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Between 1942 and 1958, J. Edgar Hoover's Federal Bureau of Investigation conducted a sweeping and sustained investigation of the motion picture industry to expose Hollywood's alleged subversion of "the American Way" through its depiction of social problems, class differences, and alternative political ideologies. FBI informants (their names still redacted today) reported to Hoover's G-men on screenplays and screenings of such films as Frank Capra's It's a Wonderful Life (1946), noting that "this picture deliberately maligned the upper class attempting to show that people who had money were mean and despicable characters." The FBI's anxiety over this film was not unique; it extended to a wide range of popular and critical successes, including The Grapes of Wrath (1940), The Best Years of Our Lives (1946), Crossfire (1947) and On the Waterfront (1954). In J. Edgar Hoover Goes to the Movies, John Sbardellati provides a new consideration of Hollywood's history and the post-World War II Red Scare. In addition to governmental intrusion into the creative process, he details the efforts of left-wing filmmakers to use the medium to bring social problems to light and the campaigns of their colleagues on the political right, through such organizations as the Motion Picture Alliance for the Preservation of American Ideals, to prevent dissemination of "un-American" ideas and beliefs. Sbardellati argues that the attack on Hollywood drew its motivation from a sincerely held fear that film content endangered national security by fostering a culture that would be at best apathetic to the Cold War struggle at best, or, at its worst, conducive to communism at home. Those who took part in Hollywood's Cold War struggle, whether on the left or right, shared one common trait: a belief that the movies could serve as engines for social change. This strongly held assumption explains why the stakes were so high and, ultimately, why Hollywood became one of the most important ideological battlegrounds of the Cold War.
Between 1942 and 1958, J. Edgar Hoover’s Federal Bureau of Investigation conducted a sweeping and sustained investigation of the motion picture industry to expose Hollywood’s alleged subversion of "the American Way" through its depiction of social problems, class differences, and alternative political ideologies. FBI informants (their names still redacted today) reported to Hoover’s G-men on screenplays and screenings of such films as Frank Capra’s It’s a Wonderful Life (1946), noting that "this picture deliberately maligned the upper class attempting to show that people who had money were mean and despicable characters." The FBI’s anxiety over this film was not unique; it extended to a wide range of popular and critical successes, including The Grapes of Wrath (1940), The Best Years of Our Lives (1946), Crossfire (1947) and On the Waterfront (1954). In J. Edgar Hoover Goes to the Movies, John Sbardellati provides a new consideration of Hollywood’s history and the post–World War II Red Scare. In addition to governmental intrusion into the creative process, he details the efforts of left-wing filmmakers to use the medium to bring social problems to light and the campaigns of their colleagues on the political right, through such organizations as the Motion Picture Alliance for the Preservation of American Ideals, to prevent dissemination of "un-American" ideas and beliefs. Sbardellati argues that the attack on Hollywood drew its motivation from a sincerely held fear that film content endangered national security by fostering a culture that would be at best apathetic to the Cold War struggle, or, at its worst, conducive to communism at home. Those who took part in Hollywood’s Cold War struggle, whether on the left or right, shared one common trait: a belief that the movies could serve as engines for social change. This strongly held assumption explains why the stakes were so high and, ultimately, why Hollywood became one of the most important ideological battlegrounds of the Cold War.
A New York Times–bestselling author’s revealing, “important” biography of the longtime FBI director (The Philadelphia Inquirer). No one exemplified paranoia and secrecy at the heart of American power better than J. Edgar Hoover, the original director of the Federal Bureau of Investigation. For this consummate biography, renowned investigative journalist Anthony Summers interviewed more than eight hundred witnesses and pored through thousands of documents to get at the truth about the man who headed the FBI for fifty years, persecuted political enemies, blackmailed politicians, and lived his own surprising secret life. Ultimately, Summers paints a portrait of a fatally flawed individual who should never have held such power, and for so long.
