Hollywood blacklist wikipedia: Think it can't happen again?

On 12/22/14, joe harcz Comcast <joeharcz@comcast.net> wrote:
> Hollywood blacklist - Wikipedia, the free encyclopedia
>
> Hollywood blacklist
> From Wikipedia, the free encyclopedia
> Jump to:
> navigation,
> search
> This article is about political blacklists in the 1940s and 1950s. For the
> 1950 short documentary film about this, see
> The Hollywood Ten.
> H10Protest.gif/300px-H10Protest
> Enlarge
> Members of the
> Hollywood Ten
> and their families in 1950, protesting the impending incarceration of the
> ten
>
> The Hollywood blacklist--as the broader entertainment industry blacklist is
> generally known--was the mid-20th-century practice of denying employment to
> screenwriters,
> actors, directors, musicians, and other U.S. entertainment professionals
> because of their suspected political beliefs or associations. Artists were
> barred
> from work on the basis of their alleged membership in or sympathy with the
> American Communist Party,
> involvement in progressive political causes that enforcers of the
> blacklist
> associated with communism, and refusal to assist investigations into
> Communist Party activities. Even during the period of its strictest
> enforcement, the
> late 1940s through the late 1950s, the blacklist was rarely made explicit or
> verifiable, but it directly damaged the careers of scores of individuals
> working
> in the film industry.
>
> The first systematic Hollywood blacklist was instituted on November 25,
> 1947, the day after ten writers and directors were cited for
> contempt of Congress
> for refusing to testify to the
> House Committee on Un-American Activities.
> A group of
> studio
> executives, acting under the
> aegis
> of the
> Motion Picture Association of America,
> fired the artists--the so-called
> Hollywood Ten
> --and made what has become known as the
> Waldorf Statement.
>
> On June 22, 1950, a pamphlet entitled
> Red Channels
> was published. Focused on the field of broadcasting, it identified 151
> entertainment industry professionals in the context of "Red Fascists and
> their sympathizers."
> Soon most of those named, along with a host of other artists, were barred
> from employment in most of the entertainment field.
>
> The blacklist lasted until 1960, when
> Dalton Trumbo,
> an unrepentant communist and member of the Hollywood Ten, was credited as
> the screenwriter of his highly successful film Exodus, and later publicly
> acknowledged
> by actor
> Kirk Douglas
> for the movie
> Spartacus.
> [1]
> A number of those blacklisted, however, were barred from work in their
> professions for years afterward.
>
> Contents
> List of 7 items (contains 2 nested lists)
> * 1 Overview
> List of 6 items nesting level 1
> * 1.1 Historical background
> * 1.2 The blacklist begins (1946-1947)
> * 1.3 The list grows (1948-50)
> * 1.4 HUAC returns (1951-52)
> * 1.5 The blacklist at its height (1952-56)
> * 1.6 Breaking the blacklist (1957-present)
> list end nesting level 1
> * 2 The Hollywood Ten and other 1947 blacklistees
> List of 5 items nesting level 1
> * 2.1 The Hollywood Ten
> * 2.2 Others
> * 2.3 People first blacklisted between January 1948 and June 1950
> * 2.4 The Red Channels list
> * 2.5 Others first blacklisted after June 1950
> list end nesting level 1
> * 3 Notes
> * 4 References
> * 5 Sources
> * 6 Further reading
> * 7 External links
> list end
>
> Overview[
> edit]
>
> Historical background[
> edit]
>
> The Hollywood blacklist was rooted in events of the 1930s and the early
> 1940s, encompassing the height of the
> Great Depression
> and World War II. Two major
> film industry
> strikes during the 1930s increased tensions between the Hollywood producers
> and the unions, particularly the
> Screen Writers Guild.
> [2]
>
> The American Communist Party lost substantial support after the
> Moscow show trials
> of 1936-38 and the
> German-Soviet Nonaggression Pact
> of 1939. The U.S. government began turning its attention to the possible
> links between Hollywood and the party during this period. Under then
> chairman
> Martin Dies, Jr.,
> the
> House Committee on Un-American Activities
> (HUAC) released a report in 1938 claiming that
> communism
> was pervasive in Hollywood. Two years later, Dies privately took testimony
> from a former Communist Party member, John L. Leech, who named forty-two
> movie
> industry professionals as Communists. After Leech repeated his charges in
> supposed confidence to a Los Angeles grand jury, many of the names were
> reported
> in the press, including those of stars
> Humphrey Bogart,
> James Cagney,
> Katharine Hepburn,
> Melvyn Douglas
> and
> Fredric March,
> among other well-known Hollywood figures. Dies said he would "clear" all
> those who cooperated by meeting with him in what he called "executive
> session".
> Within two weeks of the grand jury leak, all those on the list except for
> actress
> Jean Muir
> had met with the HUAC chairman. Dies "cleared" everyone except actor
> Lionel Stander,
> who was fired by the movie studio,
> Republic Pictures,
> where he was contracted.
> [3]
>
> In 1941, producer
> Walt Disney
> took out an ad in
> Variety,
> the industry trade magazine, declaring his conviction that "Communist
> agitation" was behind a
> cartoonists and animators' strike.
> According to historians Larry Ceplair and Steven Englund, "In actuality, the
> strike had resulted from Disney's overbearing paternalism, high-handedness,
> and insensitivity."
> [4]
> Inspired by Disney, California State Senator
> Jack Tenney,
> chairman of the state legislature's
> Joint Fact-Finding Committee on Un-American Activities,
> launched an investigation of "Reds in movies". The probe fell flat, and was
> mocked in several Variety headlines.
> [4]
>
> The subsequent wartime alliance between the United States and the Soviet
> Union brought the American Communist Party newfound credibility. During the
> war,
> membership in the party reached a peak of 50,000.
