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Cold War: a Report on the Xviith IAMHIST Conference, 25-31 July 1997, Salisbury MD
After the Fall: Revisioning the Cold War: A Report on the XVIIth IAMHIST Conference, 25-31 July 1997, Salisbury MD By John C. Tibbetts “The past can be seized only as an image,” wrote Walter Benjamin. But if that image is ignored by the present, it “threatens to disappear irretrievably.” [1] One such image, evocative of the past and provocative for our present, appears in a documentary film by the United States Information Agency, The Wall (1963). Midway through its account of everyday life in a divided Berlin, a man is seen standing on an elevation above the Wall, sending out hand signals to children on the other side in the Eastern Sector. With voice communication forbidden by the Soviets, he has only the choreography of his hands and fingers with which to print messages onto the air. Now, almost forty years later, the scene resonates with an almost unbearable poignancy. From the depths of the Cold War, the man seems to be gesturing to us. But his message is unclear and its context obscure. [2] The intervening gulf of years has become a barrier just as impassable as the Wall once was. Or has it? The Wall was just one of dozens of screenings and presentations at the recent “Knaves, Fools, and Heroes: Film and Television Representations of the Cold War”—convened as a joint endeavor of IAMHist and the Literature/Film Association, 25-31 July 1997, at Salisbury State University, in Salisbury, Maryland— that suggested that the Cold War is as relevant to our present as it is to our past. -
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. -
Victims of the Mccarthy Era, in Support of Humanitarian Law Project, Et Al
Nos. 08-1498 and 09-89 ERIC H. HOLDER, JR., ATTORNEY GENERAL, ET AL., Petitioners, v. HUMANITARIAN LAW PROJECT, ET AL., Respondents. HUMANITARIAN LAW PROJECT, ET AL., Cross-Petitioners, v. ERIC H. HOLDER, JR., ATTORNEY GENERAL, ET AL., Respondents. ON WRITS OF CERTIORARI TO THE UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT BRIEF OF AMICI CURIAE VICTIMS OF THE MCCARTHY ERA, IN SUPPORT OF HUMANITARIAN LAW PROJECT, ET AL. Stephen F. Rohde John A. Freedman Rohde & Victoroff (Counsel of Record) 1880 Century Park East Jonathan S. Martel Suite 411 Jeremy C. Karpatkin Los Angeles, CA 90067 Bassel C. Korkor (310) 277-1482 Sara K. Pildis ARNOLD & PORTER LLP 555 Twelfth Street, N.W. Washington, D.C. 20004 (202) 942-5000 Attorneys for Amici Curiae - i - TABLE OF CONTENTS Page INTEREST OF AMICI CURIAE ................................ 1 SUMMARY OF ARGUMENT ..................................... 2 ARGUMENT ............................................................... 4 I. Americans Paid a Heavy Price For McCarthy Era Penalties on Speech and Association ............................................................ 4 II. The Supreme Court in the 1950s and 1960s Rejected McCarthy Era ‗Guilt by Association‘ Statutes as Impermissible ............... 9 A. AEDPA Penalizes the Relationship Between an Individual and a Designated Organization, in Violation of the Freedom of Association ................................................... 10 1. Congress Cannot Impose a ―Blanket Prohibition‖ on Association With Groups Having Legal and Illegal Aims .......................... 10 2. The Government Must Prove that Individuals Intend to Further the Illegal Aims of an Organization.......................................... 12 - ii - B. Like McCarthy Era Statutes, AEDPA Makes Constitutionally Protected Speech a Crime and is Unconstitutionally Vague, Chilling Free Speech .................................................. 14 1. AEDPA Unconstitutionally Penalizes Protected Speech in the Same Manner as McCarthy Era Laws .............................................. -
Three Iranian Films Garner Dhaka Accolades
