Film criticism, the Cold War, and the blacklist : reading the Hollywood Reds
著者
書誌事項
Film criticism, the Cold War, and the blacklist : reading the Hollywood Reds
University of California Press, c2014
- : pbk
大学図書館所蔵 全4件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
Film 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.
目次
List of Illustrations List of 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 Index
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