Hollywood Communist Agenda Under the Second Red Scare
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Black Soldiers in Liberal Hollywood
Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film. -
American Bolsheviki: the Beginnings of the First Red Scare, 1917 to 1918
Steeplechase: An ORCA Student Journal Volume 3 Issue 2 Article 4 2019 American Bolsheviki: The Beginnings of the First Red Scare, 1917 to 1918 Jonathan Dunning Follow this and additional works at: https://digitalcommons.murraystate.edu/steeplechase Part of the European History Commons, Other History Commons, Political History Commons, and the United States History Commons Recommended Citation Dunning, Jonathan (2019) "American Bolsheviki: The Beginnings of the First Red Scare, 1917 to 1918," Steeplechase: An ORCA Student Journal: Vol. 3 : Iss. 2 , Article 4. Available at: https://digitalcommons.murraystate.edu/steeplechase/vol3/iss2/4 This Feature is brought to you for free and open access by the The Office of Research and Creative Activity at Murray State's Digital Commons. It has been accepted for inclusion in Steeplechase: An ORCA Student Journal by an authorized editor of Murray State's Digital Commons. For more information, please contact [email protected]. American Bolsheviki: The Beginnings of the First Red Scare, 1917 to 1918 Abstract A consensus has developed among historians that widespread panic consumed the American public and government as many came to fear a Bolshevik coup of the United States government and the undermining of the American way of life beginning in early 1919. Known as the First Red Scare, this period became one of the most well-known episodes of American fear of Communism in US history. With this focus on the events of 1919 to 1920, however, historians of the First Red Scare have often ignored the initial American reaction to the October Revolution in late 1917 and throughout 1918. -
When Fear Is Substituted for Reason: European and Western Government Policies Regarding National Security 1789-1919
WHEN FEAR IS SUBSTITUTED FOR REASON: EUROPEAN AND WESTERN GOVERNMENT POLICIES REGARDING NATIONAL SECURITY 1789-1919 Norma Lisa Flores A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2012 Committee: Dr. Beth Griech-Polelle, Advisor Dr. Mark Simon Graduate Faculty Representative Dr. Michael Brooks Dr. Geoff Howes Dr. Michael Jakobson © 2012 Norma Lisa Flores All Rights Reserved iii ABSTRACT Dr. Beth Griech-Polelle, Advisor Although the twentieth century is perceived as the era of international wars and revolutions, the basis of these proceedings are actually rooted in the events of the nineteenth century. When anything that challenged the authority of the state – concepts based on enlightenment, immigration, or socialism – were deemed to be a threat to the status quo and immediately eliminated by way of legal restrictions. Once the façade of the Old World was completely severed following the Great War, nations in Europe and throughout the West started to revive various nineteenth century laws in an attempt to suppress the outbreak of radicalism that preceded the 1919 revolutions. What this dissertation offers is an extended understanding of how nineteenth century government policies toward radicalism fostered an environment of increased national security during Germany’s 1919 Spartacist Uprising and the 1919/1920 Palmer Raids in the United States. Using the French Revolution as a starting point, this study allows the reader the opportunity to put events like the 1848 revolutions, the rise of the First and Second Internationals, political fallouts, nineteenth century imperialism, nativism, Social Darwinism, and movements for self-government into a broader historical context. -
The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
Expressionism and Modernism in the American Theatre: Bodies, Voices, Words Julia A
Cambridge University Press 0521847478 - Expressionism and Modernism in the American Theatre: Bodies, Voices, Words Julia A. Walker Frontmatter More information Expressionism and Modernism in the American Theatre Although often dismissed as a minor offshoot of the better-known German movement, expressionism on the American stage represents a critical phase in the development of American dramatic modernism. Situating expressionism within the context of early twentieth-century American culture, Walker demonstrates how playwrights who wrote in this mode were responding both to new communica- tions technologies and to the perceived threat they posed to the embodied act of meaning. At a time when mute bodies gesticulated on the silver screen, ghostly voices emanated from tin horns, and inked words stamped out the personality of the hand that composed them, expressionist playwrights began to represent these new cultural experiences by disarticulating the theatrical languages of bodies, voices, and words. In doing so, they not only innovated a new dramatic form, but re- defined playwriting from a theatrical craft to a literary art form, heralding the birth of American dramatic modernism. julia a. walker is Assistant Professor of English and the Unit for Criticism and Interpretive Theory,University of Illinois at Urbana-Champaign. She has published articles in the Journal of American Drama and Theatre, Nineteenth Century Theatre, and the Yale Journal of Criticism in addition to several edited volumes. © Cambridge University Press www.cambridge.org Cambridge University Press 0521847478 - Expressionism and Modernism in the American Theatre: Bodies, Voices, Words Julia A. Walker Frontmatter More information CAMBRIDGE STUDIES IN AMERICAN THEATRE AND DRAMA General Editor Don B. -
