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Acknowledgments This book began at the University of California, Santa Barbara, under the guidance of Fredrik Logevall, along with Nelson Lichtenstein, Tsuyoshi Hasegawa, and Charles Wolfe.I thank each of them for their enthusiastic support and always helpful advice. In my career as both teacher and scholar, I am constantly striving to heed the excellent example they set for me. I am also indebted to the UCSB Center for Cold War Studies for both material and intellectual support. My predecessors in the Cold War History Group (COWHIG, as CCWS was first known) certainly helped guide the way, and I am grateful in this regard to Andy Johns, Ken Osgood, Kimber Quinney, and Kathryn Statler. I am equally grateful to my CCWS cohorts Toshi Aono and Jessica Chapman, as well as to many other friends from those Santa Barbara days who contributed to this work, including Joe Campo, Maeve Devoy, Jason Kelly, David Schuster, Travis Smith, Matthew Sutton, and David Torres-Rouff. The NYU Center for the United States and the Cold War provided a welcome research community and fellowship support, and I appreciate in particular the center’s codirectors, Michael Nash and Marilyn Young. A faculty fellowship with the departments of History and Film & Media Studies at UCSB not only provided valuable teaching experience but also further supported my writing and research. The history department at the University of Waterloo has provided generous support through travel grants for research and conference meetings. I consider myself extremely lucky to have colleagues who are such excellent scholars and wonderful people. I especially thank Gary Bruce, Dan Gorman, Andrew Hunt, Lynne Taylor,Ryan Touhey,and Jim Walker for their good counsel and assistance. I also thank the numerous archivists and staff members at the archives I consulted, including Kevyne Baar at the Tamiment Library/Robert F. Wagner Labor Archives, NYU; Barbara Hall at the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences; Harry Miller at the Wisconsin Center for Film and Theater Research; and Charles E. Schamel at the National Archives, Washington, D.C. Portions of this work have been previously published.Chapter 2 first appeared in a slightly different form as John Sbardellati, “Brassbound G-Men and Celluloid Reds: The FBI’s Search for Communist Propaganda in Wartime Hollywood ,” Film History 20, no. 4 (2008): 412–36. Part of chapter 3 appeared as John viii ACKNOWLEDGMENTS Sbardellati, “‘The Maltz Affair’ Revisited: How the American Communist Party Relinquished Its Cultural Influence at the Dawn of the Cold War,” Cold War History 9, no. 4 (2009): 489–500. I gratefully acknowledge the publishers of these journals for allowing the use of this material here. I am proud to publish this work with Cornell University Press. I especially thank Michael McGandy and Ange Romeo-Hall for their patience and support throughout this process, as well as Katy Meigs for her thorough copyediting. I am particularly grateful to Lary May and Hugh Wilford for reviewing the manuscript ; their comments have improved this work immeasurably, and I am honored to have received the close scrutiny of two scholars whose work I hold in the highest esteem. Several other scholars have contributed to this work in myriad ways. In particular , I thank Daniel J. Leab, Tony Shaw, and Athan Theoharis for their invaluable assistance. In closing I thank my family. My wife, Leandra, has been a loving companion, worthwhile critic,and an unwavering source of encouragement.Aldo is our pride and joy. My sisters, Maria and Gina, and their families remain close as ever even though they are miles away. Finally, this book is dedicated to my parents, John and Judy Sbardellati, for their constant love and support. ...

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