> [5]
> As World War II drew to a close, perceptions changed again, with communism
> increasingly becoming a focus of American fears and hatred. In 1945,
> Gerald L. K. Smith,
> founder of the
> neofascist
> America First Party,
> began giving speeches in Los Angeles assailing the "alien minded Russian
> Jews in Hollywood".
> [6]
> Mississippi congressman
> John E. Rankin,
> a member of HUAC, held a press conference to declare that "one of the most
> dangerous plots ever instigated for the overthrow of this Government has
> its
> headquarters in Hollywood ... the greatest hotbed of subversive activities
> in the United States." Rankin promised, "We're on the trail of the
> tarantula
> now".
> [7]
> Reports of Soviet repression in Eastern and Central Europe in the war's
> aftermath added more fuel to what became known as the "
> Second Red Scare".
> The growth of conservative political influence and the
> Republican
> triumph in the 1946 Congressional elections, which saw the party take
> control of both the
> House
> and
> Senate,
> led to a major revival of institutional anticommunist activity, publicly
> spearheaded by HUAC. The following year, the
> Motion Picture Alliance for the Preservation of American Ideals
> (MPA), a political action group cofounded by Walt Disney, issued a pamphlet
> advising producers on the avoidance of "subtle communistic touches" in
> their
> films. Its counsel revolved around a list of ideological prohibitions, such
> as "Don't smear the free-enterprise system ... Don't smear industrialists
> ...
> Don't smear wealth ... Don't smear the profit motive ... Don't deify the
> 'common man'... Don't glorify the collective".
> [8]
>
> The blacklist begins (1946-1947)[
> edit]
>
> On July 29, 1946,
> William R. Wilkerson,
> publisher and founder of
> The Hollywood Reporter,
> published a "TradeView" column entitled "A Vote For
> Joe Stalin".
> It named as Communist sympathizers
> Dalton Trumbo,
> Maurice Rapf,
> Lester Cole,
> Howard Koch,
> Harold Buchman, John Wexley,
> Ring Lardner Jr.,
> Harold Salemson, Henry Meyers, Theodore Strauss, and
> John Howard Lawson.
> In August and September 1946, Wilkerson published other columns containing
> names of numerous purported Communists and sympathizers. They became known
> as
> "Billy's List" and "Billy's Blacklist."
> [9]
> [10]
>
> In 2012, in a 65th anniversary article, Wilkerson's son apologized for the
> newspaper's role in the blacklist. He said that his father was motivated by
> revenge
> for his own thwarted ambition to own a studio.
> [11]
>
> In October 1947, drawing upon the list named in the Hollywood Reporter, the
> House Committee on Un-American Activities subpoenaed a number of persons
> working
> in the Hollywood film industry to testify at hearings. It had declared its
> intention to investigate whether Communist agents and sympathizers had been
> planting propaganda in U.S. films.
> [10]
> [12]
>
> The hearings opened with appearances by
> Walt Disney
> and
> Ronald Reagan,
> then president of the
> Screen Actors Guild.
> Disney testified that the threat of Communists in the film industry was a
> serious one.
> [13]
> In his testimony before the HUAC, Reagan named several members of his union
> as communist sympathizers. (Later his first wife, actress
> Jane Wyman
> stated in her biography with Joe Morella (1985) that Reagan's allegations
> against friends and colleagues led to tension in their marriage eventually
> resulting
> in their divorce.) Actor
> Adolphe Menjou
> declared, "I am a witch hunter if the witches are Communists. I am a
> Red-baiter.
> I would like to see them all back in Russia."
> [14]
>
> In contrast, several leading Hollywood figures, including director
> John Huston
> and actors Humphrey Bogart,
> Lauren Bacall,
> and
> Danny Kaye,
> organized the
> Committee for the First Amendment
> to protest the government's targeting of the film industry.
> [15]
> The group came under attack as being naive or foolish. Under pressure from
> his studio,
> Warner Brothers,
> to distance himself from the Hollywood Ten, Bogart negotiated a statement
> that did not denounce the committee, but said that his trip was
> "ill-advised,
> even foolish."
> [16]
> At a Committee for the First Amendment meeting, Bogart shouted at Danny
> Kaye, "You fuckers sold me out." Billy Wilder told the group that "we oughta
> fold."
> [17]
>
> Many of the film industry professionals in whom HUAC had expressed
> interest--primarily screenwriters, but also actors, directors, producers, and
> others--were
> either known or alleged to have been members of the American Communist
> Party. Of the 43 people put on the witness list, 19 declared that they would
> not
> give evidence. Eleven of these nineteen were called before the committee.
> Members of the Committee for the First Amendment flew to Washington ahead
> of
> this climactic phase of the hearing, which commenced on Monday, October 27.
> [18]
> Of the eleven "unfriendly witnesses", one, émigré playwright
> Bertolt Brecht
> ultimately chose to answer the committee's questions.
> [19]
> [20]
>
> The other ten refused, citing their
> First Amendment
> rights to
> freedom of speech
> and assembly. The crucial question they refused to answer is now generally
> rendered as "Are you now or have you ever been a member of the
> Communist Party?"
> Each had at one time or another been a member, as many intellectuals during
> the Great Depression felt that the Party offered an alternative to
> capitalism.
> Some still were members, others had been active in the past and only
> briefly. The Committee formally accused these ten of
> contempt of Congress
> and began criminal proceedings against them in the full
> House of Representatives.
>
> In light of the "Hollywood Ten"'s defiance of HUAC--in addition to refusing
> to testify, many had tried to read statements decrying the committee's
> investigation
> as unconstitutional--political pressure mounted on the film industry to
> demonstrate its "anti-subversive" bona fides. Late in the hearings,
> Eric Johnston,
> president of the
> Motion Picture Association of America
> (MPAA), declared to the committee that he would never "employ any proven or
> admitted Communist because they are just a disruptive force and I don't
> want
> them around."
