Report on Blacklisting: II. Radio-Television
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
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. -
William F. Buckley Jr., National Review E a Crítica Conservadora Ao Liberalismo E Os Direitos Civis Nos Eua, 1955-1968
UNIVERSIDADE FEDERAL FLUMINENSE CENTRO DE ESTUDOS GERAIS INSTITUTO DE CIÊNCIAS HUMANAS E FILOSOFIA PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA RODRIGO FARIAS DE SOUSA WILLIAM F. BUCKLEY JR., NATIONAL REVIEW E A CRÍTICA CONSERVADORA AO LIBERALISMO E OS DIREITOS CIVIS NOS EUA, 1955-1968. NITERÓI 2013 RODRIGO FARIAS DE SOUSA WILLIAM F. BUCKLEY JR., NATIONAL REVIEW E A CRÍTICA CONSERVADORA AO LIBERALISMO E OS DIREITOS CIVIS NOS EUA, 1955-1968. Tese apresentada ao curso de Pós-Graduação em História Social da Universidade Federal Fluminense, como requisito parcial para o exame de qualificação para o obtenção do Grau de Doutor. Área de concentração: Poder e Sociedade. Orientador: Prof.ª Dra. CECÍLIA AZEVEDO Niterói 2013 Ficha Catalográfica elaborada pela Biblioteca Central do Gragoatá S725 SOUSA, RODRIGO FARIAS DE. William F. Buckley Jr., National Review e a crítica conservadora ao liberalismo e os direitos civis nos EUA, 1955-1968 / Rodrigo Farias de Sousa. – 2013. 371 f. Orientador: Cecília da Silva Azevedo. Tese (Doutorado em História Social) – Universidade Federal Fluminense, Instituto de Ciências Humanas e Filosofia, Departamento de História, 2013. Bibliografia: f. 343-371. 1. Conservadorismo. 2. Estados Unidos. 3. Ideologia. 4. Direita (Ciência Política). 5. Liberalismo. 6. National Review (Periódico). 7. Guerra Fria. 8. Raça. 9. Direito Civil. I. Azevedo, Cecília da Silva. II. Universidade Federal RODRIGO FARIAS DE SOUSA WILLIAM F. BUCKLEY JR., NATIONAL REVIEW E A CRÍTICA CONSERVADORA AO LIBERALISMO E OS DIREITOS CIVIS NOS EUA, 1955-1968 Tese apresentada ao curso de Pós-Graduação em História da Universidade Federal Fluminense, como requisito parcial para obtenção do título de Doutor. Área de concentração: História social. -
The Roots of the Protest Era: Mccarthyism and the Artist's Voice in 1950S America
THE ROOTS OF THE PROTEST ERA: MCCARTHYISM AND THE ARTIST’S VOICE IN 1950S AMERICA OVERVIEW ESSENTIAL QUESTION How were musicians and artists affected by McCarthyism in 1950s America? OVERVIEW The so-called “Protest Era” in the United States is largely associated with the Civil Rights movement and anti-war demonstrations of the 1960s. But the roots of the protest era, and even some of the songs associated with it, came out of the late 1940s, during the early years of the Cold War. By the end of World War II in 1945, America’s diplomatic relationship with the Soviet Union, once its wartime ally, had grown strained. During the late 1940s, the Soviets expanded their influence across Eastern Europe and built up a stockpile of nuclear weapons—technology that had previously been in the exclusive possession of the U.S. military. Many people in the United States came to view the Soviets, and the Communist Party that controlled the Soviet Union, as a threat to America’s newfound economic prosperity and position as world leader. In that tension between Soviet and American powers, the Cold War was born—and with it, the U.S. entered into an era in which the flipside of an unprecedented economic boom and rise in world power was the “Red Scare,” a widespread fear and suspicion of Soviets and their ideas, which many viewed as a potential threat to American life. At the center of the Red Scare was Senator Joseph R. McCarthy, a Republican from Wisconsin, who by 1950 had become the face of a national campaign to identify communists in American society. -
CBS, Rural Sitcoms, and the Image of the South, 1957-1971 Sara K
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971 Sara K. Eskridge Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Eskridge, Sara K., "Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971" (2013). LSU Doctoral Dissertations. 3154. https://digitalcommons.lsu.edu/gradschool_dissertations/3154 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RUBE TUBE: CBS, RURAL SITCOMS, AND THE IMAGE OF THE SOUTH, 1957-1971 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Sara K. Eskridge B.A., Mary Washington College, 2003 M.A., Virginia Commonwealth University, 2006 May 2013 Acknowledgements Many thanks to all of those who helped me envision, research, and complete this project. First of all, a thank you to the Middleton Library at Louisiana State University, where I found most of the secondary source materials for this dissertation, as well as some of the primary sources. I especially thank Joseph Nicholson, the LSU history subject librarian, who helped me with a number of specific inquiries. -
The Liberal Mind by William F
