By Rebecca Prime
Rebecca leading records the untold tale of the yankee administrators, screenwriters, and actors who exiled themselves to Europe end result of the Hollywood blacklist. in the course of the Nineteen Fifties and Sixties, those Hollywood émigrés directed, wrote, or starred in nearly 100 ecu productions, their contributions starting from crime movie masterpieces like Du rififi chez les hommes (1955, Jules Dassin, director) to overseas blockbusters like The Bridge at the River Kwai (1957, Carl Foreman and Michael Wilson, screenwriters) and acclaimed paintings movies like The Servant (1963, Joseph Losey, director).
At as soon as a full of life portrait of a lesser-known American “lost new release” and an exam of a huge transitional second in eu cinema, the e-book deals a compelling argument for the importance of the blacklisted émigrés to our realizing of postwar American and ecu cinema and chilly battle relatives. top offers distinctive money owed of the creation and reception in their ecu movies that make clear the ambivalence with which Hollywood used to be looked inside of postwar ecu tradition. Drawing upon broad archival study, together with formerly categorised fabric, Hollywood Exiles in Europe indicates the necessity to reconsider our realizing of the Hollywood blacklist as a only family phenomenon. by means of laying off new mild on ecu cinema’s altering dating with Hollywood, the e-book illuminates the postwar shift from nationwide to transnational cinema.
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Additional info for Hollywood Exiles in Europe: The Blacklist and Cold War Film Culture
Sample text
A number of factors contributed to this growth. Party leaders, acknowledging Hollywood’s potential for delivering candy-coated communism to a mass audience, started directing resources toward the movie industry section of the CPUSA. 20 One reason for the small branch size was the need for secrecy; it was generally understood that membership in the CPUSA could come at the cost of employment and even personal safety. Despite these risks, or perhaps because of them, the CPUSA quickly made inroads into the Hollywood studios, largely facilitated by the Party’s support for the formation of a Popular Front against fascism.
Being a communist was time-consuming. I attended events of one sort or another four or five nights a week. There were separate organizational and educational gatherings of my branch, and “fraction” meetings of Communists and close sympathizers within the Screen Writer’s Guild. Meanwhile, as a representative of 18 Holly w ood E x iles in Europe the younger writers, I had been elected to the Guild’s executive board, which had all-too-frequent meetings of its own. In addition, there were the various Guild committees and similar groups like the Hollywood Anti-Nazi League, the Motion Picture Artists Committee for Spanish Democracy and, during the war years, the Hollywood Writers Mobilization and Russian War Relief.
S. government, acting in concert with the MPPA, prevented the film from finding any sort of foreign release. In the absence of commercial assistance, the wives and friends of the Ten distributed the film themselves and organized screenings in venues ranging from meeting halls to living rooms. The mood of Hollywood’s radical community was evolving rapidly as anger and disbelief faded into despair. Many on the Left put off acknowledging the changing political climate for as long as possible. . Sure, I understood that there was more involved than merely the fate of these ten people, that the cold war had started and that the witch-hunt was not probably going to stop with the Ten in Hollywood.