CAUGHT IN THE CROSSFIRE : ADRIAN SCOTT AND THE POLITICS OF AMERICANISM IN 1940S HOLLYWOOD PDF, EPUB, EBOOK

Jennifer Langdon | 414 pages | 30 Jan 2009 | Columbia University Press | 9780231142502 | English | New York, United States Caught in the Crossfire : Adrian Scott and the Politics of Americanism in 1940s Hollywood PDF Book Carey, "Paterson Strike of ," and David J. From their perspective, however, the failings of the Soviet Union were more than matched by those of the capitalist countries that had led them to join the Party in the first place. In , nonintervention was replaced by outright appeasement, as British Prime Minister Neville Chamberlain, reneging on Britain's treaty agreement with Czechoslovakia, agreed not to challenge Germany's takeover of the Sudetenland. Author PJ Grisar. Just as the star system was built on the imagined personas of individual actors, carefully cultivated for public consumption via advertising, publicity, and fan magazines, as well as the movies themselves, so the image of Hollywood was self-reflexively constructed and disseminated to the American public, with the help of a constellation of "outside" publicists, from journalists and film critics to the advertising industry and merchandisers, and even to intellectuals, such as anthropologist Leo Rosten, whose ethnography, Hollywood: The Film Colony, the Movie Makers , lent the weight of academic analysis to the imagined community. In that way, and in that way only , could people overcome what they felt was the major political action in the world, which was becoming Fascist. Retrieved 25 September His pointed sarcasm clearly reflects his resentment of the top-down structure of power in Hollywood, and perhaps more importantly, reveals his sense that the studio moguls were a kind of cabal whose loyalty lay with one another rather than with the people who worked for them—giving lie to the "family" rhetoric employed by studio heads like Louis B. Hollywood Democratic Committee Timeline. Note Leo C. Both sexes talked gruffly about needing to lean forward in the foxhole , meaning "to anticipate," and to break contact, meaning "to leave. This article has been sent! Particularly after the arrival of "talkies" in the late s, the public appetite for movies appeared insatiable. Now, McCreery had successfully pitched a story to director Mitchell Leisen, but wasn't able to follow through on paper and was about to be fired again. Many, both inside and outside the Party, were deeply disturbed by the Hitler-Stalin pact of , and were alternately amused and outraged by the overnight transformation of the Party position on the war, from intervention to isolationism in , and then back to interventionism again in , after the Nazis invaded the Soviet Union. At the same time, this progression of battles over censorship and intellectual freedom also provides an overview of how the entertainment industry and the academy together shaped and were shaped by one of the more repressive moments in American history. Thus, in defending the Hitler-Stalin Pact, American Communists pointed out that only the Soviets and the international Communist movement had stepped in to defend democracy in Spain against Franco and the Nazis, while the major European powers, as well as the United States, held to a policy of nonintervention. The Battle of the Experts. Radical Visions for Postwar America. As fascist regimes in Germany and Italy cracked down on labor and Communist movements, the Soviet Union was one of the first nations to feel threatened; and in , the Comintern stepped back from its agenda of worldwide revolution and embraced the ideology of a Popular Front, an alliance of radicals and liberals against the forces of reaction and fascism. Otherwise it would stand out like a sore thumb. Strategizing Jewish Defense. These historians, noting the continuities between the New Deal and the old deal of the Progressive era, emphasize the ways in which the outwardly innovative and inclusionary reform policies actually worked to buttress the traditional socioeconomic order and reinforce existing class and race relations. When friend Whittaker Chambers broke with the Communist Party and left the underground, Solow helped him contact Dewey which led to nothing and helped him re-establish himself in public. Caught in the Crossfire : Adrian Scott and the Politics of Americanism in 1940s Hollywood Writer

