Emile de Antonio: Radical Filmmaker in Cold War America

Index

Index Aaron, Daniel, 12 ACLU: support of Underground, 196–200 Agee, Philip, 214 Allen, Woody, 118 American Film Institute, 130, 237 American Indian Movement, 76 Anderson, Jack, 122, 128, 131 Anderson Platoon, The, 79 Antonioni, Michelangelo, 215, 220 Apocalypse Now, 107 Arbus, Diane, 22 Arden, John, 58 Assemblage, Art of, (exhibition), 33 Atlee, John, 80, 105 Attica, 202 Autobiographical cinema, 229–30, 234 Ayers, Billy, 189, 208, 209 Baillie, Bruce, 34 Banks, Dennis, 76 Barsam, Richard, 8, 9, 47, 174 Basquiat, Jean-Michel, 178–79 Baudrillard, Jean, 46–47, 171–72 BBC: funds That’s Where the Action Is, 52–54; broadcasts Rush to Judgment, 69–70; funds Mr. Hoover and I, 227 Belin, David W., 62, 69 Benevides, Domingo, 60 Benjamin, Walter, 33 Bergen, Candice, 77 Berkeley Streetfighting, 202 Berrigan, Daniel, 7, 33, 77, 87, 104, 213–25 passim Berrigan, Philip, 213, 222 Bertrand Russell Peace Foundation, 55, 56 Boudin, Kathy, 189, 192, 208 Boudin, Leonard, 198–99 Brecht, Bertolt, 6, 38–40, 42, 104, 138, 240 Buckley, William F., Jr., 41, 137–38, 143 Burns, Ken, 238 Cage, John, 22–23, 31, 33, 105, 135, 156, 232 Canby, Vincent, 142, 232, 237 Case, Laura Rockefeller, 83, 122, 123 Cassavetes, John, 27 Castelli, Leo, 19, 22, 155, 172–73 Catholic peace movement, 212–25 Catonsville Nine, 77 Caulfield, John, 147, 148, 149, 150, 151 Censorship: violence threatened against theaters booking Rush to Judgment, 71; against In the Year of the Pig, 92, 95; difficulties in promoting Millhouse, 141; Nixon 333 334 Index Censorship (Continued) White House plans to smear de Antonio for Millhouse, 146–52; de Antonio protests government censorship of public art, 178; police surveillance during production of Underground, 193–97; subpoena of Underground, 196–201; prior restraint of documentary filmmakers, 199–200 Central Intelligence Agency, 70, 86, 214 Chamberlain, John, 34 Chaplin, Charlie, 26 Checkers speech, 116–17, 125, 134–35 Chicago Seven, 95 Chomsky, Noam, 46, 72, 93, 236 Cinéma vérité, 42 Clark, Ramsey, 220 Cohn, Roy, 29, 35, 36, 40–41, 46 Cold war, 115–16, 226–27, 230–31, 233 Colson, Charles, 148 Conner, Bruce, 66 Connolly, Cyril, 19 Correll, Barbara, 101 Cumings, Bruce, 78, 102 Davis, Sammy, Jr., 53 Dean, John W., 147, 149, 150 De Antonio, Emile: worldview of, 3, 61, 111–12, 213–14, 235; impact on documentary, 4, 237–38; FBI surveillance of, 7, 13, 14, 59, 60, 146–52, 225–34 passim; family history of, 10–11; and Marxism, 11, 12, 13, 57, 68, 97, 102, 105, 135, 138, 166, 167, 204, 235; and religion, 11, 222, 224–25; education of, 12, 14, 17; alcohol use of, 12, 14, 21; literary heroes of, 13, 17, 23; as writer, 18; and art, 18–26, 155–80; influence on Andy Warhol, 19–21; and Painter’s Painting, 20, 22, 155–80; appears in Warhol’s Drink, 21; influenced by John Cage, 22–23, 31, 33, 135, 161; introduction to film, 26–28; and Pull My Daisy, 27–28; produces Sunday, 29; and New American Cinema Group, 27; and Point of Order, 29–47, 56; and film editing, 32, 54, 63, 88; Brechtian practices of, 38–40; views on television, 38, 45, 77, 78, 84; and compilation documentary, 47; views on John F. Kennedy, 48–49; and Kennedy assassination, 51–52, 57–75 passim; and That’s Where the Action Is, 52–55; films Bertrand Russell’s obituary, 55–58; trouble with CBS over JFK footage, 61; and Rush to Judgment, 51–52, 57–75; on US as “police state,” 68, 228; and America Is Hard to See, 71, 107–12; aborted documentary on Native American issues, 76–77; civil disobedience and, 77, 224; on the need for revisionist historians, 80; and In the Year of the Pig, 81–107; and “radical scavenging,” 84–90; explanation of Pig title, 88–90; vision of U.S. history, 88, 90, 104, 107–12, 210–11; Academy Award nomination for Pig, 93, 97; and Underground, 97, 182–210; irritation with New Left, 97; as “metahistorian,” 102–3; emphasis on sound, 104; and Millhouse, 113–54; explains Millhouse title, 131–33; Millhouse as campaign tool, 145, 149; and hostile response Index 335 of Nixon White House to Millhouse, 146–52; and the conflict of art and politics, 166–72, 220–21; and Tilted Arc controversy, 178; on political violence, 184, 210; Hollywood’s support of Underground, 197; anger at Tom Hayden and Jane Fonda, 198; denounced in Congress...