> [19]
> On November 17, the Screen Actors Guild voted to make its officers swear a
> pledge asserting each was not a Communist.
>
> The following week, on November 24, the House of Representatives voted 346
> to 17 to approve citations against the Hollywood Ten for contempt of
> Congress.
> The next day, following a meeting of
> film industry executives
> at New York's Waldorf-Astoria hotel, MPAA president Johnston issued a
> press release
> that is today referred to as the
> Waldorf Statement.
> [b]
> Their statement said that the ten would be fired or suspended without pay
> and not reemployed until they were cleared of contempt charges and had sworn
> that
> they were not Communists. The first Hollywood blacklist was in effect.
>
> The list grows (1948-50)[
> edit]
>
> The HUAC hearings had failed to turn up any evidence that Hollywood was
> secretly disseminating Communist propaganda, but the industry was
> nonetheless transformed.
> The fallout from the inquiry was a factor in the decision by
> Floyd Odlum,
> the primary owner of
> RKO Pictures,
> to get out of the business.
> [21]
> As a result, the studio would pass into the hands of
> Howard Hughes.
> Within weeks of taking over in May 1948, Hughes fired most of RKO's
> employees and virtually shut the studio down for six months as he had the
> political
> sympathies of the rest investigated. Then, just as RKO swung back into
> production,
> Hughes made the decision to settle
> a long-standing
> federal antitrust suit
> against the industry's
> Big Five studios.
> This would be one of the crucial steps in the collapse of the
> studio system
> that had governed Hollywood, and ruled much of world cinema, for a
> quarter-century.
>
> In early 1948, as well, all of the Hollywood Ten were convicted of contempt.
> Following a series of unsuccessful appeals, the cases arrived before the
> Supreme Court
> ; among the submissions filed in defense of the ten was an
> amicus curiae
> brief signed by 204 Hollywood professionals. After the court denied review,
> the Hollywood Ten began serving one-year prison sentences in 1950. In
> September
> 1950, one of the ten, director
> Edward Dmytryk,
> publicly announced that he had once been a Communist and was prepared to
> give evidence against others who had been as well. He was released early
> from jail;
> following his 1951 HUAC appearance, in which he described his brief
> membership in the party and named names, his career recovered.
> [22]
>
> The others remained silent and most were unable to obtain work in the
> American film and television industry for many years.
> Adrian Scott,
> who had produced four of Dmytryk's films--
> Murder, My Sweet
> ;
> Cornered
> ;
> So Well Remembered
> ; and
> Crossfire
> --was one of those named by his former friend. Scott's next screen credit
> would not come until 1972 and he would never produce another feature film.
> Some
> of those blacklisted continued to write for Hollywood or the broadcasting
> industry surreptitiously, using
> pseudonyms
> or the names of friends who posed as the actual writers (those who allowed
> their names to be used in this fashion were called "fronts"). Of the 204
> who
> signed the amicus brief, 84 would be blacklisted themselves.
> [23]
> There was a more general chilling effect: Humphrey Bogart, who had been one
> of the most prominent members of the Committee for the First Amendment,
> felt
> compelled to write an article for
> Photoplay
> magazine denying he was a Communist sympathizer.
> [24]
> The
> Tenney Committee,
> which had continued its state-level investigations, summoned songwriter
> Ira Gershwin
> to testify about his participation in the committee.
> [25]
> CounterattackMasthead.jpg/250px-CounterattackMasthead
> Enlarge
> The May 7, 1948, issue of the Counterattack newsletter warned readers about
> a radio talk show that had recently expanded its audience by moving from
> the
> Mutual
> network to
> ABC: "
> Communist Party members and fellow-travelers have often been guests on
> [Arthur] Gaeth's program."
>
> A number of nongovernmental organizations participated in enforcing and
> expanding the blacklist; in particular, the
> American Legion,
> the conservative war veterans' group, was instrumental in pressuring the
> entertainment industry to exclude those of political sympathies it disagreed
> with.
> In 1949, the Americanism Division of the Legion issued its own blacklist--a
> roster of 128 people whom it claimed were participants in the "Communist
> Conspiracy."
> Among the names on the Legion's list was that of well-known playwright
> Lillian Hellman.
> [26]
> Hellman had written or contributed to the screenplays of approximately ten
> motion pictures up to that point; she would not be employed again by a
> Hollywood
> studio until 1966.
>
> Another influential group was American Business Consultants Inc., founded in
> 1947. In the subscription information for its weekly publication
> Counterattack,
> "The Newsletter of Facts to Combat Communism", it declared that it was run
> by "a group of former FBI men. It has no affiliation whatsoever with any
> government
> agency." Notwithstanding that claim, it seems the editors of Counterattack
> had direct access to the files of both the
> Federal Bureau of Investigation
> and HUAC; the results of that access became widely apparent with the June
> 1950 publication of
> Red Channels.
> This Counterattack spinoff listed 151 people in entertainment and broadcast
> journalism, along with records of their involvement in what the pamphlet
> meant
> to be taken as Communist or pro-Communist activities.
> [27]
> A few of those named, such as Hellman, were already being denied employment
> in the motion picture, TV, and radio fields; the publication of Red
> Channels
> meant that scores more would be placed on the blacklist. That year,
> CBS
> instituted a loyalty oath which it required of all its employees.
> [28]
> Jean Muir
> was the first performer to lose employment because of a listing in Red
> Channels. In 1950 Muir was named as a
> Communist
> sympathizer in the pamphlet, and was immediately removed from the cast of
> the television sitcom
> The Aldrich Family,
> in which she had been cast as Mrs. Aldrich. NBC had received between 20 and
> 30 phone calls protesting her being in the show.
> General Motors,
> the sponsor, said that it would not sponsor programs in which "controversial
> persons" were featured. Though the company later received thousands of
> calls
> protesting the decision, it was not reversed.