Jan. 25, 2021 John Updike (American novelist) What art offers is space – a certain breathing room for the 12 spirit. Arts & Culture License Holder: Islamic Republic News Agency (IRNA) Tehran’s Azadi Tower to screen Editor-in-Chief: Kambakhsh Khalaji Editorial Dept. Tel: +98 21 88755761-2 calligraphy works through Editorial Dept. Fax: +98 21 88761869 Subscription Dept. Tel: +98 21 88748800 ICPI Publisher: +98 21 88548892, 5 video mapping Advertising Dept. Tel & Email: +98 21 88500617 - [email protected] We b s it e : www.irandaily.ir A selection of calligraphy works at the First Raqs-e Qalam Inter- newspaper.irandaily.ir national Exhibition of the Silk Road Calligraphy, which opened Email: [email protected] Friday at the Iranian Academy of Arts in Tehran, will be dis- Printing House: Iran Cultural & Press Institute played through video mapping over Azadi Tower in Tehran, Iran. The projection mapping will be performed today and will con- Address: Iran Cultural & Press Institute, #208 Khorramshahr Avenue Tehran-Iran tinue for four nights at the same location, from 18:30 to 20:00, Iran Daily has no responsibility whatsoever for the advertisements and promotional material printed in the newspaper. IRNA reported. Three Iranian films garner Dhaka accolades hree Iranian films received awards from the 19th Dhaka International IRNA TFilm Festival (DIFF) in Bangla- desh, held January 16-24. Calligraphy works by 800 artists from 30 countries have been Iranian film, ‘Careless Crime,’ directed showcased at the exhibition which officially opened on Janu- by Shahram Mokri, won the Best Screen- ary 20 in the northeastern Iranian city of Mashhad. -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
Broken Pipe Causes Flooding in Kirkbride Library's Closing Time
Friday, October 22, 1976 Broken Pipe Causes Flooding in Kirkbride By RACHELL SUSSMAN Newark · electricity, Cross A three-foot long water said. pipe burst early · Sunday Jim Krapf, vice president morning,flooding the of the construction equipment room of the management division of Kirkbride Lecture Hall with Krapf and Sons, the builders, three- and- a- half feet of said that the company does water · according to Gene not really know what caused Cross, assistant vice the damage since the president of Operations and equipment had been services. As a result, all operating properly for quite a classes in this hall and in the while. Kirkbride Office Building . "The p_roblem 's not fixing were cancelled last Monday. the equipment but keeping it ·The flood caused all (the building) running," electricity and heat to be cut Krapf said, referring to the off in both buildings, said new building's temporary Cross. He decided to close shut-down. He said the them on Monday after it was engineers are inspecting the determined that electrical scene now but there is "no devices such as light, heat way of telling" exactly how and fire alarms would not be much damage has been done. Photo by Greg Lynch in operation that day. A representative of the Newark Water Company said SPE~IALISTS OF THE Krapf and Sons Construction Company assess the damage of the Temporary generators replaced Newark city power that a full investigation must electr•cal equipment in the Kirkbride Office Building which occured after a pipe burst, be held to determine whether flooding the building's basement. -
The Roots of Post-Racial Neoliberalism in Blacklist Era Hollywood
The Roots of Post-Racial Neoliberalism in Blacklist Era Hollywood A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Andrew Paul IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Lary May, Tracey Deutsch March 2014 © Andrew Paul 2014 Acknowledgements Writing this dissertation would not have been possible without the support of countless others. First, I acknowledge the generosity of my dissertation committee. My advisors, Lary May and Tracey Deutsch offered enthusiastic guidance, criticism, and support. Lary’s own contributions to the historiography of the blacklist were second in value only to his personal attention to my work, and his questions yielded important research leads. Tracey helped me to think across sub-fields and pushed me to improve my writing. Both of them encouraged me to take intellectual risks and to make bold claims and interventions. Elaine Tyler May, Riv-Ellen Prell, and Malinda Lindquist all shaped my development as a scholar as well. With thoughtful and critical attention to my writing, they challenged me to clarify my ideas and helped me to see how my work was entering different conversations, and how it might stand to enter others. It was a privilege to be able to discuss my ideas with this committee. I was awarded generous financial sums from the University of Minnesota’s Harold Leonard Memorial Film Studies Fellowship and the University of Minnesota Foundation, which allowed me travel to archives in California, Wisconsin, and New York. In these locales, at the Charles Young Research Library at the University of California Los Angeles, the Margaret Herrick Library and the Paley Center for Media, both located in Beverly Hills, the Wisconsin State Historical Society in Madison, and at the Center for Jewish History in New York City, numerous archivists assisted me in my work., and for this I owe them my gratitude. -