The Liberal Mind By William F. Buckley, Jr . William F. Buckley, Jr ., author of God and Man at Yale, co-authored with L. Brent Bozell the widely-discussed book McCarthy and His Enemies. Buckley, a 1950 Yale graduate, is a lecturer and regular panelist on Fact s Forums ANSWERS FOR AMERICANS . Buckley has projected a new maga- zine, National Weekly, which, according to Newsweek, is slated to begin publication in September. N recent years, a number of importan t nists, and they, quite evidently, do no t I books and articles have been written, understand the Communists . I believe and important things thought and sai d that our most immediate challenge is to understand our leaders ; and having about the Communist. What is he like ? stream of contemporary political and What goes on in his mind? What is he understood them we must either dis- possess them of power, or make them philosophical thought. the swollen an d afraid of? How can we move him? How irrepressible stream fed for so man y does he operate? What is he likely to d o understand, or prepare to die. For our n leaders, call them what you will—socia l years by the waters of rationalism, posi- in this situation, or that one? How ca tivism, Marxism, and utopianism . we vanquish him here, contain him democrats, Fabians, progressive moder- there, coexist with him over there? W e ates ; I call them Liberals, and I spel l As regards contemporary American haven't mastered the Communist tem- that word with a capital "L"—are the controversies, the Liberal is likely to feel perament, or the Communist mind, true ; unknown in the great equation . -
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 -
What Americans Thought of Joseph Stalin Before and After World War II
A Thesis entitled “Uncle Joe”: What Americans Thought of Joseph Stalin Before and After World War II by Kimberly Hupp A thesis submitted in partial fulfillment of the requirements for the degree of The Masters of Liberal Studies ______________________________ Advisor: Dr. Michael Jakobson ______________________________ College of Graduate Studies University of Toledo May 2009 1 2 An Abstract of “Uncle Joe”: What Americans Thought of Joseph Stalin Before and After World War II by Kimberly Hupp A thesis submitted in partial fulfillment of the requirements for the degree of The Master of Liberal Studies University of Toledo May 2009 A thesis presented on the American public opinion of Josef Stalin before and after World War II beginning with how Russia and Stalin was portrayed in the media before the war began, covering how opinions shifted with major events such as the famine, collectivization, the Great Terror, wartime conferences, the Cold War and McCarthyism. ii TABLE OF CONTENTS Abstract ................................................................................................................ii Table of Contents................................................................................................iii Acknowledgements .............................................................................................v List of Figures……………………………………………………………….vii List of Abbreviations……………………………………………………… .viii Introduction......................................................................................................... -
Discussion Guide (By Hyperion)
DISCUSSION GUIDE Disney • HYPERION BOOKS C50% B About the Book It is the summer of 1953—and the Cold War between the United States and the Soviet Union is heating up. Americans Julius and Ethel Rosenberg, arrested for passing top-secret nuclear weapons technology to the Russians, are convicted of treason and executed on June 19 at New York’s Sing Sing prison. A few months later, the Soviets detonate their first hydrogen bomb. U.S. Senator Joseph McCarthy, the House Un-American Activities Committee, and the FBI lead a wide-ranging hunt for spies, subversives, and communist sympathizers in the government, the entertainment industry, and other institutions. In this tense environment, even reading certain books can be considered a subversive activity and cast doubt on one’s loyalty to the United States. Yet another problem for bookish fourteen-year-old Richard Bradley, whose best friend Jimmy has ditched him for a cooler crowd while the girl he’s loved forever barely acknowledges his existence. Making things worse, Richard’s dad—one of Hoover’s G-men involved in tracking down spies and subversives—is acting strange: whenever he’s questioned about his work for the FBI, he really loses his temper. Things begin to look up when a new family moves into Richard’s neighborhood in Washington, DC. Vladimir White is the same age as Richard, and the two bond quickly over a shared love of books and music. Vlad’s father is a diplomat in the State Department, and his family’s international experiences and avant-garde ideas about art, literature, and music are attractive and exciting to Richard. -
Alfred M. Lilienthal Papers
