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J. Edgar Hoover Goes to the Movies : The FBI and the Origins of Hollywood's Cold War /
Sbardellati argues that the attack on Hollywood drew its motivation from a sincerely held fear that film content endangered national security by fostering a culture that would be at best apathetic to the Cold War struggle, or, at its worst, conducive to communism at home. Those who took part in Holl...
| Autor principal: | |
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| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Ithaca :
Cornell University Press,
2012.
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Sbardellati, John, |d 1973- | |
| 245 | 1 | 0 | |a J. Edgar Hoover Goes to the Movies : |b The FBI and the Origins of Hollywood's Cold War / |c John Sbardellati. |
| 264 | 1 | |a Ithaca : |b Cornell University Press, |c 2012. | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2014 | |
| 264 | 4 | |c ©2012. | |
| 300 | |a 1 online resource (264 pages): |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 505 | 0 | |a Introduction : Hollywood's Red scare -- A movie problem -- The FBI's search for communist propaganda during the Second World War -- Producing Hollywood's Cold War -- The coalescence of a counter-subversive network -- The 1947 HUAC trials -- Rollback -- Conclusion : three perspectives on the death of the social problem film. | |
| 520 | |a Sbardellati argues that the attack on Hollywood drew its motivation from a sincerely held fear that film content endangered national security by fostering a culture that would be at best apathetic to the Cold War struggle, or, at its worst, conducive to communism at home. Those who took part in Hollywood's Cold War struggle, whether on the left or right, shared one common trait: a belief that the movies could serve as engines for social change. This strongly held assumption explains why the stakes were so high and, ultimately, why Hollywood became one of the most important ideological battlegrounds of the Cold War."--Pub. desc. | ||
| 520 | |a In J. Edgar Hoover Goes to the Movies, John Sbardellati provides a new consideration of Hollywood's history and the post-World War II Red Scare. In addition to governmental intrusion into the creative process, he details the efforts of left-wing filmmakers to use the medium to bring social problems to light and the campaigns of their colleagues on the political right, through such organizations as the Motion Picture Alliance for the Preservation of American Ideals, to prevent dissemination of "un-American" ideas and beliefs. | ||
| 520 | |a "Between 1942 and 1958, J. Edgar Hoover's Federal Bureau of Investigation conducted a sweeping and sustained investigation of the motion picture industry to expose Hollywood's alleged subversion of "the American Way" through its depiction of social problems, class differences, and alternative political ideologies. FBI informants (their names still redacted today) reported to Hoover's G-men on screenplays and screenings of such films as Frank Capra's It's a Wonderful Life (1946), noting that "this picture deliberately maligned the upper class attempting to show that people who had money were mean and despicable characters." The FBI's anxiety over this film was not unique; it extended to a wide range of popular and critical successes, including The Grapes of Wrath (1940), The Best Years of Our Lives (1946), Crossfire (1947) and On the Waterfront (1954). | ||
| 546 | |a In English. | ||
| 588 | |a Description based on print version record. | ||
| 610 | 1 | 7 | |a USA |b Federal Bureau of Investigation |2 gnd |
| 610 | 1 | 7 | |a USA |b Committee on Un-American Activities |2 gnd |
| 610 | 1 | 7 | |a United States. |b Federal Bureau of Investigation |2 fast |0 (OCoLC)fst00528882 |
| 610 | 1 | 6 | |a États-Unis. |b Federal Bureau of Investigation. |
| 610 | 1 | 0 | |a United States. |b Federal Bureau of Investigation. |
| 650 | 7 | |a Kommunismus |g Motiv |2 gnd | |
| 650 | 7 | |a Ost-West-Konflikt |g Motiv |2 gnd | |
| 650 | 7 | |a Filmpolitik |2 gnd | |
| 650 | 7 | |a Motion pictures |x Political aspects |2 fast |0 (OCoLC)fst01027353 | |
| 650 | 7 | |a Communism and motion pictures |2 fast |0 (OCoLC)fst00870516 | |
| 650 | 7 | |a Cold War (1945-1989) in motion pictures. |2 fast |0 (OCoLC)fst00866989 | |
| 650 | 7 | |a Social aspects. |2 fast |0 (OCoLC)fst01354981 | |
| 650 | 7 | |a TECHNOLOGY & ENGINEERING |x Telecommunications. |2 bisacsh | |
| 650 | 7 | |a BUSINESS & ECONOMICS |x Industries |x Media & Communications. |2 bisacsh | |
| 650 | 7 | |a HISTORY |z United States |y 20th Century. |2 bisacsh | |
| 650 | 6 | |a Guerre froide |x Aspect social |z États-Unis. | |
| 650 | 6 | |a Communisme et cinema |z États-Unis. | |
| 650 | 6 | |a Guerre froide au cinema. | |
| 650 | 0 | |a Cold War |x Social aspects |z United States. | |
| 650 | 0 | |a Communism and motion pictures |z United States. | |
| 650 | 0 | |a Cold War in motion pictures. | |
| 650 | 0 | |a Motion pictures |x Political aspects |z United States |x History. | |
| 651 | 7 | |a Hollywood Bowl |g Los Angeles, Calif. |2 gnd | |
| 651 | 7 | |a United States |2 fast |0 (OCoLC)fst01204155 | |
| 630 | 0 | 7 | |a Bibel |p Philemonbrief |2 gnd |
| 655 | 7 | |a History. |2 fast |0 (OCoLC)fst01411628 | |
| 655 | 7 | |a Electronic books. |2 local | |
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| 830 | 0 | |a Book collections on Project MUSE. | |
| 856 | 4 | 0 | |z Texto completo |u https://projectmuse.uam.elogim.com/book/24141/ |
| 945 | |a Project MUSE - Custom Collection | ||
| 945 | |a Project MUSE - 2012 History Supplement II | ||
| 945 | |a Project MUSE - 2012 Complete Supplement II | ||