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239 INDEX Note: Page numbers in italics indicate illustrations. À bout de souffle (1960), 118, 150, 151 ABPC (Associated British Picture Corporation ), 52, 57 AcademyAwards(nominationsandwinners): blacklist-exclusionrule,159–161;TheBrave One(1956),207n72;TheBridgeontheRiver Kwai(1957),159,160;Claudine(1974),174; Crossfire(1947),62;TheDefiantOnes(1958), 161;Durififichezleshommes(1955),160;Father Goose(1964),112,214n10;FriendlyPersuasion (1957),62;AGuninHisHand(1945),17; Kazan’shonorary(1999),172;MidnightCowboy (1969),178;APlaceintheSun(1951),74 accented cinema (concept), 107, 213n103 Accident (1967), 174, 178, 213n97 ACT. See Association of Cine Technicians Actors’ Lab, 16, 190n67, 197n58 Adler, Larry, 5 Adventure in Paris (television pilot), 55 The Adventures of Aggie (television series), 56, 218n80 The Adventures of Robin Hood (television series), 55–56, 200n105, 215n20 l’affaire Dassin, 8, 46–47, 91, 196n50, 196n56 l’affaire Wilson, 73 AFL/CIO. See Hollywood AFL Film Council AFL Film Council. See Hollywood AFL Film Council African Americans, 126, 127; Paris community of, 111, 197n63, 215n22. See also Tamango agit-prop productions, 15–16 Aldrich, Robert, 29, 191n71 Alekan, Henri, 67, 68 Algerian War (1954–1962), 92, 140, 141 Allan, Ted, 111 All Night Long (1962), 228n60 Altman, Mischa, 94, 200n107, 211n56 The Amazing Mr. X (1948), 191n71 Ambassador at Large (unproduced), 118–119 Ambler, Eric, 78 American Business Consultants (ABC), 59 Americanfilmindustry:economicdifficulties, 59–60,158,160;Europeanapproachadopted, 108–114;Foreman’scritiqueof,128–129; politicalandsocialmilieu,12–14,17–18,24– 25;postwarunemploymentin,60;rightward turnof,29–30,31–34.Seealsoanticommunism ;Franco-Americanco-production; Hollywoodstudios;Italian-Americancoproduction ;U.S.-Europeanco-production Americanism: postwar definition of, 120; social cinema’s critique of, 121–122, 128. See also United States: economic and cultural imperialism American Legion: call for ban on films by “known communists,” 68–69; “clearance” process condemned by, 162; Foreman’s HUAC testimony and, 167; and graylist, 59; labor union cooperation with, 60; movies targeted by, 63–64, 79–81, 154; power of, 159, 168–169, 201n7; “subversives’” names published by, 59 Andersen, Thom, 6, 121, 185n10, 217n59 Anderson, Lindsay: on British coverage of blacklist, 202n15; chance to direct, 215n20; periodical founded by, 62; social concerns of, 146–147; on television work, 56; film: This Sporting Life, 148, 224n92, 224n94 Anglo-Amalgamated (distributors), 144 Annakin, Ken, 180 anticommunism: alienation and national belonging in context of, 84–85; British coverage of, 202nn14–15; cultural propaganda of, 120; emergence of, 24–25; European anxieties about, 194n26; European postwar cinema and, 119–120; television series and, 55. See also “graylist”; Hollywood blacklist; House Un-American Activities Committee 240 Index Antonioni, Michelangelo, 142, 144, 156, 221n57, 222n70 Appell, Donald T., 164 April in Paris (unproduced), 118 Archer, Eugene, 155, 156 Arens, Richard, 165, 167, 168, 227n40 art film: approach to, 10; “cinema as art” idea, 97, 130–132; defined, 130; masterpieces of, 5, 6. See also European art film Asphalt Jungle (1950), 153 Asquith, Anthony, 54, 196n50 Associated British Picture Corporation (ABPC), 52, 57 Association of Cine Technicians (ACT), 53– 54, 196n50, 199n92, 199n95 Association of French Art Cinemas (Association française des cinémas d’arts et d’essai), 130 Audiard, Michel, 44 Auerbach, Jonathan, 84–85 Autant-Lara, Claude, 47, 150 auteur: concept and context, 10, 132, 149, 156; Dassin as, 151; film criticism and, 142–146; Losey as, 131, 133, 146–147, 156–157, 223n88 L’Avventura (1960), 144, 222n70 AWARE, 167, 227n41 Bacall, Lauren, 31 Baker, Stanley: in Blind Date, 79, 80, 104; in The Criminal, 213n97; in Eve, 104–105, 144; in Hell Drivers, 100, 101; in Jet Storm, 166 Ball, Lucille, 23 Bar, Jacques, 46–47, 136, 196n53. See also La Loi Bardem, Juan Antonio, 139, 221n36 Barrymore, John Jr., 29, 49 Barzman, Ben: Hollywood circle, 12, 13, 33; identity, 175; Madrid circle, 5, 113; Paris circle, 5, 47, 49, 50; passport problems, 142; whereabouts after blacklist’s demise, 173, 174 —career: Bronston’s hiring of, 113, 114; creative output impacted, 176; difficulties in exile, 43, 67; lawsuit rejected by, 170; named in HUAC testimony, 67, 204n38; PEC school teaching, 22; replaced by European screenwriters, 129; Riviera Films role, 66; television series work, 55; training, 121 —comments: British attitudes, 200n116; Cannes Film Festival, 206n67; Christ in Concrete, 62, 64, 122; New Wave, 151 —films: The Boy with Green Hair, 12, 186n3; El Cid (rewrite), 113, 114; The Fall of the Roman Empire, 113, 114; 55 Days at Peking (writing credit), 113, 114; It Happened in Paris, 41, 43, 43–45; SOS Pacific (rewrite), 78–79, 207n82. See also Blind Date; Stranger on the Prowl; Time Without...

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