LEADER 00912nam0 2200277 450 001 000022467 005 20081009100449.0 100 $a20081009d1959----km-y0itaa50------ba 101 0 $ager 102 $aDE 200 1 $aAusgewählte Briefe$fGottfried Benn$gmit einem Nachwort von Max Rychner 205 $a2. 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A Bifocal View of Hollywood during the Blacklist Period: Film as Propaganda and Allegory -- $t2. I Was a Communist for RKO: Hollywood Anti-Communism and the Problem of Representing Political Beliefs -- $t3. Reds and Blacks: Representing Race in Anti-Communist Films -- $t4. Stoolies, Cheese-Eaters, and Tie Sellers: Genre, Allegory, and the HUAC Informer -- $t5. The Cross and the Sickle: Allegorical Representations of the Blacklist in Historical Films -- $t6. Roaming the Plains along the "New Frontier": The Western as Allegory of the Blacklist and the Cold War -- $t7. Loving the Alien: Science Fiction Cinema as Cold War Allegory -- $tConclusion: Old Wounds and the Texas Sharpshooter -- $tNotes -- $tBibliography -- $tIndex 330 $aFilm 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. 606 $aMotion pictures$xPolitical aspects$zUnited States 606 $aMotion pictures$zUnited States$xHistory$y20th century 606 $aCold War in motion pictures 606 $aCommunism and motion pictures$zUnited States 606 $aBlacklisting of entertainers$zUnited States$xHistory$y20th century 610 $a20th century american culture. 610 $a20th century american history. 610 $aallegory. 610 $aamerican entertainment culture. 610 $aamerican films. 610 $aanti communist propaganda. 610 $acold war. 610 $acommunism. 610 $acritical lens. 610 $aentertainment blacklist. 610 $afilm and television. 610 $afilm criticism. 610 $afilm history. 610 $ahistorical films. 610 $ahollywood blacklist. 610 $ahollywood. 610 $ahouse committee on un american activities. 610 $ahuac. 610 $aliterary allegory. 610 $amovie studies. 610 $apolice procedures. 610 $apolitical. 610 $apolitics. 610 $apostwar period. 610 $apropaganda films. 610 $apropaganda. 610 $ascience fiction films. 610 $avillains. 610 $awesterns. 615 0$aMotion pictures$xPolitical aspects 615 0$aMotion pictures$xHistory 615 0$aCold War in motion pictures. 615 0$aCommunism and motion pictures 615 0$aBlacklisting of entertainers$xHistory 676 $a791.43/6582825 700 $aSmith$b Jeff$f1962 December 17-$01625037 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910816881103321 996 $aFilm criticism, the Cold War, and the blacklist$93960312 997 $aUNINA