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| xiii Acknowledgments There are many people and institutions to thank, as this book has evolved over a long time, and colleagues, friends, and family members have contributed to my thinking and provided support along the way. The project began at the University of Wisconsin–Madison, and so I need to thank the Department of History for a Special Travel Grant, which allowed me to undertake an initial research trip to explore available primary sources in Los Angeles. Jeanne Boydston, Paul Boyer, Nancy Isenberg, Earl Mulderink, and John Pettegrew in History provided guidance early on, and courses I took with Jackie Byars, John Fiske, and Stephen Vaughn in Communication Arts proved influential. Over the years, I also have benefited from presenting conference papers on this topic as part of panels organized with fellow Wisconsin graduate colleagues, including Ellen Baker, Andrea Friedman, Leisa Meyer, Laura McEnaney, and Kevin Smith. Most recently, Janet Davis offered helpful and timely advice. I returned to this project while teaching in the Department of History at the University of Northern Colorado. With the strong support of my Department chair, Barry Rothaus, encouragement from colleagues Marshall Clough and Ron Edgerton in History and David Caldwell and Elena del Rio in English and Film Studies, and funding from a Faculty Research and Publications Board Grant, I completed much of the research. The staff and setting at the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, fostered my work in the Hedda Hopper papers, especially archivist Barbara Hall, who provided expert and generous guidance. The hospitality of friends Eftihia Danellis and Kathy Tatar and my sister, Millicent Frost, made this part of the process much easier and more enjoyable. My move to the University of Auckland in New Zealand yielded a New Staff Research Grant, a University Research Fellowship, and Research and Study Leave to finish my research and write the manuscript. My Department heads—Barry Reay, Jamie Belich, and Malcolm Campbell—not only endorsed this project but also the importance of balancing its completion xiv | Acknowledgments with family life. The history subject librarian Philip Abela facilitated my access to crucial primary and secondary sources at just the right time, and graduate students Charlotte Burgess and Sam Finnemore, as well as my mom, Ann Frost, my sister, Millicent, and father-in-law, Denis Taillon, provided research support. My participation in a National Endowment for the Humanities summer institute on “African American Civil Rights Struggles in the Twentieth Century,” with Waldo Martin and Patricia Sullivan at the W. E. B. Du Bois Institute at Harvard University, furthered my thinking on racial representation and activism around film, and a Blaom Family Scholarin -Residence Fellowship spurred my writing later on. Friends and colleagues James Bennett, Sara Buttsworth, Kathy Feeley, Dolores Janiewski, Alison Kibler, and Joe Zizek have read and critiqued sections of the book. History and film scholars John Bodner, Mike Budd, Douglas Gomery, Larry Levine, Lary May, and Steven Ross offered critical guidance at different points in this process, and Jeffrey Kovac helped with key primary sources. Presentations on my research at the University of Auckland and the University of Texas–Austin yielded comments from colleagues that shaped my thinking at the beginning and end of this project. Parts of this book have appeared in various publications: “Conscientious Objection and Popular Culture: The Lew Ayres Case,” in Peter Brock and Thomas Socknat, eds., Challenge to Mars: Essays in the History of Pacifism, 1914–1945 (Toronto: University of Toronto Press, 1998), 360–369; “‘Good Riddance to Bad Company’: Hedda Hopper, Hollywood Gossip, and the Campaign Against Charlie Chaplin, 1940–1952,” Australasian Journal of American Studies 26 (December 2007), 74–88; “Hedda Hopper, Hollywood Gossip, and the Politics of Racial Representation in Film, 1946–1948,” Journal of African American History 93 (Winter 2008), 36–65; “Dissent and Consent in the ‘Good War’: Hedda Hopper, Hollywood Gossip, and World War II Isolationism,” Film History:AnInternationalJournal,vol.22,no.2(2010):170–181;and“Hollywood Gossip as Public Sphere: Hedda Hopper, Reader-Respondents, and the Red Scare, 1947–1965,” Cinema Journal 50 (Winter 2011). I appreciate the comments of readers and editors for these publications and New York University Press, all of which have been very helpful in clarifying my ideas and correcting my facts. While family and friends offered all kinds of concrete help along the way, they also provided encouragement and enthusiasm. My father, Jim Frost, long ago sparked my dual interests in Hollywood and politics. Friends Eftihia Danellis and Kathy Tatar...

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