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  2. Caught in the crossfire: Adrian Scott and the politics of Americanism in 1940s Hollywood

Caught in the crossfire: Adrian Scott and the politics of Americanism in 1940s Hollywood

Jennifer E. Langdon 2010 © Columbia University Press
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Series
  • Gutenberg-e
ISBN(s)
  • 9780231512282 (ebook)
  • 9780231142502 (hardcover)
Subject
  • American: 1900-present
Citable Link
  • Table of Contents

  • Resources

  • Stats

  • Cover
  • Title Page
  • Copyright and Permissions
  • List of Illustrations and Documents
  • Acknowledgments
  • Introduction: Discovering Crossfire: Texts and Contexts
  • Chapter 1 Reel Reds, Real Americans: Politics and Culture in the Studio System
    • [Intro]
    • Adrian Scott: Starting Out in the Thirties
    • Friends and Enemies: Working in the Studio System
    • Red Hollywood: Politics and Culture of the Popular Front
    • Adrian Scott in Hollywood
  • Chapter 2 Raising the Cry of Alarm: Popular Nationalism, World War Two, and the New Political Filmmaking
    • [Intro]
    • Popular Nationalism between the Wars
    • Antifascist Filmmaking in Hollywood
    • Hollywood Goes to War
    • Mr. RKO: Edward Dmytryk and the New Political Filmmaking
    • Mr. Lucky: Adrian Scott and the New Political Filmmaking
    • The Conservative Backlash: Hoover versus Hollywood
  • Chapter 3 Progressive Producer in the Studio System: Film Noir and the Production of Murder, My Sweet
    • [Intro]
    • Pulp Fiction and Hollywood Realism
    • Hard-Boiled, from Page to Screen
    • Edward Dmytryk and Noir Style
    • Negotiating the Production Code
    • Audience and Critical Response
    • Radical Visions for Postwar America
  • Chapter 4 They Must Not Escape: Cornered and the Specter of Postwar Fascism
    • [Intro]
    • The Production of Cornered
    • The Public Reception of Cornered
    • The Radical Response to Cornered
  • Chapter 5 You Can’t Do That: From The Brick Foxhole to Crossfire
    • [Intro]
    • The Brick Foxhole: Popular Nationalism and the Specter of Native Fascism
    • The Brick Foxhole in Hollywood
    • Pitching The Brick Foxhole
    • The Role of Dore Schary
    • Adapting The Brick Foxhole
    • Telling Stories, Telling Lies: Ruptured Narrative in Crossfire
  • Chapter 6 It Can Happen Here: Noir Style and the Politics of Antifascism in Crossfire
    • [Intro]
    • Performativity and Intertextuality
    • Screenplay Revisions and the Final Shoot
    • The Industry Buzz
  • Chapter 7 Is it Good for the Jews? The Jewish Response to Crossfire
    • [Intro]
    • Strategizing Jewish Defense
    • The Debate over Crossfire
    • The Battle of the Experts
    • The Commentary Debate
  • Chapter 8 Hate is Like a Loaded Gun: Shaping the Public Response to Crossfire
    • [Intro]
    • Will It Play in Peoria?
    • The RKO Publicity Campaign
    • The Critical Response
  • Chapter 9 Americanism on Trial: HUAC, the Hollywood Ten, and the Politics of Anti-Communism
    • [Intro]
    • The Conservative Offensive
    • Progressive Hollywood Fights Back
    • Hollywood versus HUAC: Round One
    • The Road to the Blacklist
    • “What the Public Thinks”
  • Chapter 10 The Triumph of Anti-Communist Americanism: The Blacklist and Beyond
    • [Intro]
    • From the Blacklist to Prison
    • Dore Schary and the Crisis of Hollywood Liberalism
    • The Defection of Edward Dmytryk
    • Adrian Scott: Living on the Blacklist
  • Conclusion: Freedom of the Screen? The Politics of Postwar Cultural Production
  • Notes
    • Introduction
    • Chapter 1 Reel Reds, Real Americans: Politics and Culture in the Studio System
    • Chapter 2 Raising the Cry of Alarm: Popular Nationalism, World War Two, and the New Political Filmmaking
    • Chapter 3 Progressive Producer in the Studio System: Film Noir and the Production of Murder, My Sweet
    • Chapter 4 They Must Not Escape: Cornered and the Specter of Postwar Fascism
    • Chapter 5 You Can’t Do That: From The Brick Foxhole to Crossfire
    • Chapter 6 It Can Happen Here: Noir Style and the Politics of Antifascism in Crossfire
    • Chapter 7 Is it Good for the Jews? The Jewish Response to Crossfire
    • Chapter 8 Hate is Like a Loaded Gun: Shaping the Public Response to Crossfire
    • Chapter 9 Americanism on Trial: HUAC, the Hollywood Ten, and the Politics of Anti-Communism
    • Chapter 10 The Triumph of Anti-Communist Americanism: The Blacklist and Beyond
    • Conclusion: Freedom of the Screen? The Politics of Postwar Cultural Production
  • Abbreviations
  • Works Cited
    • Published Sources
    • Non-published sources
  • On Primary Sources
  • About the Author

