LEADER 04533nam 2200709 450 001 9910453357803321 005 20200520144314.0 010 $a0-520-28068-7 010 $a0-520-95851-9 024 7 $a10.1525/9780520958517 035 $a(CKB)2550000001254548 035 $a(EBL)1663940 035 $a(SSID)ssj0001179993 035 $a(PQKBManifestationID)11671722 035 $a(PQKBTitleCode)TC0001179993 035 $a(PQKBWorkID)11186762 035 $a(PQKB)11044541 035 $a(MiAaPQ)EBC1663940 035 $a(OCoLC)875820421 035 $a(MdBmJHUP)muse32330 035 $a(DE-B1597)518861 035 $a(DE-B1597)9780520958517 035 $a(Au-PeEL)EBL1663940 035 $a(CaPaEBR)ebr10856381 035 $a(CaONFJC)MIL587836 035 $a(EXLCZ)992550000001254548 100 $a20140413h20142014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aFilm criticism, the Cold War, and the blacklist $ereading the Hollywood Reds /$fJeff Smith 210 1$aBerkeley, California :$cUniversity of California Press,$d2014. 210 4$dİ2014 215 $a1 online resource (365 p.) 300 $aDescription based upon print version of record. 311 $a0-520-28067-9 311 $a1-306-56585-5 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tIllustrations -- $tTables -- $tAcknowledgments -- $tIntroduction: What More Can Be Said about the Hollywood Blacklist? -- $t1. 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 608 $aElectronic books. 615 0$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-$01043513 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910453357803321 996 $aFilm criticism, the Cold War, and the blacklist$92468536 997 $aUNINA