> [29]
>
> HUAC returns (1951-52)[
> edit]
>
> In 1951, with the U.S. Congress now under Democratic control, HUAC launched
> a second investigation of Hollywood and Communism. As actor
> Larry Parks
> said when called before the panel,
> Block quote start
>
> Don't present me with the choice of either being in contempt of this
> committee and going to jail or forcing me to really crawl through the mud to
> be an
> informer. For what purpose? I don't think it is a choice at all. I don't
> think this is really sportsmanlike. I don't think this is American. I don't
> think
> this is American justice.
> [30]
> Block quote end
>
> Parks ultimately testified, becoming however reluctantly, a "friendly
> witness", and found himself blacklisted, nonetheless.
>
> In fact, the legal tactics of those refusing to testify had changed by this
> time; instead of relying on the First Amendment, they invoked the
> Fifth Amendment'
> s shield against self-incrimination (though, as before, Communist Party
> membership was not illegal). While this usually allowed a witness to avoid
> "naming
> names" without being indicted for contempt of Congress, "taking the Fifth"
> before HUAC guaranteed that one would be added to the industry blacklist.
> [31]
> Historians at times distinguish between the relatively official
> blacklist--the names of those who (a) were called by HUAC and, in whatever
> manner, refused
> to cooperate and/or (b) were identified as Communists in the hearings--and
> the so-called graylist--those others who were denied work because of their
> political
> or personal affiliations, real or imagined; the consequences, however, were
> largely the same. The graylist also refers more specifically to those who
> were
> denied work by the major studios but could still find jobs on
> Poverty Row:
> Composer
> Elmer Bernstein,
> for instance, was called by HUAC when it was discovered that he had written
> some music reviews for a Communist newspaper. After he refused to name
> names,
> pointing out that he had never attended a Communist Party meeting, he found
> himself composing music for movies such as
> Cat Women of the Moon.
> [32]
> Anticommunist_Literature_1950s.tiff/lossless-page1-200px-Anticommunist_Literature_1950s.tiff
> Enlarge
> Anticommunist tract from the 1950s, decrying the "REDS of Hollywood and
> Broadway"
>
> Like Parks and Dmytryk, others also cooperated with the committee. Some
> friendly witnesses gave broadly damaging testimony with less apparent
> reluctance,
> most prominently director
> Elia Kazan
> and screenwriter
> Budd Schulberg.
> Their cooperation in describing the political leanings of their friends and
> professional associates effectively brought a halt to dozens of careers and
> compelled a number of artists to depart for Mexico or Europe. Others were
> also forced abroad in order to work. Director
> Jules Dassin
> was among the best known of these. Briefly a Communist, Dassin had left the
> party in 1939. He was immediately blacklisted after Edward Dmytryk and
> fellow
> filmmaker
> Frank Tuttle
> named him to HUAC in 1952. Dassin left for France, and spent much of his
> remaining career in Greece.
> [33]
> Scholar Thomas Doherty describes how the HUAC hearings swept onto the
> blacklist those who had never even been particularly active politically, let
> alone
> suspected of being Communists:
> Block quote start
>
> [O]n March 21, 1951, the name of the actor
> Lionel Stander
> was uttered by the actor Larry Parks during testimony before HUAC. "Do you
> know Lionel Stander?" committee counsel
> Frank S. Tavenner
> inquired. Parks replied he knew the man, but had no knowledge of his
> political affiliations. No more was said about Stander either by Parks or
> the committee--no
> accusation, no insinuation. Yet Stander's phone stopped ringing. Prior to
> Parks's testimony, Stander had worked on ten television shows in the
> previous
> 100 days. Afterwards, nothing.
> [34]
> Block quote end
>
> When Stander was himself called before HUAC, he began by pledging his full
> support in the fight against "subversive" activities:
> Block quote start
>
> I know of a group of fanatics who are desperately trying to undermine the
> Constitution of the United States by depriving artists and others of Life,
> Liberty,
> and the Pursuit of Happiness without due process of law ... I can tell names
> and cite instances and I am one of the first victims of it ... [This is] a
> group of ex-Fascists and America-Firsters and anti-Semites, people who hate
> everybody including Negroes, minority groups and most likely themselves ...
> [T]hese people are engaged in a conspiracy outside all the legal processes
> to undermine the very fundamental American concepts upon which our entire
> system
> of democracy exists.
> [35]
> Block quote end
>
> Stander was clearly speaking of the committee itself.
> [36]
>
> The hunt for subversives extended into every branch of the entertainment
> industry. In the field of animation, two studios in particularly were
> affected:
> United Productions of America
> (UPA) was purged of a large portion of its staff, while New York-based Tempo
> was entirely crushed.
> [37]
> The HUAC investigation also effectively destroyed families. Screenwriter
> Richard Collins, after a brief period on the blacklist, became a friendly
> witness
> and dumped his wife, actress
> Dorothy Comingore,
> who refused to name names. Divorcing Comingore, Collins took the couple's
> young son, as well. The family's story was later dramatized in the film
> Guilty by Suspicion
> (1991), in which the character based on Comingore "commits suicide rather
> than endure a long mental collapse."
> [38]
> In real life, Comingore succumbed to alcoholism and died of a pulmonary
> disease at the age of fifty-eight. In the description of historians
> Paul Buhle
> and David Wagner, "premature strokes and heart attacks were fairly common
> [among blacklistees], along with heavy drinking as a form of suicide on the
> installment
> plan."
> [39]
>
> For all that, evidence that Communists were actually using Hollywood films
> as vehicles for subversion remained hard to come by. Schulberg reported
> that
> the manuscript of his novel
> What Makes Sammy Run?