http://oac.cdlib.org/findaid/ark:/13030/tf9k40070k No online items Register of the Alfred M. Lilienthal papers Finding aid prepared by Linda Bernard Hoover Institution Archives 434 Galvez Mall Stanford University Stanford, CA, 94305-6010 (650) 723-3563 [email protected] © 1998 Register of the Alfred M. 82070 1 Lilienthal papers Title: Alfred M. Lilienthal papers Date (inclusive): 1936-1999 Collection Number: 82070 Contributing Institution: Hoover Institution Archives Language of Material: English and Arabic Physical Description: 260 manuscript boxes, 2 cubic foot boxes, 9 oversize boxes, 1 card file box, 189 envelopes, 2 motion picture film reels(129.2 linear feet) Abstract: Speeches and writings, correspondence, notes, memoranda, press releases, serial issues, conference papers, interviews, studies, clippings, other printed matter, photographs, motion picture film, and sound recordings relating to the Middle East, Arab-Israeli relations, and American foreign policy in the region. Also available on microfilm (157 reels). Physical Location: Hoover Institution Archives Creator: Lilienthal, Alfred M. Access Collection is open for research. Use copies of some sound recordings and motion picture film in this collection are available for immediate access. To listen to other sound recordings or to view videos during your visit, please contact the Archives at least two working days before your arrival. We will then advise you of the accessibility of the material you wish to see or hear. Please note that not all audiovisual material is immediately accessible. Publication Rights For copyright status, please contact the Hoover Institution Archives. Preferred Citation [Identification of item], Alfred M. Lilienthal papers, [Box no.], Hoover Institution Archives. Acquisition Information Acquired by the Hoover Institution Archives in 1982. -
Platt on Hendershot, 'What's Fair on the Air? Cold War Right-Wing Broadcasting and the Public Interest'
JHistory Platt on Hendershot, 'What's Fair on the Air? Cold War Right-Wing Broadcasting and the Public Interest' Review published on Thursday, December 13, 2012 Heather Hendershot. What's Fair on the Air? Cold War Right-Wing Broadcasting and the Public Interest. Chicago: University of Chicago Press, 2011. 272 pp. $27.50 (paper), ISBN 978-0-226-32678-8; $91.00 (cloth), ISBN 978-0-226-32677-1. Reviewed by Daniel Platt (Brown University)Published on Jhistory (December, 2012) Commissioned by Heidi Tworek “I’m not just an entertainer,” the songwriter-turned-television-demagogue Lonesome Rhodes crowed in the 1957 film A Face in the Crowd: “I’m an influence, a wielder of opinion, a force--a force!” Alas, Rhodes’s celebrity proves transient and his grand ambitions a touch too grand, and this begs a question: what status is due to history’s underachieved zealots? In What’s Fair on the Air? Heather Hendershot examines the careers of four such mid-century figures whose extremist conservative harangues on radio and television anticipated the New Right that would rise after their own stars had faded. Seeking to shed light on the relationship between media and political change, Hendershot, a professor in the Department of Media Studies at Queens College, argues that these broadcasters--H. L. Hunt, Dan Smoot, Carl McIntire, and Billy James Hargis--not only tilled “the ground ... for the eventual triumph of [Ronald] Reagan” but also “were the embarrassing nuts who had to be left behind for a more legitimate and effective conservative movement to emerge” (pp. -
«Jf HALE's Mccarthy Stand Unaltered
WSONESDAY, BECEMBEB I; . ATtraft Dtiljr Nti Pm h w m U'-b h m lianrlfrBter ^Sttraitts 'm r n m r t m H anchuU r^A City of FUJage Chahn ^ - -- ---------- " «jf HALE'S VOL. LXXin. NO. M A4«urM4af o« tags M) M A h p iE 8n !il. CONN.. THURSDAY. DRCEMBER 3,1958 (EIGHTBCN PAGES). PRICK PIVB CENTS '30Pro-R^d Ungchediiled Stop H oldbacks McCarthy Stand Unaltered Rejec t UN Panmunjom, Dec. 8 ifPy— k second group of 80 South Koreans today unanimouily. ute chose life under the Commu* niste, giving .'Allied perauad* era a total blank for two days of effprts to woo home balky Telb of Being Buried Alive war prisoners. Senate Unit|i There was no violence, but many Denies Ike prieonera were mors talkative than tha so who yesterday llstoMd pas* atvely to 'KOiC axplalnara, than T o R esum e choee CommunUm. Challenged Tha D.N. Command said SO more South Koreans of S28 who refused 'repatriation will be interviewed to* Spy P r o b e A s L e a d e r morrow starting at t a. ra. (7 p. m. E8T Thursdayi. Washington, Doc. 3 (/P)— Waahington, Dec. 3-(/P )^ Others SUII Walt Thera was no Indication when The Senate Internal Security Sen. McCarthy (R*Wis) stuck S3 Americans and 1 Briton who aubcomqiittee decided today to hie guns today in hie die* stayed with the Communiata wUl to go ahead with public hear agreement with the admin- be called. ings in Waahington after ac stration on foreign policy, Allied officers expreiaed the doM get you placet with \ / opinion that Communist leaders in cepting the Canadian gov )ut aaid any contention that the FOW compound probably had ernment’s terms for a secret ie ia challenging Preaident sent'their most thoroughly 'indoc* interview with Igor Gouzen Eiaenhower’s GOP leadership trinated fellow prisonera to the ko in Canada. -
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.