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  3. 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
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  • Contents

  • 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
Citable Link
Published: 2010
Publisher: Columbia University Press
ISBN(s)
  • 9780231512282 (ebook)
  • 9780231142502 (hardcover)
Series
  • Gutenberg-e
Subject
  • American: 1900-present

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Exhibitors Manual: CF

Exhibitors Manual: CF

Exhibitors Manual: CF

Schary’s note to Scott

Schary’s note to Scott

Schary’s note to Scott

DS FBI File, January 2, 1951

DS FBI File, January 2, 1951

DS FBI File, January 2, 1951

Scott, typescript of “Some of My Worst Friends”

Scott, typescript of “Some of My Worst Friends”

Scott, typescript of “Some of My Worst Friends”

Credit: Courtesy Amherst College Archives and Special Collections

Credit: Courtesy Amherst College Archives and Special Collections

Yearbook blurb on Robert Adrian Scott, the Olio, Amherst College, 1934 Credit: Courtesy Amherst College Archives and Special Collections

Report on Dore Schary, FBI Director J. Edgar Hoover to the Attorney General, November 13, 1947

Report on Dore Schary, FBI Director J. Edgar Hoover to the Attorney General, November 13, 1947

Report on Dore Schary, FBI Director J. Edgar Hoover to the Attorney General, November 13, 1947

AS FBI File, June 29, 1949

AS FBI File, June 29, 1949

AS FBI File, June 29, 1949

Scott to Kook and Cohen

Scott to Kook and Cohen

Scott to Kook and Cohen

“Crossfire: A Discussion Among Experts”

“Crossfire: A Discussion Among Experts”

“Crossfire: A Discussion Among Experts”

Speech by Adrian Scott, March 5, 1948

Speech by Adrian Scott, March 5, 1948

Speech by Adrian Scott, March 5, 1948

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 Marian Avery, February 13, 1949 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Scott telegram to Kenny

Scott telegram to Kenny

Scott telegram to Kenny

Powell, “The Role I Liked Best”

Powell, “The Role I Liked Best”

Powell, “The Role I Liked Best”

Scott to [scribbled out], November 17, 1955

Scott to [scribbled out], November 17, 1955

Scott to [scribbled out], November 17, 1955

Schary to Horkheimer, April 28, 1947

Schary to Horkheimer, April 28, 1947

Schary to Horkheimer, April 28, 1947

Breakdown of Preview Cards—Yorkville

Breakdown of Preview Cards—Yorkville

Breakdown of Preview Cards—Yorkville

ED FBI File, Feb 13, 1951

ED FBI File, Feb 13, 1951

ED FBI File, Feb 13, 1951

Credit: Courtesy Motion Picture Association of America and Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Credit: Courtesy Motion Picture Association of America and Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

Local censor board report on Murder, My Sweet, February 6, 1945 Credit: Courtesy Motion Picture Association of America and Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie

The Other Side of the Story

The Other Side of the Story

The Other Side of the Story

Cohen, “Letter to the Movie-Makers,” Commentary

Cohen, “Letter to the Movie-Makers,” Commentary

Cohen, “Letter to the Movie-Makers,” Commentary

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