> (later a screenplay, as well) had been subject to an ideological critique by
> Hollywood Ten writer
> John Howard Lawson,
> whose comments he had solicited. The significance of such interactions was
> questionable. As historian
> Gerald Horne
> describes, many Hollywood screenwriters had joined or associated with the
> local Communist Party chapter because it "offered a collective to a
> profession
> that was enmeshed in tremendous isolation at the typewriter. Their 'Writers'
> Clinic' had 'an informal "board" of respected screenwriters'--including
> Lawson
> and
> Ring Lardner Jr.
> --'who read and commented upon any screenplay submitted to them. Although
> their criticism could be plentiful, stinging, and (sometimes) politically
> dogmatic,
> the author was entirely free to accept it or reject it as he or she pleased
> without incurring the slightest "consequence" or sanction.'"
> [40]
> Much of the onscreen evidence of Communist influence uncovered by HUAC was
> feeble at best. One witness remembered Stander, while performing in a film,
> whistling
> the left-wing "
> Internationale"
> as his character waited for an elevator. "Another noted that screenwriter
> Lester Cole
> had inserted lines from a famous pro-
> Loyalist
> speech by
> La Pasionaria
> about it being 'better to die on your feet than to live on your knees' into
> a pep talk delivered by a football coach."
> [36]
>
> Hollywood communists may have blocked production of some films. The scholar
> Kenneth Lloyd Billingsley found that Trumbo wrote in The Daily Worker about
> films which he said communist influence in Hollywood had prevented from
> being made: among them were proposed adaptations of
> Arthur Koestler'
> s anti-
> totalitarian
> works
> Darkness at Noon
> and The Yogi and the Commissar, which described the rise of communism in
> Russia.
> [41]
>
> The blacklist at its height (1952-56)[
> edit]
>
> In 1952, the
> Screen Writers Guild
> --which had been founded two decades before by three future members of the
> Hollywood Ten--authorized the movie studios to "omit from the screen" the
> names
> of any individuals who had failed to clear themselves before Congress.
> Writer
> Dalton Trumbo,
> for instance, one of the Hollywood Ten and still very much on the blacklist,
> had received
> screen credit
> in 1950 for writing, years earlier, the story on which the screenplay of
> Columbia Pictures'
> Emergency Wedding
> was based. There would be no more of that until the 1960s. The name of
> Albert Maltz,
> who had written the original screenplay for
> The Robe
> in the mid-1940s, was nowhere to be seen when the movie was released in
> 1953.
> [42]
>
> As William O'Neill describes, pressure was maintained even on those who had
> ostensibly "cleared" themselves:
> Block quote start
>
> On December 27, 1952, the American Legion announced that it disapproved of a
> new film,
> Moulin Rouge,
> starring
> José Ferrer,
> who used to be no more progressive than hundreds of other actors and had
> already been grilled by HUAC. The picture itself was based on the life of
> Toulouse-Lautrec
> and was totally apolitical. Nine members of the Legion had picketed it
> anyway, giving rise to the controversy. By this time people were not taking
> any chances.
> Ferrer immediately wired the Legion's national commander that he would be
> glad to join the veterans in their "fight against communism."
> [43]
> Block quote end
>
> The group's efforts dragged many others onto the blacklist: In 1954,
> "[s]creenwriter Louis Pollock, a man without any known political views or
> associations,
> suddenly had his career yanked out from under him because the American
> Legion confused him with Louis Pollack, a California clothier, who had
> refused to
> cooperate with HUAC."
> [44]
>
> During this same period, a number of influential newspaper columnists
> covering the entertainment industry, including
> Walter Winchell,
> Hedda Hopper,
> Victor Riesel,
> Jack O'Brian,
> and
> George Sokolsky,
> regularly offered up names with the suggestion that they should be added to
> the blacklist.
> [45]
> Actor
> John Ireland
> received an out-of-court settlement to end a 1954 lawsuit against the
> Young & Rubicam
> advertising agency, which had ordered him dropped from the lead role in a
> television series it sponsored. Variety described it as "the first industry
> admission
> of what has for some time been an open secret--that the threat of being
> labeled a political nonconformist, or worse, has been used against show
> business
> personalities and that a screening system is at work determining thesp
> [actors'] availabilities for roles."
> [46]
> StormCenterPoster.jpg/250px-StormCenterPoster
> Enlarge
> The first Hollywood movie to overtly take on
> McCarthyism,
> Storm Center
> appeared in 1956.
> Bette Davis "
> plays a small-town librarian who refuses, on principle, to remove a book
> called 'The Communist Dream' from the shelves when the local council deems
> it subversive."
> [47]
>
> The Hollywood blacklist had long gone hand in hand with the Red-baiting
> activities of
> J. Edgar Hoover'
> s FBI. Adversaries of HUAC such as lawyer
> Bartley Crum,
> who defended some of the Hollywood Ten in front of the committee in 1947,
> were labeled as Communist sympathizers or subversives and targeted for
> investigation
> themselves. Throughout the 1950s, the FBI tapped Crum's phones, opened his
> mail, and placed him under continuous surveillance. As a result, he lost
> most
> of his clients and, unable to cope with the stress of ceaseless harassment,
> committed suicide in 1959.
> [48]
> Intimidating and dividing the left is now seen as a central purpose of the
> HUAC hearings. Fund-raising for once-popular humanitarian efforts became
> difficult,
> and despite the sympathies of many in the industry there was little open
> support in Hollywood for causes such as the
> African American Civil Rights Movement
> and opposition to
> nuclear weapons testing.
> [49]
>
> The struggles attending the blacklist were played out metaphorically on the
> big screen in various ways. As described by film historian James Chapman, "
> Carl Foreman,
> who had refused to testify before the committee, wrote the western
> High Noon
> (1952), in which a town marshal (ironically played by friendly witness
> Gary Cooper ...)
> finds himself deserted by the good citizens of Hadleyville (for which read
> Hollywood) when a gang of outlaws who had terrorized the town several years
> earlier
> (for which read HUAC) returns."