SU Asianprogramdropped
Seattle nivU ersity ScholarWorks @ SeattleU The peS ctator 11-4-1976 Spectator 1976-11-04 Editors of The pS ectator Follow this and additional works at: http://scholarworks.seattleu.edu/spectator Recommended Citation Editors of The peS ctator, "Spectator 1976-11-04" (1976). The Spectator. 1508. http://scholarworks.seattleu.edu/spectator/1508 This Newspaper is brought to you for free and open access by ScholarWorks @ SeattleU. It has been accepted for inclusion in The peS ctator by an authorized administrator of ScholarWorks @ SeattleU. Center to be SEATTLE - - completed soon Spectator ■ university 4, 1976, Seattle, Washington Vol. XLV, No. 7 Thursday, November S.U. Asianprogram dropped by Nathalie Weber to Japan have to have two years knows I'm a full-time librarian The University's three-year- of Japanese," Yam said. "So and Ican't give much time to the old Asian Studies program has once you wipe out the year of Asian Studies program," Yam been dropped due to lack of Japanese, you wipe out the said. University support. Japanese part of the program." He explained that whena new According to Br. William Yam said that the Philippine chairman had to be selected last Yam, S.J., full-time librarian section of the program has also year when former Chairman and adviser of the Asian Studies been discontinued. Thisdecision Gerald Ricard resigned, the only program, S.U. cannot afford was made by Yam. people at the University who promotional costs of the "I discussed the possibility of were qualified to accept the program. Yam sayspromotionis continuingthe Philippine partof chairmanship were himself and necessary to attract students. -
Film Quarterly and the Film Society of Lincoln Center Present Film
Film Quarterly and the Film Society of Lincoln Center present Film & Media in a Time of Repression: Practices & Aesthetics of Resistance Amphitheater, Elinor Bunin Munroe Film Center December 13, 2016 An urgent conversation about film’s histories and futures, examining its status in times of fascism, dictatorship, and moments of stress. What does the medium do, and what can it accomplish in unprecedented times? Looking for clues in the past and present, panelists excavate pertinent examples and case studies – personal, national, theoretical, practical – and begin the work of imagining new strategies and praxis. Introduction by Dennis Lim, Director of Programming, Film Society Of Lincoln Center; critic; and author (David Lynch: The Man from Another Place, 2015) Moderated by B. Ruby Rich, Film Quarterly Editor; critic; and Professor, University of California, Santa Cruz Panelists in order of appearance Walter Bernstein - Academy Award - nominated Screenwriter (The Front, 1976) and author of Inside Out: A Memoir of the Blacklist, first came to Hollywood in 1947 with a ten-week contract at Columbia Pictures. His first (shared) screen credit was fo Kiss the Blood Off My Hands (Norman Foster, 1948). He returned to New York, wrote for The r New Yorker and others, and worked as a scriptwriter in the early days of live television. In 1950, because of numerous left-wing political affiliations and related activities, his name appeared in the notorious publication Red Channels, and he was blacklisted—until Sidney Lumet hired him to write under his own name in 1959 and he returned to being credited. Ruth Ben Ghiat, Professor of History and Italian Studies at New York University, is a cultural critic who has been the recipient of Guggenheim, Fulbright, and other fellowships. -
Entretien Avec Walter Bernstein, Ses Débuts De Scénariste À Hollywood Avec George Cukor