He was in his late twenties and was very impressed by the Communists. Had he moved the adventures of his characters both fictional and real back further in time he risked seeming premature. Log in or sign up to add your own related words. For a fascinating discussion of this process, see Ronald L. Knopf, At the same time, Jewish intellectuals moved left, splitting readership. Home Share Search. The screenwriters' demands, on the other hand, struck deep into the heart of power relations within the studio system. U of Nebraska Press. It was the exhibitors and the audiences who needed to be wooed, not the studio employees. Particularly significant for the Hollywood progressives, the Popular Front also shifted the Party's priorities away from notions of "art as a weapon" and the proletarian fiction of working-class and African American writers, toward "a strategy aimed at aligning bourgeois literary and screen luminaries into the anti-fascist mobilization. Views Read Edit View history. Screenplay Revisions and the Final Shoot. Later, while reorganizing twice more—first as a chapter of the Progressive Citizens of America and then as part of the National Council of Arts, Sciences, and Professions—the organization kept its professional interests central in its battles over intellectual freedom. Marshall, Blueprint in Babylon Tempe, Ariz. View results as: List Gallery. Note Neve, Film and Politics , Nevertheless, that very sense of solidarity in opposition was the foundation of the other significant imagined community in the film industry: the "cultural workers," a broad-based constellation of leftists and liberals that coalesced around the art and politics of the Popular Front. Email Facebook Twitter. Certainly, many American Communists struggled with the very issues that provoked external criticism, from the U. Paxton was on vacation and wasn't interested, but he relented after McCreery "cried and carried on. Michael Denning makes reference to "the cultural front. Both assimilationist desires and fears of the charge of "Jewish domination" of the film industry fed into this trend. Conclusion: Freedom of the Screen? From the FTP's production of a stage version of Sinclair Lewis's antifascist novel It Can't Happen Here , to the appropriation by its Living Newspaper troupe of the strikes and radical upsurges that dominated headlines, the FTP created a new model of socially conscious and federally subsidized theater. Hollywood A. The Beginning of the Journey. He was a bonding experience, kind of like how having a grenade thrown into your foxhole is a bonding experience. Hollywood Goes to War. The Production of Cornered. The Critical Response. But the Communist Party did. Note Giovacchini, Hollywood Modernism , 5. Although a little-known editor of the obscure Menorah Journal in the s, and later of Fortune , Herbert Solow manages to appear in Tess Slesinger 's Unpossessed as a New England Calvinist at war with his own Marxism; in Eleanor Clark 's Bitter Box as a disillusioned Communist bank clerk; and, most impressively, in James T. Eventually settling in New York, intending to pursue a career as a writer rather than as an actor, Paxton worked in industrial publicity and managed a playwriting contest for the Theater Guild before moving to Stage Magazine in The book was adapted into a documentary film in , a decade after the book was published. The theater was an early passion of Adrian's, encouraged perhaps by his older brother Allan, a playwright and later screenwriter whose comedy Goodbye Again ran on Broadway for most of Help Learn to edit Community portal Recent changes Upload file. Note 1: In some ways, Hollywood itself can be seen productively as an imagined community. The image of Hollywood glamour, decadent nightlife, and rampant promiscuity was generally overrated. The suspense on whether we did find a new tomb or just a " foxhole " was definitely stressful. When he was unable to find newspaper work, he spent several months traveling around the country with an acting troupe. Caught in the Crossfire : Adrian Scott and the Politics of Americanism in 1940s Hollywood Reviews

Add links. Indeed, despite his notable success as a screenwriter, John Paxton always described himself as a "script doctor," a writer who fixed or "cured" the sick and ailing words of others, rather than as an "original" artist: "I was never that kind of writer," he insisted. Note Ceplair and Englund, Inquisition in Hollywood , 55— Caught in the Crossfire: Adrian Scott and the Politics of Americanism in s Hollywood Keeley is trying to save his buddy by pointing out Monty's untrustworthiness, but Finlay cuts him off: I'm not interested in philosophy. Categories : non-fiction books American biographies 20th-century history books History books about the United States History books about Jews and Judaism Show business memoirs Non-fiction books about film directors and producers Hollywood history and culture Jewish-American history in California Books adapted into films. His frustrations with screenwriting, and his emerging political vision, soon led him outside the studio system to documentary filmmaking. For general works on radical cultural production, see Richard H. Norma remembers these men as "the three Musketeers—they were so close and really loved each other. Though competition within the film industry could be ruthless, the ties that bound the studio moguls together were far stronger than the power struggles or personalities that divided them. Retrieved 25 September The Party held workshops to help writers engage politically in their cultural work. He was a reproof against accusations of vulgarity. It was the Party whose moral authority gave shape and substance to an abstraction, thereby making of it a powerful human experience. Horace Kallen, who worked with Henry Hurwitz on the magazine, developed a theory of cultural pluralism, where all the different religions and cultures in the US would emphasize the best of their religion and culture so that all could appreciate those individuals different from themselves as well as their cultures. Adapting The Brick Foxhole. Log in or sign up to add your own related words. Paxton believed that his work as a critic undermined his originality as a writer: "I know what critics hate. However, the parson also challenges the complacency of the townspeople, warning about the danger that flooded mines pose to the safety of the town, and preaching sermons in defense of the poor and hungry. Urbana and Chicago: University of Illinois Press, Enough with all the singlism and matrimania. CNN Transcript May 18, Finally, at MGM in , Scott received his first screen credit, for Keeping Company , which he described as "one of the horrors of all time. Hard-Boiled, from Page to Screen. Note As Vivian Gornick describes it, "At the indisputable center of the progressive world stood the Communist Party. Note Joan Scott, interview with author, April In the taped interview, Paxton remembers being invited to attend Marxist meetings though he loathed meetings and approached to join the Party in the late s: "I was asked by Dan James way back in New York, but the first thing he wanted me to do was get up at one morning and go pass out handbills. And they were in a position to make sure the public got what it wanted. And he always wore such lovely, fuzzy, clean argyle socks. The Socialists didn't do anything about it, and certainly the Democrats and Republicans didn't do anything about it. Economic Principals Both Mendelsohn and Zunz omit to translate it in their German versions, simply because the sentence is more idiomatic, in the German language, without it than with it. Salemson, Harold J.