> [50]
> Cooper's lawman cleaned up Hadleyville, but Foreman was forced to leave for
> Europe to find work. Even more famously, Kazan and Schulberg collaborated
> on
> a movie widely seen as justifying their decision to name names.
> On the Waterfront
> (1954) became one of the most honored films in Hollywood history, winning
> eight
> Academy Awards,
> including Oscars for Best Film, Kazan's direction, and Schulberg's
> screenplay. The film featured
> Lee J. Cobb,
> one of the best known actors to name names. Time Out Film Guide argues that
> the film is "undermined" by its "embarrassing special pleading on behalf of
> informers."
> [51]
>
> After his release from prison,
> Herbert Biberman
> of the Hollywood Ten directed
> Salt of the Earth,
> working independently in New Mexico with fellow blacklisted Hollywood
> professionals--producer
> Paul Jarrico,
> writer
> Michael Wilson,
> and actors
> Rosaura Revueltas
> and
> Will Geer.
> The film, concerning a strike by Mexican-American mine workers, was
> denounced as Communist propaganda when it was completed in 1953.
> Distributors boycotted
> it, newspapers and radio stations rejected advertisements for it, and the
> projectionists' union refused to run it. Nationwide in 1954, only around a
> dozen
> theaters exhibited it.
> [52]
>
> Breaking the blacklist (1957-present)[
> edit]
>
> A key figure in bringing an end to blacklisting was
> John Henry Faulk.
> Host of an afternoon comedy radio show, Faulk was a leftist active in his
> union, the
> American Federation of Television and Radio Artists.
> He was scrutinized by AWARE, one of the private firms that examined
> individuals for signs of Communist sympathies and "disloyalty." Marked by
> the group
> as unfit, he was fired by CBS Radio. Almost alone among the many victims of
> blacklisting, Faulk decided to sue AWARE in 1957.
> [53]
> Though the case would drag through the courts for years, the suit itself was
> an important symbol of the building resistance to the blacklist.
>
> The initial cracks in the entertainment industry blacklist were evident on
> television, specifically at CBS. In 1957, blacklisted actor
> Norman Lloyd
> was hired by
> Alfred Hitchcock
> as an associate producer for his anthology series
> Alfred Hitchcock Presents,
> then entering its third season on the network.
> [54]
> On November 30, 1958, a live CBS production of
> Wonderful Town,
> based on short stories written by then-Communist
> Ruth McKenney,
> appeared with the proper writing credit of blacklisted Edward Chodorov,
> along with his literary partner, Joseph Fields.
> [55]
> The following year, actress
> Betty Hutton
> insisted that blacklisted composer
> Jerry Fielding
> be hired as musical director for her new series, also on CBS.
> [56]
> The first main break in the Hollywood blacklist followed soon after: on
> January 20, 1960, director
> Otto Preminger
> publicly announced that Dalton Trumbo, one of the best known members of the
> Hollywood Ten, was the screenwriter of his forthcoming film
> Exodus.
> Six-and-a-half months later, with Exodus still to debut, the New York Times
> announced that
> Universal Pictures
> would give Trumbo screen credit for his role as writer on
> Spartacus,
> a decision star
> Kirk Douglas
> is now recognized as largely responsible for.
> [57]
> On October 6, Spartacus premiered--the first movie to bear Trumbo's name
> since he had received story credit on Emergency Wedding in 1950. Since 1947,
> he
> had written or co-written approximately seventeen motion pictures without
> credit. Exodus followed in December, also bearing Trumbo's name. The
> blacklist
> was now clearly coming to an end, but its effects continue to reverberate
> even until the present.
> [58]
>
> John Henry Faulk finally won his lawsuit in 1962. With this court decision,
> the private blacklisters and those who used them were put on notice that
> they
> were
> legally liable
> for the professional and financial damage they caused. This helped to bring
> an end to publications such as Counterattack.
> [59]
> Like Adrian Scott and Lillian Hellman, however, a number of those on the
> blacklist remained there for an extended period--Lionel Stander, for
> instance, could
> not find work in Hollywood until 1965.
> [60]
> Some of those who named names, like Kazan and Schulberg, argued for years
> after that they had made an ethically proper decision. Others, like actor
> Lee J. Cobb
> and director
> Michael Gordon,
> who gave friendly testimony to HUAC after suffering on the blacklist for a
> time, "concede[d] with remorse that their plan was to name their way back
> to
> work."
> [61]
> And there were those more gravely haunted by the choice they had made. In
> 1963, actor
> Sterling Hayden
> declared,
> Block quote start
>
> I was a rat, a stoolie, and the names I named of those close friends were
> blacklisted and deprived of their livelihood.
> [62]
> Block quote end
>
> Scholars Paul Buhle and Dave Wagner state that Hayden "was widely believed
> to have drunk himself into a near-suicidal depression decades before his
> 1986
> death."
> [62]
>
> Into the 21st century, the
> Writers Guild
> pursued the correction of screen credits from movies of the 1950s and early
> 1960s to properly reflect the work of blacklisted writers such as Carl
> Foreman
> and
> Hugo Butler.
> [63]
> On December 19, 2011, the guild, acting on a request for an investigation
> made by his dying son
> Christopher Trumbo,
> announced that Dalton Trumbo would get full credit for his work on the
> screenplay for the 1953 romantic comedy
> Roman Holiday,
> almost sixty years after the fact.
> [64]
>
> The Hollywood Ten and other 1947 blacklistees[
> edit]
> Hollywood10.jpg/275px-Hollywood10
> Enlarge
> The Hollywood Ten in November 1947 waiting to be fingerprinted in the
> U.S. Marshal'
> s office after being cited for
> contempt of Congress.
> Front row (from left):
> Herbert Biberman,
> attorneys Martin Popper and
> Robert W. Kenny,
> Albert Maltz,
> Lester Cole.