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ED FBI File, April 2, 1951

ED FBI File, April 2, 1951

ED FBI File, April 2, 1951

Scott, Address at meeting in honor of Fast and Scott, September 13, 1950

Scott, Address at meeting in honor of Fast and Scott, September 13, 1950

Scott, Address at meeting in honor of Fast and Scott, September 13, 1950

Scott, typescript of “Some of My Worst Friends”

Scott, typescript of “Some of My Worst Friends”

Scott, typescript of “Some of My Worst Friends”

Adrian Scott, “You Can’t Do That”

Adrian Scott, “You Can’t Do That”

Adrian Scott, “You Can’t Do That”

Trager and Raths, “Public Opinion and Crossfire”

Trager and Raths, “Public Opinion and Crossfire”

Trager and Raths, “Public Opinion and Crossfire”

Credit: Courtesy Jewish Federation Council of Greater Los Angeles Community Relations Committee Collection, Urban Archives Center, University Library, California State University-Northridge

Credit: Courtesy Jewish Federation Council of Greater Los Angeles Community Relations Committee Collection, Urban Archives Center, University Library, California State University-Northridge

Leaflet from 1930s Los Angeles, depicting Hollywood as a hotbed of Jews, Communists and moral degenerates Credit: Courtesy Jewish Federation Council of Greater Los Angeles Community Relations Committee Collection, Urban Archives Center, University Library, California State University-Northridge

Scott’s notes from conversations with Schary

Scott’s notes from conversations with Schary

Scott’s notes from conversations with Schary

Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Adrian Scott to Charlotte Weber, November 12, 1947 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Scott, attorney Bartley Crum, and Dmytryk in Washington for the HUAC hearings, October 1947 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Gene Kern, Office of War Information, to William Gordon, July 5, 1945 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

“Crossfire Takes New York by Storm!” Radio Flash

“Crossfire Takes New York by Storm!” Radio Flash

“Crossfire Takes New York by Storm!” Radio Flash

Scott statement to HUAC

Scott statement to HUAC

Scott statement to HUAC

Schary, “Letter from a Movie-Maker”

Schary, “Letter from a Movie-Maker”

Schary, “Letter from a Movie-Maker”

Scott, “Some of My Worst Friends”

Scott, “Some of My Worst Friends”

Scott, “Some of My Worst Friends”

David Platt, “CF Hits Target”

David Platt, “CF Hits Target”

David Platt, “CF Hits Target”

Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

“Farewell My Lovely,” Showmen’s Trade Review, December 9, 1944 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Cecilia Ager, “Movie Colony’s Free Speech Group Practices What It Preaches” PM Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

English, “What Makes a Hollywood Communist?” Saturday Evening Post

English, “What Makes a Hollywood Communist?” Saturday Evening Post

English, “What Makes a Hollywood Communist?” Saturday Evening Post

Dmytryk FBI File, March 10, 1951

Dmytryk FBI File, March 10, 1951

Dmytryk FBI File, March 10, 1951

Scott and Dmytryk, telegram to Thomas

Scott and Dmytryk, telegram to Thomas

Scott and Dmytryk, telegram to Thomas

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