In this Book

  • 'Un-American' Hollywood: Politics and Film in the Blacklist Era
  • Book
  • Edited by Frank Krutnik, Steve Neale, Brian Neve, and Peter Stanfield
  • 2007
  • Published by: Rutgers University Press
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summary
The concept of "un-Americanism," so vital to the HUAC crusade of the 1940s and 1950s, was resoundingly revived in the emotional rhetoric that followed the September 11th terrorist attacks. Today's political and cultural climate makes it more crucial than ever to come to terms with the consequences of this earlier period of repression and with the contested claims of Americanism that it generated. "Un-American" Hollywood reopens the intense critical debate on the blacklist era and on the aesthetic and political work of the Hollywood Left. In a series of fresh case studies focusing on contexts of production and reception, the contributors offer exciting and original perspectives on the role of progressive politics within a capitalist media industry. Original essays scrutinize the work of individual practitioners, such as Robert Rossen, Joseph Losey, Jules Dassin, and Edward Dmytryk, and examine key films, including The Robe, Christ in Concrete, The House I Live In, The Lawless, The Naked City, The Prowler, Body and Soul, and FTA.

Table of Contents

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  1. Frontmatter
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  1. Contents
  2. pp. v-vi
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  1. Introduction
  2. pp. 3-18
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  1. Chapter 1: Are You Now or Have You Ever Been a Christian?: The Strange History of The Robe as Political Allegory
  2. pp. 19-38
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  1. Chapter 2: Un-American: Dmytryk , Rossellini, and Christ In Concrete
  2. pp. 39-50
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  1. Chapter 3: “A Living Part of the Class Struggle”: Diego Rivera’s The Flower Carrier and the Hollywood Left
  2. pp. 51-78
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  1. Chapter 4: A Monarch for the Millions: Jewish Filmmakers, Social Commentary, and the Postwar Cycle of Boxing Films
  2. pp. 79-96
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  1. Chapter 5: The Violent Poetry of the Times: The Politics of History in Daniel Mainwaring and Joseph Losey’s The Lawless
  2. pp. 97-112
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  1. Chapter 6: Dark Passages: Jazz and Civil Liberty in the Postwar Crime Film
  2. pp. 113-129
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  1. Chapter 7: Documentary Realism and the Postwar Left
  2. pp. 130-141
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  1. Chapter 8: Cloaked in Compromise: Jules Dassin’s “Naked” City
  2. pp. 142-151
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  1. Chapter 9: The Progressive Producer in the Studio System: Adrian Scott at RKO, 1943–1947
  2. pp. 152-168
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  1. Chapter 10: The House I Live In: Albert Maltz and the Fight Against Anti-Semitism
  2. pp. 169-183
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  1. Chapter 11: Red Hollywood in Transition: The Case of Robert Rossen
  2. pp. 184-197
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  1. Chapter 12: Swashbuckling, Sapphire, and Salt: Un-American Contributions to TV Costume Adventure Series in the 1950s
  2. pp. 198-209
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  1. Chapter 13: Hollywood, the New Left, and FTA
  2. pp. 210-224
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  1. Chapter 14: Red Hollywood
  2. pp. 225-263
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  1. Afterword
  2. pp. 264-275
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  1. Acknowledgments
  2. p. 277
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  1. Notes
  2. pp. 279-336
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  1. Notes on the Contributors
  2. pp. 337-338
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  1. Index
  2. pp. 339-362
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