> Middle row:
> Dalton Trumbo,
> John Howard Lawson,
> Alvah Bessie,
> Samuel Ornitz.
> Back row:
> Ring Lardner Jr.,
> Edward Dmytryk,
> Adrian Scott.
>
> The Hollywood Ten[
> edit]
>
> The following people were cited for contempt of Congress and blacklisted
> after refusing to answer
> HUAC
> questions about their alleged involvement with the Communist Party:
> [65]
> List of 10 items
> * Alvah Bessie,
> screenwriter
> * Herbert Biberman,
> screenwriter and director
> * Lester Cole,
> screenwriter
> * Edward Dmytryk,
> director
> * Ring Lardner Jr.,
> screenwriter
> * John Howard Lawson,
> screenwriter
> * Albert Maltz,
> screenwriter
> * Samuel Ornitz,
> screenwriter
> * Adrian Scott,
> producer and screenwriter
> * Dalton Trumbo,
> screenwriter
> list end
>
> In his 1981 autobiography, Hollywood Red, screenwriter Lester Cole stated
> that all of the Hollywood Ten had in fact been Communist Party USA members.
> [66]
> Other members of the Hollywood Ten, such as Dalton Trumbo
> [67]
> and Edward Dmytryk,
> [68]
> have also admitted to being Communists at the time the Committee questioned
> them.
>
> Others[
> edit]
> List of 3 items
> * Hanns Eisler,
> composer
> [69]
> * Bernard Gordon,
> screenwriter
> [70]
> * Joan LaCour Scott,
> screenwriter
> [71]
> list end
>
> People first blacklisted between January 1948 and June 1950[
> edit]
>
> (an asterisk after the entry indicates the person was also listed in Red
> Channels)
> List of 10 items
> * Ben Barzman,
> screenwriter
> [72]
> * Paul Draper,
> actor and dancer*
> [73]
> * Sheridan Gibney,
> screenwriter
> [74]
> * Paul Green,
> playwright and screenwriter
> [75]
> * Lillian Hellman,
> playwright and screenwriter*
> [76]
> * Canada Lee,
> actor
> [77]
> * Paul Robeson,
> actor and singer
> [78]
> * Edwin Rolfe,
> screenwriter and poet
> [79]
> * William Sweets,
> radio personality*
> [80]
> * Richard Wright,
> writer
> [75]
> list end
>
> The Red Channels list[
> edit]
>
> (see, e.g., Schrecker [2002], p. 244; Barnouw [1990], pp. 122-24)
>
> List of 51 items
> * Larry Adler,
> actor and musician
> * Luther Adler,
> actor and director
> * Stella Adler,
> actor and teacher
> * Edith Atwater,
> actor
> * Howard Bay,
> scenic designer
> * Ralph Bell,
> actor
> * Leonard Bernstein,
> composer and conductor
> * Walter Bernstein,
> screenwriter
> * Michael Blankfort,
> screenwriter
> [c]
> * Marc Blitzstein,
> composer
> * True Boardman,
> screenwriter
> * Millen Brand,
> writer
> * Oscar Brand,
> folk singer
> * Joseph Edward Bromberg,
> actor
> * Himan Brown,
> producer and director
> * John Brown,
> actor
> * Abe Burrows,
> playwright and lyricist
> * Morris Carnovsky,
> actor
> * Vera Caspary,
> writer
> * Edward Chodorov,
> screenwriter and producer
> * Jerome Chodorov,
> writer
> * Mady Christians,
> actor
> * Lee J. Cobb,
> actor
> * Marc Connelly,
> playwright
> * Aaron Copland,
> composer
> * Norman Corwin,
> writer
> * Howard Da Silva,
> actor
> * Roger De Koven,
> actor
> * Dean Dixon,
> conductor
> * Olin Downes,
> music critic
> * Alfred Drake,
> actor and singer
> * Paul Draper,
> actor and dancer
> * Howard Duff,
> actor
> * Clifford J. Durr,
> attorney
> * Richard Dyer-Bennet,
> folk singer
> * José Ferrer,
> actor
> * Louise Fitch (Lewis),
> actor
> * Martin Gabel,
> actor
> * Arthur Gaeth,
> radio commentator
> * William S. Gailmor,
> journalist and radio commentator
> * John Garfield,
> actor
> * Will Geer,
> actor
> * Jack Gilford,
> actor and comedian
> * Tom Glazer,
> folk singer
> * Ruth Gordon,
> actor and screenwriter
> * Lloyd Gough,
> actor
> * Morton Gould,
> pianist and composer
> * Shirley Graham,
> writer
> * Ben Grauer,
> radio and TV personality
> * Mitchell Grayson,
> radio producer and director
> * Horace Grenell,
> conductor and music producer
> list end
>
> List of 51 items
> * Uta Hagen,
> actor and teacher
> * Dashiell Hammett,
> writer
> * E. Y. "Yip" Harburg,
> lyricist
> * Robert P. Heller,
> television journalist
> * Lillian Hellman,
> playwright and screenwriter
> * Nat Hiken,
> writer and producer
> * Rose Hobart,
> actor
> * Judy Holliday,
> actor and comedienne
> * Roderick B. Holmgren,
> journalist
> * Lena Horne,
> singer and actor
> * Langston Hughes,
> writer
> * Marsha Hunt,
> actor
> * Leo Hurwitz,
> director
> * Charles Irving,
> actor
> * Burl Ives,
> folk singer and actor
> * Sam Jaffe,
> actor
> * Leon Janney,
> actor
> * Joe Julian,
> actor
> * Garson Kanin,
> writer and director
> * George Keane,
> actor
> * Donna Keath,
> radio actor
> * Pert Kelton,
> actor
> * Alexander Kendrick,
> journalist and author
> * Adelaide Klein,
