Film Criticism, the Cold War, and the Blacklist : Reading the Hollywood Reds
Film Criticism, the Cold War, and the Blacklist examines the long-term reception of several key American films released during the postwar period, focusing on the two main critical lenses used in the interpretation of these films: propaganda and allegory. Produced in response to the hearings held by...
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| Format: | Book |
| Language: | English |
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Berkeley :
University of California Press,
2014
Berkeley, CA : [2014] Berkeley, California : 2014 |
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| 100 | 1 | |a Smith, Jeff, |d 1962 December 17- |e author | |
| 100 | 1 | |a Smith, Jeff, |d 1962 December 17- | |
| 245 | 1 | 0 | |a Film Criticism, the Cold War, and the Blacklist : |b Reading the Hollywood Reds |
| 260 | |a Berkeley : |b University of California Press, |c 2014 | ||
| 264 | 1 | |a Berkeley, CA : |b University of California Press, |c [2014] | |
| 264 | 1 | |a Berkeley, California : |b University of California Press, |c 2014 | |
| 264 | 4 | |c ©2014 | |
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| 504 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a Cover; FILM CRITICISM, THE COLD WAR, AND THE BLACKLIST; Title; Copyright; Contents; List of Illustrations; List of Tables; Acknowledgments; Introduction: What More Can Be Said about the Hollywood Blacklist?; 1. A Bifocal View of Hollywood during the Blacklist Period: Film as Propaganda and Allegory; 2. I Was a Communist for RKO: Hollywood Anti-Communism and the Problem of Representing Political Beliefs; 3. Reds and Blacks: Representing Race in Anti-Communist Films; 4. Stoolies, Cheese-Eaters, and Tie Sellers: Genre, Allegory, and the HUAC Informer | |
| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Illustrations -- |t Tables -- |t Acknowledgments -- |t Introduction: What More Can Be Said about the Hollywood Blacklist? -- |t 1. A Bifocal View of Hollywood during the Blacklist Period: Film as Propaganda and Allegory -- |t 2. I Was a Communist for RKO: Hollywood Anti-Communism and the Problem of Representing Political Beliefs -- |t 3. Reds and Blacks: Representing Race in Anti-Communist Films -- |t 4. Stoolies, Cheese-Eaters, and Tie Sellers: Genre, Allegory, and the HUAC Informer -- |t 5. The Cross and the Sickle: Allegorical Representations of the Blacklist in Historical Films -- |t 6. Roaming the Plains along the "New Frontier": The Western as Allegory of the Blacklist and the Cold War -- |t 7. Loving the Alien: Science Fiction Cinema as Cold War Allegory -- |t Conclusion: Old Wounds and the Texas Sharpshooter -- |t Notes -- |t Bibliography -- |t Index |
| 505 | 8 | |a 5. The Cross and the Sickle: Allegorical Representations of the Blacklist in Historical Films6. Roaming the Plains along the "New Frontier": The Western as Allegory of the Blacklist and the Cold War; 7. Loving the Alien: Science Fiction Cinema as Cold War Allegory; Conclusion: Old Wounds and the Texas Sharpshooter; Notes; Bibliography; Index | |
| 506 | |a Access restricted by licensing agreement | ||
| 506 | |a Restricted for use by site license | ||
| 520 | |a Film Criticism, the Cold War, and the Blacklist examines the long-term reception of several key American films released during the postwar period, focusing on the two main critical lenses used in the interpretation of these films: propaganda and allegory. Produced in response to the hearings held by the House Committee on Un-American Activities (HUAC) that resulted in the Hollywood blacklist, these films' ideological message and rhetorical effectiveness was often muddled by the inherent difficulties in dramatizing villains defined by their thoughts and belief systems rather than their a | ||
| 520 | |a Film Criticism, the Cold War, and the Blacklist examines the long-term reception of several key American films released during the postwar period, focusing on the two main critical lenses used in the interpretation of these films: propaganda and allegory. Produced in response to the hearings held by the House Committee on Un-American Activities (HUAC) that resulted in the Hollywood blacklist, these films' ideological message and rhetorical effectiveness was often muddled by the inherent difficulties in dramatizing villains defined by their thoughts and belief systems rather than their actions. Whereas anti-Communist propaganda films offered explicit political exhortation, allegory was the preferred vehicle for veiled or hidden political comment in many police procedurals, historical films, Westerns, and science fiction films. Jeff Smith examines the way that particular heuristics, such as the mental availability of exemplars and the effects of framing, have encouraged critics to match filmic elements to contemporaneous historical events, persons, and policies. In charting the development of these particular readings, Film Criticism, the Cold War, and the Blacklist features case studies of many canonical Cold War titles, including The Red Menace, On the Waterfront, The Robe, High Noon, and Invasion of the Body Snatchers | ||
| 538 | |a Mode of access: Internet via World Wide Web | ||
| 546 | |a In English | ||
| 588 | |a Description based on print version record | ||
| 588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 16. Mai 2019) | |
| 588 | 0 | |a Print version record | |
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| 776 | 0 | 8 | |i Print version: |a Smith, Jeff |t Film Criticism, the Cold War, and the Blacklist : Reading the Hollywood Reds. |d Berkeley : University of California Press, ©2014 |
| 776 | 0 | 8 | |i Print version: |a Smith, Jeff, 1962 December 17- |t Film criticism, the Cold War, and the blacklist : reading the Hollywood Reds |d Berkeley, California : University of California Press, c2014 |h xiii, 349 pages |z 9780520280670 |w 2013037614 |
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