Caught in the Crossfire : Adrian Scott and the Politics of Americanism in 1940s Hollywood Read Online

Note Schatz, Genius of the System , The title of the book is a reference to F. Richard Pells suggests that the documentary impulse of the s grew out of the sense that fiction and drama were inadequate to explain the "intolerable confusion and disorder" and loss "of control over their institutions, their environment, and their lives" felt by many Americans, conditions created by the Depression at home and fascism abroad. Otherwise it would stand out like a sore thumb. Retrieved 25 September I am grateful to Larry Ceplair for sharing his notes with me. Note The major European powers, as well as the United States, meanwhile, held to a policy of nonintervention, offering limited humanitarian supplies to the beleaguered Republicans but no military aid. Solow was a member of the Columbia College class of He threw out his " foxhole " guys, the guys he could trust, the good soldiers like Steve. Wordmap beta Word visualization. Scott, Address at meeting in honor of Fast and Scott, September 13, After turning in the treatment for Great Gildersleeves on Patrol , they discovered that Schlom believed that if a story was good, he could tell it without having to refer to the written word. Adrian Scott in Hollywood. In the studio executives had banded together to form the Academy of Motion Picture Arts and Sciences AMPAS as a company union embracing producers, directors, actors, writers, and technicians. Note Ceplair and Englund, Inquisition in Hollywood , 55— The Role of Dore Schary. Log in or sign up to get involved in the conversation. Related Words Log in or sign up to add your own related words. A partner in the foxhole is the greatest thing to have in life, I have been blessed. Categories : non- fiction books American biographies 20th-century history books History books about the United States History books about Jews and Judaism Show business memoirs Non-fiction books about film directors and producers Hollywood history and culture Jewish-American history in California Books adapted into films. About the Author. The Group Theater's historical reputation is often based on its pioneering approach to acting—emotional realism or The Method, as it is popularly called. Marshall, Blueprint in Babylon Tempe, Ariz. Herbert Solow, In a new book, Making America Corporate, University of Chicago Press, Zunz relates how America gave up its Jeffersonian self-image as a nation of yeoman farmers for the model of corporate organization that obtains today. Log in or sign up to get involved in the conversation. Note For example, in the late s, screenwriter Ben Hecht was soliciting money and support for Palestine and met with a wall of refusal from the Hollywood Jews. Paxton was born a mere two months after Scott in Kansas City, Missouri. CNN Transcript May 18, The suspense on whether we did find a new tomb or just a " foxhole " was definitely stressful. Log in or sign up to get involved in the conversation. Views Read Edit View history. The American Dream had become their personal reality, and that reality in turn shaped the often romanticized vision of America they projected through their films. The organization's battles over free speech—from campaigns for academic freedom to fights against radio and film censorship—illustrate one way in which changing affiliations helped shape its activist agenda. Thus, though both men had left the theatrical world for the film industry by the end of the decade, their brief years in New York had a lasting impact on their work. The book also explains that the business background of the Hollywood Jews in theatre-ownership, retail distribution, and the garment industry shaped the approach these studio owners took to crafting movies for a popular audience, one similar to the marketing of films as commodities as well as works of art. Among cultural historians, this period is being reconceptualized as a "second American Renaissance" that transformed the relationship between modernism, mass culture, and progressive politics and profoundly shaped the generation of artists and intellectuals who came of age during these decades. Olivier Zunz , an historian of the annaliste school, trained at the Sorbonne, who now teaches at the University of Virginia, offers a good example of how this task proceeds. Scott Fitzgerald 's unfinished novel The Last Tycoon , in which Fitzgerald describes his protagonist, Monroe Stahr a character inspired by the producer Irving Thalberg as "coming home to an empire of his own—an empire he has made. At times it seemed the only unifying thread was their common struggle to produce meaningful creative work within the studio system. The people in musicals at Fox, for instance, were people we scoffed at—Betty Grable and Cesar Romero. A year later, they came for Kazan. Caught in the Crossfire: Adrian Scott and the Politics of Americanism in s Hollywood Keeley is trying to save his buddy by pointing out Monty's untrustworthiness, but Finlay cuts him off: I'm not interested in philosophy. 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