05484nam 2201045 450 991081688110332120230803221051.00-520-28068-70-520-95851-910.1525/9780520958517(CKB)2550000001254548(EBL)1663940(SSID)ssj0001179993(PQKBManifestationID)11671722(PQKBTitleCode)TC0001179993(PQKBWorkID)11186762(PQKB)11044541(MiAaPQ)EBC1663940(OCoLC)875820421(MdBmJHUP)muse32330(DE-B1597)518861(DE-B1597)9780520958517(Au-PeEL)EBL1663940(CaPaEBR)ebr10856381(CaONFJC)MIL587836(EXLCZ)99255000000125454820140413h20142014 uy 0engur|n|---|||||txtccrFilm criticism, the Cold War, and the blacklist reading the Hollywood Reds /Jeff SmithBerkeley, California :University of California Press,2014.©20141 online resource (365 p.)Description based upon print version of record.0-520-28067-9 1-306-56585-5 Includes bibliographical references and index.Frontmatter -- Contents -- Illustrations -- 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 -- 5. The Cross and the Sickle: Allegorical Representations of the Blacklist in Historical Films -- 6. 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 -- IndexFilm 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.Motion picturesPolitical aspectsUnited StatesMotion picturesUnited StatesHistory20th centuryCold War in motion picturesCommunism and motion picturesUnited StatesBlacklisting of entertainersUnited StatesHistory20th century20th century american culture.20th century american history.allegory.american entertainment culture.american films.anti communist propaganda.cold war.communism.critical lens.entertainment blacklist.film and television.film criticism.film history.historical films.hollywood blacklist.hollywood.house committee on un american activities.huac.literary allegory.movie studies.police procedures.political.politics.postwar period.propaganda films.propaganda.science fiction films.villains.westerns.Motion picturesPolitical aspectsMotion picturesHistoryCold War in motion pictures.Communism and motion picturesBlacklisting of entertainersHistory791.43/6582825Smith Jeff1962 December 17-1625037MiAaPQMiAaPQMiAaPQBOOK9910816881103321Film criticism, the Cold War, and the blacklist3960312UNINA