INVESTIGATIVE REPORTERS & EDITORS (IRE) BOOK AWARD WINNER • The story of the history-changing break-in at the FBI office in Media, Pennsylvania, by a group of unlikely activists—quiet, ordinary, hardworking Americans—that made clear the shocking truth that J. Edgar Hoover had created and was operating, in violation of the U.S. Constitution, his own shadow Bureau of Investigation. “Impeccably researched, elegantly presented, engaging.”—David Oshinsky, New York Times Book Review • “Riveting and extremely readable. Relevant to today's debates over national security, privacy, and the leaking of government secrets to journalists.”—The Huffington Post It begins in 1971 in an America being split apart by the Vietnam War . . . A small group of activists set out to use a more active, but nonviolent, method of civil disobedience to provide hard evidence once and for all that the government was operating outside the laws of the land. The would-be burglars—nonpro’s—were ordinary people leading lives of purpose: a professor of religion and former freedom rider; a day-care director; a physicist; a cab driver; an antiwar activist, a lock picker; a graduate student haunted by members of her family lost to the Holocaust and the passivity of German civilians under Nazi rule. Betty Medsger's extraordinary book re-creates in resonant detail how this group scouted out the low-security FBI building in a small town just west of Philadelphia, taking into consideration every possible factor, and how they planned the break-in for the night of the long-anticipated boxing match between Joe Frazier and Muhammad Ali, knowing that all would be fixated on their televisions and radios. Medsger writes that the burglars removed all of the FBI files and released them to various journalists and members of Congress, soon upending the public’s perception of the inviolate head of the Bureau and paving the way for the first overhaul of the FBI since Hoover became its director in 1924. And we see how the release of the FBI files to the press set the stage for the sensational release three months later, by Daniel Ellsberg, of the top-secret, seven-thousand-page Pentagon study on U.S. decision-making regarding the Vietnam War, which became known as the Pentagon Papers. The Burglary is an important and gripping book, a portrait of the potential power of non­violent resistance and the destructive power of excessive government secrecy and spying.
The first book ever written about FBI Director J. Edgar Hoover by a member of his personal staff—his former assistant, Paul Letersky—offers unprecedented, “clear-eyed and compelling” (Mark Olshaker, coauthor of Mindhunter) insight into an American legend. The 1960s and 1970s were arguably among America’s most turbulent post-Civil War decades. While the Vietnam War continued seemingly without end, protests and riots ravaged most cities, the Kennedys and MLK were assassinated, and corruption found its way to the highest levels of politics, culminating in Watergate. In 1965, at the beginning of the chaos, twenty-two-year-old Paul Letersky was assigned to assist the legendary FBI director J. Edgar Hoover who’d just turned seventy and had, by then, led the Bureau for an incredible forty-one years. Hoover was a rare and complex man who walked confidently among the most powerful. His personal privacy was more tightly guarded than the secret “files” he carefully collected—and that were so feared by politicians and celebrities. Through Letersky’s close working relationship with Hoover, and the trust and confidence he gained from Hoover’s most loyal senior assistant, Helen Gandy, Paul became one of the few able to enter the Director’s secretive—and sometimes perilous—world. Since Hoover’s death half a century ago, millions of words have been written about the man and hundreds of hours of TV dramas and A-list Hollywood films produced. But until now, there has been virtually no account from someone who, for a period of years, spent hours with the Director on a daily basis. Balanced, honest, and keenly observed, this “vivid, foibles-and-all portrait of the fabled scourge of gangsters, Klansmen, and communists” (The Wall Street Journal) sheds new light on one of the most powerful law enforcement figures in American history.
"The cumulative effect is overwhelming. Eleanor Roosevelt was right: Hoover’s FBI was an American gestapo." —Newsweek Shocking, grim, frightening, Curt Gentry’s masterful portrait of America’s top policeman is a unique political biography. From more than 300 interviews and over 100,000 pages of previously classified documents, Gentry reveals exactly how a paranoid director created the fraudulent myth of an invincible, incorruptible FBI. For almost fifty years, Hoover held virtually unchecked public power, manipulating every president from Franklin D. Roosevelt to Richard Nixon. He kept extensive blackmail files and used illegal wiretaps and hidden microphones to destroy anyone who opposed him. The book reveals how Hoover helped create McCarthyism, blackmailed the Kennedy brothers, and influenced the Supreme Court; how he retarded the civil rights movement and forged connections with mobsters; as well as insight into the Watergate scandal and what part he played in the investigations of President John F. Kennedy and Martin Luther King Jr.
