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"Although this thirty-year period of American history is marked by widespread targeting of leftists in all areas of life, those in the film industry - predominately screenwriters - were considered to be in positions of great potential indoctrinating power, and found themselves under intense scrutiny as the cold war hysteria mounted. Ceplair and Englund trace the history of political struggle in Hollywood back to the formation of the Screen Writers Guild in 1933. Many of the blacklisted filmmakers were members of the Communist Party and all of the graylisted filmmakers had expressed their sympathy with progressive (mainly anti-fascist) causes."--BOOK JACKET.
"The Inquisition in Hollywood examines the suppression of radical political activity in the film industry from the days of the Great Depression through the tumultuous House Un-American Activities Committee era to the waning days of the infamous blacklist." "Although this thirty-year period of American history is marked by widespread targeting of leftists in all areas of life, those in the film industry - predominately screenwriters - were considered to be in positions of great potential indoctrinating power, and found themselves under intense scrutiny as the cold war hysteria mounted. Ceplair and Englund trace the history of political struggle in Hollywood back to the formation of the Screen Writers Guild in 1933. Many of the blacklisted filmmakers were members of the Communist Party and all of the graylisted filmmakers had expressed their sympathy with progressive (mainly anti-fascist) causes."--BOOK JACKET.
The blacklist. The Hollywood Ten. These words, evocative as they are, do not reveal that, from 1933 through 1947, Hollywood was the focal point of progressive political activity in the United States. Nor do they convey that the imprisonments and blacklistings were not an isolated outbreak of Cold War hysteria, but rather the successful conclusion of two decades of efforts by conservative and reactionary forces to curtail political activism in Hollywood. In the thirties and forties, Hollywood activists--Lillian Hellman, Ring Lardner, Jr., John Howard Lawson, Albert Maltz, Dalton Trumbo, among others--took part in countless political battles. They founded guilds, aided anti-fascist forces in the Spanish Civil War, and helped elect progressive candidates to public office. But progressives were unwelcome in an industry dominated by the last tycoons--especially since the industry was America's most glamorous and visible. With the outbreak of the Cold War, and the fear of anything labeled "Communist" that it engendered, the right wing finally managed, by means of the blacklist, to bring thought control to Hollywood--and to America. This book tells the real story of how, for a brief time and against immense obstacles, a group of dedicated men and women transformed Hollywood from a glamorous symbol of unreality into the center of social and political consciousness in the United States.--Adapted from dust jacket.
Much has been written about the history of Communism in America, including the Party's appeal to many in the Hollywood community of the 1930s and 40s. While several books have offered standard accounts of the House Un-American Activities Committee (HUAC) hearings and the blacklist in the entertainment industry, Alan Casty provides a fresh and provocative perspective. In Communism in Hollywood: The Moral Paradoxes of Testimony, Silence, and Betrayal, Casty challenges the absolute dualisms of the period: cowardly informers and heroic martyrs. Drawing on newly available material, Casty illustrates the control by the international Communist movement and the role of the Hollywood Communists themselves in fomenting the intense hostilities of the period. Casty juxtaposes the actions and statements of those who testified and 'named names' before HUAC with Communists who refused to testify and remained silent about the atrocities of the Soviet Union. By providing a scrupulous account of the full scope of the Communist Party in Hollywood, this book presents a more accurate picture of the moral quandaries faced during this dark period in American history.
'Un-American Hollywood' debates the blacklist era and the aesthetic and political work of the Hollywood Left. Featuring case studies focusing on contexts of production and reception, it offers perspectives on the role of progressive politics within a capitalist media industry.
A portrayal of the Cold War at home features stories of ordinary men and women who risked everything for their beliefs and of those that hunted them down
After a series of sex scandals rocked the film industry in 1922, movie moguls hired Will Hays to clear the image of movies. Hays tried a variety of ways to regulate movies before adopting what became known as the production code. Written in 1930 by a St Louis priest, the code stipulated that movies stress proper behaviour, respect for government, and 'Christian values'. The Catholic Church reinforced these efforts by launching its Legion of Decency in 1934. Intended to force Hays and Hollywood to censor films, the Legion of Decency engineered the appointment of Joseph Breen as head of the Production Code Administration. For the next three decades, Breen, Hays, and the Catholic Legion of Decency virtually controlled the content of all Hollywood films.
American History through Hollywood Film offers a new perspective on major issues in American history from the 1770s to the end of the twentieth century and explores how they have been represented in film. Melvyn Stokes examines how and why representation has changed over time, looking at the origins, underlying assumptions, production, and reception of an important cross-section of historical films. Chapters deal with key events in American history including the American Revolution, the Civil War and its legacy, the Great Depression, and the anti-communism of the Cold War era. Major themes such as ethnicity, slavery, Native Americans and Jewish immigrants are covered and a final chapter looks at the way the 1960s and 70s have been dealt with by Hollywood. This book is essential reading for anyone studying American history and the relationship between history and film.
As a screenwriter, novelist, and political activist, Dalton Trumbo stands among the key American literary figures of the 20th century--he wrote the classic antiwar novel Johnny Got His Gun, and his credits for Spartacus and Exodus broke the anticommunist blacklist that infected the movie industry for more than a decade. By defining connections between Trumbo's most highly acclaimed films (including Kitty Foyle, Thirty Seconds Over Tokyo, and Roman Holiday) and his important but lesser-known movies (The Remarkable Andrew, He Ran All the Way, and The Boss), the author identifies how for nearly four decades Trumbo used the archetype of the rebel hero to inject social consciousness into mainstream films. This new critical survey--the first book-length work on Trumbo's screenwriting career--examines the scores of films on which Trumbo worked and explores the techniques that made him, at the time he was blacklisted in 1947, Hollywood's highest-paid writer. Hanson reveals how Trumbo dealt with major themes including rebellion, radical politics, and individualism--while also detailing lesser-known areas of Trumbo's screenwriting, such as his troubling portrayal of women, the dichotomy between his proletarian attitude and bourgeois lifestyle, and the almost surreptitious manner in which he included antiestablishment rhetoric in seemingly innocuous scripts. An extensive filmography is included.