Hollywood Exiles in Europe: The Blacklist and Cold War Film Culture

Notes

183 NOTES Introduction 1. Brian Neve addresses the experiences of the blacklisted in Europe, both in his book Film and Politics in America: A Social Tradition (New York: Routledge, 1992) and his recent article “Cases in European Film Culture and the Hollywood Blacklist Diaspora,” in The Lost Decade? The 1950s in European History, Politics, Society, and Culture, ed. Heiko Feldner, Claire Gorrara, and Kevin Passmore (Newcastle: Cambridge Scholars Publishing, 2011). Neither publication, however, is intended as a comprehensive analysis of the blacklisted diaspora’s history and accomplishments. The most extensive study of the Hollywood blacklist, Larry Ceplair and Steven Englund’s magisterial The Inquisition in Hollywood: Politics in the Film Community 1930– 1960 (Urbana: University of Illinois Press, 2003), addresses the émigrés briefly. Similarly, the experiences of the exiles crop up only occasionally in Naming Names, 3rd ed. (New York: Hill and Wang, 2003), Victor Navasky’s psychologically oriented investigation of the period. One of the only secondary sources on the activities of the émigrés is Paul Buhle and Dave Wagner’s Hide in Plain Sight: The Hollywood Blacklistees in Film and Television, 1950–2002 (New York: Palgrave Macmillan, 2003), but its comprehensive focus on the creative work of the blacklisted means that its discussion of the European exiles is limited. More recent publications relating to the Hollywood blacklist include Brian Neve, The Many Lives of Cy Endfield (Madison: University of Wisconsin Press, 2013); Steven J. Ross, Hollywood Left and Right: How Movie Stars Shaped American Politics (New York: Oxford University Press, 2011); Reynold Humphries’s Hollywood’s Blacklists: A Political and Cultural History (Edinburgh: Edinburgh University Press, 2010); Joseph Litvak’s The Un-Americans: Jews, the Blacklist, and Stoolpigeon Culture (Durham, N.C.: Duke University Press, 2009); Jennifer Langdon’s Caught in the Crossfire: Adrian Scott and the Politics of Americanism (New York: Columbia University Press, 2008); Larry Ceplair’s The Marxist and the Movies: A Biography of Paul Jarrico (Lexington: University Press of Kentucky, 2007); Gerald Horne’s The Final Victim of the Blacklist: John Howard Lawson, Dean of the Hollywood Ten (Berkeley: University of California Press, 2006); Ronald Radosh and Allis Radosh’s Red Star Over Hollywood: The Film Colony’s Long Romance with the Left (San Francisco: Encounter Books, 2005); and Mona Z. Smith’s Becoming Something: The Story of Canada Lee (New York: Faber and Faber, 2004). 2. One notable exception to the dearth of scholarly literature on the international ramifications of the Hollywood blacklist is Rebecca Schreiber’s Cold War Exiles in Mexico: U.S. Dissidents and the Culture of Critical Resistance (Minneapolis: University of Minnesota Press, 2008), which includes a thorough and insightful analysis of the community of blacklisted writers, artists, and filmmakers who gathered in Mexico during the 1950s and their transnational cultural production. 3. Two recent dissertations address the shortage of historical studies of runaway production : Daniel Steinhart’s “Hollywood Overseas: The Internationalization of Production and Location Shooting in the Postwar Era” (Ph.D. diss., University of California, Los Angeles) and Camille K. Yale’s “Runaway Production: A Critical History of Hollywood’s Outsourcing 184 Notes to Pages 2–3 Discourse” (Ph.D. diss., University of Illinois, 2011). Contracting Out Hollywood: Runaway Productions and Foreign Location Shootings, ed. Greg Elmer and Mike Gasher (Lanham, Md.: Rowman and Littlefield, 2005), examines contemporary runaway production. Robert Shandley ’s Runaway Romances: Hollywood’s Postwar Tour of Europe (Philadelphia: Temple University Press, 2009) explores Hollywood’s European productions of the 1950s and 1960s, but focuses more on the content of the films produced than the industrial circumstances of their production. With regard to Cold War film studies, Tony Shaw has published a number of books examining Cold War film propaganda. See (with Denise J. Youngblood) Cinematic Cold War: The American and Soviet Struggle for Hearts and Minds (Lawrence: University Press of Kansas, 2010); Hollywood’s Cold War (Edinburgh: Edinburgh University Press, 2007); and British Cinema and the Cold War: The State, Propaganda, and Consensus (London: I. B. Tauris, 2006). Nora Sayre’s Running Time: Films of the Cold War (New York: Doubleday, 1982) and J. Hoberman’s An Army of Phantoms: American Movies and the Making of the Cold War (New York: The New Press 2012) both offer numerous examples of anticommunism in Hollywood films of the 1950s. Vanessa R. Schwartz makes the important point that studies of Cold War culture need to move beyond the emphasis on the “centrality of propaganda about the ‘American way of life’ to establishing its even more...