career was effectively over. Studded with anecdotes and based on previously untapped archives, this first biography of Lawson brings alive his era and features many of his prominent friends and associates, including John Dos Passos, Theodore Dreiser, F. Scott Fitzgerald, Charles Chaplin, Gene Kelly, Edmund Wilson, Ernest Hemingway, Humphrey Bogart, Dalton Trumbo, Ring Lardner, Jr., and many others. Lawson's life becomes a prism through which we gain a clearer perspective on the evolution and machinations of McCarthyism and anti-Semitism in the United States, on the influence of the left on Hollywood, and on a fascinating man whose radicalism served as a foil for launching the political careers of two Presidents: Richard Nixon and Ronald Reagan. In vivid, marvelously detailed prose, Final Victim of the Blacklist restores this major figure to his rightful place in history as it recounts one of the most captivating episodes in twentieth century cinema and politics.
Author : David E. James Publisher : Univ of California Press Page : 564 pages File Size : 47,5 Mb Release : 2005-05-30 Category : Architecture ISBN : 9780520242586
The Most Typical Avant-Garde by David E. James Pdf
Los Angeles has nourished a dazzling array of independent cinemas: avant-garde and art cinema, ethnic and industrial films. This panoramic history of film production outside the commercial studio system reconfigures Los Angeles, rather than New York, as the true centre of avant-garde cinema in the US.