For All the People
Praise for For All the People John Curl has been around the block when it comes to knowing work- ers’ cooperatives. He has been a worker owner. He has argued theory and practice, inside the firms where his labor counts for something more than token control and within the determined, but still small uni- verse where labor rents capital, using it as it sees fit and profitable. So his book, For All the People: The Hidden History of Cooperation, Cooperative Movements, and Communalism in America, reached expectant hands, and an open mind when it arrived in Asheville, NC. Am I disappointed? No, not in the least. Curl blends the three strands of his historical narrative with aplomb, he has, after all, been researching, writing, revising, and editing the text for a spell. Further, I am certain he has been responding to editors and publishers asking this or that. He may have tired, but he did not give up, much inspired, I am certain, by the determination of the women and men he brings to life. Each of his subtitles could have been a book, and has been written about by authors with as many points of ideological view as their titles. Curl sticks pretty close to the narrative line written by worker own- ers, no matter if they came to work every day with a socialist, laborist, anti-Marxist grudge or not. Often in the past, as with today’s worker owners, their firm fails, a dream to manage capital kaput. Yet today, as yesterday, the democratic ideals of hundreds of worker owners support vibrantly profitable businesses. -
Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood
LH 19_1 FInal.qxp_Left History 19.1.qxd 2015-08-28 4:01 PM Page 57 Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood, Howard Fast, and the Demise of American Communism 1 Henry I. MacAdam, DeVry University Howard Fast is in town, helping them carpenter a six-million dollar production of his Spartacus . It is to be one of those super-duper Cecil deMille epics, all swollen up with cos - tumes and the genuine furniture, with the slave revolution far in the background and a love tri - angle bigger than the Empire State Building huge in the foreground . Michael Gold, 30 May 1959 —— Mike Gold has made savage comments about a book he clearly knows nothing about. Then he has announced, in advance of seeing it, precisely what sort of film will be made from the book. He knows nothing about the book, nothing about the film, nothing about the screenplay or who wrote it, nothing about [how] the book was purchased . Dalton Trumbo, 2 June 1959 Introduction Of the three tumultuous years (1958-1960) needed to transform Howard Fast’s novel Spartacus into the film of the same name, 1959 was the most problematic. From the start of production in late January until the end of all but re-shoots by late December, the project itself, the careers of its creators and financiers, and the studio that sponsored it were in jeopardy a half-dozen times. Blacklist Hollywood was a scary place to make a film based on a self-published novel by a “Commie author” (Fast), and a script by a “Commie screenwriter” (Trumbo). -
The Inventory of the Albert Maltz Collection #150
The Inventory of the Albert Maltz Collection #150 Howard Gotlieb Archival Research Center Albert Maltz Manuscripts Box 1 1.) This Gun for Hire (1942) by Albert Maltz & Wo R. Burnett Movie script, dated October 5, 19/41. Typescript, carbon, holograph corrections, 150p. a9x 1 2.) "Husband and Wife" Short story s·econd draft, typescript with holograph corrections, 44P• Final draft, typescript, heavily corrected, 33p. / C/·. \..c. Box 1 J.) The Underground Stream (1940) Novel 11 Final draft with ms. changes" Typescript, carbon, holograph corrections and additions, 373p. '"' Maltz, Albert - Addenda Box:-:- 2 Folder "Material from the magazine 1F.quality1 published in New York, 1939-4011 11 holograph articles Folder "Anonymous Writings and Ghost Writings" 6 articles: 5 holograph, 1 typed Folder "Miscellaneous Non-Fiction Pieces" 17 articles: 13 holograph, 4 typed. Folder "Public lectures and Addresses" 7 articles: 5 holograph, 1 mimeo, l typed Folder "Short Stories" Season of Celebration Notes and discards. Holograph. Sunday Morning .Q!l 25th Street First notes. Holograph. Happiest Man Q!l Earth Notes and discards, holograph. Typescript of one drafto Way Things Are Notes for first draft, holograph. Discards from first and second version, holograph. Notes for revision, holograph, Second draft typescript with holograph corrections. Final version type8cript, last 2 rages missing. (Each folder contains typed list by.Albert Maltz identifying articles and giving number of pages of each piece.) Mi.ltz, Albert Addenda, October., 1967 SCBEENPLAY .-- . THE BOBE . A. Second draft of the screenplay, typed script with holograph changes ·on ~bi~type~cent of the pages. :.~2S pages. · .· ::,;:~:: ·<·: i; l · ;' . • • ;.:• B. Third' (final) draf.t, mimeographed ·224 pages. -