This path-breaking book reveals how Hollywood became "Hollywood" and what that meant for the politics of America and American film. Working-Class Hollywood tells the story of filmmaking in the first three decades of the twentieth century, a time when going to the movies could transform lives and when the cinema was a battleground for control of American consciousness. Steven Ross documents the rise of a working-class film movement that challenged the dominant political ideas of the day. Between 1907 and 1930, worker filmmakers repeatedly clashed with censors, movie industry leaders, and federal agencies over the kinds of images and subjects audiences would be allowed to see. The outcome of these battles was critical to our own times, for the victors got to shape the meaning of class in twentieth- century America. Surveying several hundred movies made by or about working men and women, Ross shows how filmmakers were far more concerned with class conflict during the silent era than at any subsequent time. Directors like Charlie Chaplin, D. W. Griffith, and William de Mille made movies that defended working people and chastised their enemies. Worker filmmakers went a step further and produced movies from A Martyr to His Cause (1911) to The Gastonia Textile Strike (1929) that depicted a unified working class using strikes, unions, and socialism to transform a nation. J. Edgar Hoover considered these class-conscious productions so dangerous that he assigned secret agents to spy on worker filmmakers. Liberal and radical films declined in the 1920s as an emerging Hollywood studio system, pressured by censors and Wall Street investors, pushed American film in increasingly conservative directions. Appealing to people's dreams of luxury and upward mobility, studios produced lavish fantasy films that shifted popular attention away from the problems of the workplace and toward the pleasures of the new consumer society. While worker filmmakers were trying to heighten class consciousness, Hollywood producers were suggesting that class no longer mattered. Working-Class Hollywood shows how silent films helped shape the modern belief that we are a classless nation.
On June 2, 1919, bombs exploded simultaneously in nine American cities. One destroyed the home of the Attorney General of the United States, A. Mitchell Palmer. In the aftermath of World War I, America faced a new enemy-radical communism. Palmer vowed a crackdown, and, to lead it, he chose his youngest assistant, twenty-four year-old J. Edgar Hoover. Under Palmer's wing, Hoover helped execute a series of brutal nationwide raids, bursting into homes without warning, arresting over 10,000 Americans and assembling secret files on hundreds of thousands of suspects and political enemies. A handful of lawyers like Clarence Darrow and future Supreme Court Justices Felix Frankfurter and Harlan Fisk Stone dared to defend accused radicals in the name of free speech and civil liberties. YOUNG J. EDGAR brings to life Palmer's raids and Hoover 's coming of age, a metaphor on post-9/11 America. It reaches the heart of our current debate on personal freedoms in a time of war and fear. Editorial Reviews "[F]eatures demagogues; terrorists; a gullible, xenophobic public; rogue law enforcement officials; and good guys, both in and out of government, who discredit the raids. Ackerman captures well the pathological character of the young Hoover.... " -Publishers Weekly "[A] history to savor." -- Richmond Times-Dispatch Ackerman ("Boss Tweed") does an outstanding job portraying the Teflon quality of Hoover.... 'Young J. Edgar' is a book that demonstrates forcefully the corrupting nature of power in the hands of flawed government officials. It's panoramic, detailed and extremely timely. -- Huntington News As hard as Mr. Ackerman is on Hoover, he does not demonize him.... [A] chilling account of how the rule of law in a war on terror can be subverted into a war of terror. --New York Sun "Ackerman's extremely well-written and thoroughly researched history ... convincingly refuted Hoover's dishonest effort to minimize his own central role in promoting the first Red Scare of the World War I and early 1920s era." -- Athan Theoharis, Emeritus Professor at Marquette University and author of The FBI and American Democracy, and The Quest for Absolute Security.
The true story of how a small-town lawman in upstate New York busted a Cosa Nostra conference in 1957, exposing the Mafia to America. In a small village in upstate New York, mob bosses from all over the country—Vito Genovese, Carlo Gambino, Joe Bonanno, Joe Profaci, Cuba boss Santo Trafficante, and future Gambino boss Paul Castellano—were nabbed by Sergeant Edgar D. Croswell as they gathered to sort out a bloody war of succession. For years, FBI director J. Edgar Hoover had adamantly denied the existence of the Mafia, but young Robert Kennedy immediately recognized the shattering importance of the Apalachin summit. As attorney general when his brother JFK became president, Bobby embarked on a campaign to break the spine of the mob, engaging in a furious turf battle with the powerful Hoover. Detailing mob killings, the early days of the heroin trade, and the crusade to loosen the hold of organized crime, this momentous story will captivate fans of Gus Russo and Luc Sante. Reavill scintillatingly recounts the beginning of the end for the Mafia in America and how it began with a good man in the right place at the right time. “The best, and best-written, true-crime story I’ve ever read. It’s as suspenseful, detailed, racy, and knowing as a novel by Hammett or Chandler.” —Howard Frank Mosher, award-winning author of North Country “A close investigation into the crime bosses’ upstate New York summit and its grisly aftermath, Reavill’s book accurately recreates one of the golden eras of American organized crime.” —Publishers Weekly