Entretien avec Walter Bernstein, ses débuts de scénariste à Hollywood avec George Cukor par Yola Le Caïnec J I can only answer your questions about Cukor at some length and I don’t have time for that right now. I will be in Paris for a week – Oct. 5-12 – staying at the Hotel Duc de St. Simon. If you call me there, perhaps we can speak either on the telephone or in person1. Tels sont les mots que m’écrivit Walter Bernstein le 15 septembre 2008, il y a douze ans, en réponse à une série de questions que je lui avais envoyées au sujet de son travail à Hollywood. C’est Patrick McGilligan qui m’avait donné son contact. Quand je lui avais fait part en 2008 de ma volonté d’interroger des collaborateurs de Cukor, il m’avait immédiatement conseillé Walter Bernstein. J’étais alors au début du travail de ma thèse intitulée Le Féminin dans le cinéma de George Cukor de 1950 à 19812. Je suis arrivée un peu en avance pour installer une caméra et surtout un micro. Ponctuel, Walter Bernstein est arrivé dans le salon de l’hôtel et a répondu avec beaucoup de bienveillance à mes questions qu’il trouvait pourtant parfois trop ciblées. J’ai choisi de découper l’entretien3 en quatre parties toutes introduites et illustrées dans le sens du propos de Walter Bernstein. Trois parties tout d’abord sont consacrées aux films pour lesquels il a collaboré au début de sa carrière avec Cukor qui était au contraire à la presque fin de la sienne. -
16TH ANNUAL TORONTO JEWISH FILM FESTIVAL May 3–11, 2008
FILM LIST FILM LIST 15TH ANNUAL TORONTO JEWISH FILM FESTIVAL MAY 5–13 TJFF.COM PICK ONE OF THESE One in five children in CHILDREN Ontario struggles with their mental health. Child Development Institute is here to help. Recognizing Children’s Mental Health Week, May 7–13, 2007. 197 EUCLID AVENUE, TORONTO, ONTARIO M6J 2J8 416 603 1827 CHILDDEVELOP.CA THIS PAGE GENEROUSLY SPONSORED BY C.A. DELANEY CAPITAL MANAGEMENT LTD. ALPHABETICAL FILM INDEX 19 L’Age De Raison 32 Love & Dance 13 Angela 32 M. Rosenthalis – Self Portrait 13 As Seen Through These Eyes 33 Madrid Before Hanita 14 Awake & Sing! 33 Man from Munkács, The 33 Bauhaus Broken Wings 34 Matter of Time, A 14 Brave Old World 34 Middle of the Night 15 Bubble, The 35 Miss Universe 1929 39 California Shmeer 35 More Than 1000 Words 15 Canadian In Love, A 22 My Nose 16 Cara de Queso 36 Naf Street Kid 16 Cemetery Club 36 Nina’s Journey 17 Chez Schwartz 37 None But the Lonely Heart 17 Close To Home 37 Not All Were Murderers 21 Coming Home Safely 38 Nuremberg: The Nazi’s Facing Their Crimes 18 Comme T’y Es Belle 38 Once A Nazi 18 Darien Dilemma 39 One Of The Last 19 Day & Night 39 Open Eye – Open I 19 Dear Mr. Waldman 40 Our Children 32 Diary of Niclas Gheiler 40 Paper Clips 47 Elephant, The 41 Paper Clip: A Ride To Remember 20 Face In The Crowd, A 41 Paris Blues 20 Family Law 42 Paul Buhle Talk 21 Film Class, The 42 Paul Robeson 21 Film Fanatic 38 Pesya’s Necklace 22 First Zionist Bunny, The 43 Porgy & Bess: An American Voice 22 Force of Evil 12 Rape Of Europa, The 23 Forgotten Refugees 40 St. -
Jews, the Blacklist, and Stoolpigeon Culture / Joseph Litvak
The Un-Americans Edited by Michèle Aina Barale Jonathan Goldberg Michael Moon Eve Kosofsky Sedgwick JOSEPH LITVAK The Un-Americans JEWS, THE BLACKLIST, AND STOOLPIGEON CULTURE Duke University Press Durham and London 2009 © 2009 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper b Designed by C. H. Westmoreland Typeset in Scala with Gill Sans display by Achorn International, Inc. Library of Congress Cataloging-in-Publication Data Litvak, Joseph. The un-Americans : Jews, the blacklist, and stoolpigeon culture / Joseph Litvak. p. cm. — (Series Q) Includes bibliographical references and index. isbn 978-0-8223-4467-4 (cloth : alk. paper) isbn 978-0-8223-4484-1 (pbk. : alk. paper) 1. Jews in the motion picture industry—United States. 2. Jews—United States—Politics and government—20th century. 3. Antisemitism—United States—History—20th century. 4. United States—Ethnic relations—Political aspects. I. Title. II. Series: Series Q. e184.36.p64l58 2009 305.892’407309045—dc22 2009029295 TO LEE CONTENTS acknowledgments ix ❨1❩ Sycoanalysis: An Introduction 1 ❨2❩ Jew Envy 50 ❨3❩ Petrified Laughter: Jews in Pictures, 1947 72 ❨4❩ Collaborators: Schulberg, Kazan, and A Face in the Crowd 105 ❨5❩ Comicosmopolitanism: Behind Television 153 ❨6❩ Bringing Down the House: The Blacklist Musical 182 coda Cosmopolitan States 223 notes 229 bibliography 271 index 283 ACKNOWLEDGMENTS This book is about, among other things, the thrill of naming names. As I look back on the process of writing it, it gives me great pleasure to point my finger at the accomplices who made it possible: Cheryl Alison, Susan Bell, Lauren Berlant, Susan David Bernstein, Diana Fuss, Jane Gallop, Marjorie Garber, Helena Gurfinkel, Judith Halberstam, Janet Halley, Jon- athan Gil Harris, Sonia Hofkosh, Carol Mavor, Meredith McGill, David McWhirter, Madhavi Menon, D.