Using Film and Critical Pedagogy in the Standards-Based Classroom
AN ABSTRACT OF THE THESIS OF John D. Divelbiss for the degree of Master of Arts in English presented on April 28, 2014. Title: Re-Viewing the Canon: Using Film and Critical Pedagogy in the Standards-based Classroom Abstract approved: __________________________________________________________________ Jon R. Lewis This thesis analyzes the efficacy of emancipatory (critical) pedagogical practices in an educational climate of standards-based reform. Using two films noir of the blacklist era—Body and Soul and Crossfire—as the core texts of a unit in a secondary school curriculum, I argue that an emphasis on student agency and a de-centering of curriculum and instruction is not only compatible with national reforms like the Common Core State Standards but is essential for English/language arts classrooms in the 21st century. In addition to a scholarly review of critical pedagogy and media literacy, and close readings of the two films themselves, this thesis also ends with an informal case study in which both films-as-texts were taught to 9th grade students. By combining theory and practice, I was able to model the praxis at the heart of critical pedagogy, what Paulo Freire calls in Pedagogy of the Oppressed, “reflection and action upon the world in order to transform it.” The films of the blacklist match current national mandates for relevant texts, for media and visual literacy, and for authentic and emancipatory pedagogy. Narrowing down even further on two highly-regarded films released in 1947, the same year the blacklist was initiated, allows for an analysis of the artistic and aesthetic complexities of the texts as well as the high-stakes terms of the political engagements of the blacklist. -
ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe. -
Anti-Apartheid Solidarity in United States–South Africa Relations: from the Margins to the Mainstream
Anti-apartheid solidarity in United States–South Africa relations: From the margins to the mainstream By William Minter and Sylvia Hill1 I came here because of my deep interest and affection for a land settled by the Dutch in the mid-seventeenth century, then taken over by the British, and at last independent; a land in which the native inhabitants were at first subdued, but relations with whom remain a problem to this day; a land which defined itself on a hostile frontier; a land which has tamed rich natural resources through the energetic application of modern technology; a land which once imported slaves, and now must struggle to wipe out the last traces of that former bondage. I refer, of course, to the United States of America. Robert F. Kennedy, University of Cape Town, 6 June 1966.2 The opening lines of Senator Robert Kennedy’s speech to the National Union of South African Students (NUSAS), on a trip to South Africa which aroused the ire of pro-apartheid editorial writers, well illustrate one fundamental component of the involvement of the United States in South Africa’s freedom struggle. For white as well as black Americans, the issues of white minority rule in South Africa have always been seen in parallel with the definition of their own country’s identity and struggles against racism.3 From the beginning of white settlement in the two countries, reciprocal influences have affected both rulers and ruled. And direct contacts between African Americans and black South Africans date back at least to the visits of American 1 William Minter is editor of AfricaFocus Bulletin (www.africafocus.org) and a writer and scholar on African issues. -
The Archaeology of Black Theatre
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. The Archaeology of Black Theatre by VeVe A. Clark INTRODUCTION Black theatre history is turning artifacts into living monuments. During the 1970s, important studies of the Federal Theatre, black community theatres in California, Trinidad Carnival and the Ejagham Leopard mime from Nigeria and Cameroon have unearthed, analyzed and described performances and texts as diverse as the black world itself. (1) What these books have in common, besides impeccable scholarship and readibility, is their fundamental approach. They each treat theatre as cultural expression combining literature, art and sociology. Why such milestones in black theatre history have appeared at this time is a question not easily answered. All of these recent works have made full use of primary sources - a rare circumstance for most researchers in black theatre. There may be another distinction these studies suggest as well. Each demonstrates a commitment to the use of ethnographic and oral history techniques in a field that generally relies solely on written archives. Perhaps, as of the '70s, a new methodology for the study of black theatre has emerged. From my own work in the field and analysis of the literature devoted to world theatre, I have come to call the new methodology archaeology. (2) How archaeology in a black context differs from the literal definition of the term, what archaeology collects, analyzes and describes, how an archaeologist distributes the results of analysis are subjects in need of scholarly dis- cussion.