> actor
> * Felix Knight,
> singer and actor
> * Howard Koch,
> screenwriter
> * Tony Kraber,
> actor
> * Millard Lampell,
> screenwriter
> * John La Touche,
> lyricist
> * Arthur Laurents,
> writer
> * Gypsy Rose Lee,
> actor and ecdysiast
> * Madeline Lee,
> actress
> [d]
> * Ray Lev,
> classical pianist
> * Philip Loeb,
> actor
> * Ella Logan,
> actor and singer
> * Alan Lomax,
> folklorist and musicologist
> * Avon Long,
> actor and singer
> * Joseph Losey,
> director
> * Peter Lyon,
> television writer
> * Aline MacMahon,
> actor
> * Paul Mann,
> director and teacher
> * Margo,
> actor and dancer
> * Myron McCormick,
> actor
> * Paul McGrath,
> radio actor
> * Burgess Meredith,
> actor
> * Arthur Miller,
> playwright
> * Henry Morgan,
> actor
> * Zero Mostel,
> actor and comedian
> * Jean Muir,
> actor
> * Meg Mundy,
> actor
> * Lyn Murray,
> composer and choral director
> list end
>
> List of 49 items
> * Ben Myers,
> attorney
> * Dorothy Parker,
> writer
> * Arnold Perl,
> producer and writer
> * Minerva Pious,
> actor
> * Samson Raphaelson,
> screenwriter and playwright
> * Bernard Reis,
> accountant
> * Anne Revere,
> actor
> * Kenneth Roberts,
> writer
> * Earl Robinson,
> composer and lyricist
> * Edward G. Robinson,
> actor
> * William N. Robson,
> radio and TV writer
> * Harold Rome,
> composer and lyricist
> * Norman Rosten,
> writer
> * Selena Royle,
> actor
> * Coby Ruskin,
> TV director
> * Robert William St. John,
> journalist, broadcaster
> * Hazel Scott,
> jazz and classical musician
> * Pete Seeger,
> folk singer
> * Lisa Sergio,
> radio personality
> * Artie Shaw,
> jazz musician
> * Irwin Shaw,
> writer, playwright
> * Robert Lewis Shayon,
> former president of radio and TV directors' guild
> * Ann Shepherd,
> actor
> * William L. Shirer,
> journalist, broadcaster
> * Allan Sloane,
> radio and TV writer
> * Howard K. Smith,
> journalist, broadcaster
> * Gale Sondergaard,
> actor
> * Hester Sondergaard,
> actor
> * Lionel Stander,
> actor
> * Johannes Steel,
> journalist, radio commentator
> * Paul Stewart,
> actor
> * Elliott Sullivan,
> actor
> * William Sweets,
> radio personality
> * Helen Tamiris,
> choreographer
> * Betty Todd,
> director
> * Louis Untermeyer,
> poet
> * Hilda Vaughn,
> actor
> * J. Raymond Walsh,
> radio commentator
> * Sam Wanamaker,
> actor
> * Theodore Ward,
> playwright
> * Fredi Washington,
> actor
> * Margaret Webster,
> actor, director and producer
> * Orson Welles,
> actor, writer and director
> * Josh White,
> blues musician
> * Irene Wicker,
> singer and actor
> * Betty Winkler (Keane),
> actor
> * Martin Wolfson,
> actor
> * Lesley Woods,
> actor
> * Richard Yaffe,
> journalist, broadcaster
> list end
>
> Others first blacklisted after June 1950[
> edit]
> List of 166 items
> * Eddie Albert,
> actor
> [81]
> * Lew Amster,
> screenwriter
> [82]
> * Richard Attenborough,
> actor, director and producer
> [83]
> * Norma Barzman,
> screenwriter
> [84]
> * Sol Barzman,
> screenwriter
> [85]
> * Orson Bean,
> actor
> [86]
> * Albert Bein,
> screenwriter
> [82]
> * Harry Belafonte,
> actor and singer
> [87]
> * Barbara Bel Geddes,
> actress
> [88]
> * Ben Bengal,
> screenwriter
> [89]
> * Seymour Bennett,
> screenwriter
> [90]
> * Leonardo Bercovici,
> screenwriter
> [38]
> * Herschel Bernardi,
> actor
> [91]
> * John Berry,
> actor, screenwriter and director
> [92]
> * Henry Blankfort,
> screenwriter
> [93]
> * Laurie Blankfort,
> artist
> [93]
> * Roman Bohnen,
> actor
> [94]
> * Allen Boretz,
> screenwriter and songwriter
> [95]
> * Phoebe Brand,
> actress
> [96]
> * John Bright,
> screenwriter
> [97]
> * Phil Brown,
> actor
> [98]
> * Harold Buchman,
> screenwriter
> [99]
> * Sidney Buchman,
> screenwriter
> [100]
> * Luis Buñuel,
> director
> [101]
> * Val Burton,
> screenwriter
> [102]
> * Hugo Butler,
> screenwriter
> [103]
> * Alan Campbell,
> screenwriter
> [104]
> * Charles Chaplin,
> actor, director and producer
> [105]
> * Maurice Clark,
> screenwriter
> [106]
> * Richard Collins,
> screenwriter
> [107]
> * Charles Collingwood,
> radio commentator
> [108]
> * Dorothy Comingore,
> actress
> [109]
> * Jeff Corey,
> actor
> [110]
> * George Corey,
> screenwriter
> [111]
> * Irwin Corey,
> actor and comedian
> [112]
> * Oliver Crawford,
> screenwriter
> [113]
> * John Cromwell,
> director
> [114]
> * Charles Dagget,
> animator
> [115]
> [e]
> * Danny Dare,
> choreographer
> [116]
> [f]
> * Jules Dassin,
> director
> [117]
> * Ossie Davis,
> actor
> [118]
> * Ruby Dee,
> actress
> [119]
> * Dolores del Río,
> actress
> [120]
> * Karen DeWolf,
> screenwriter
> [121]
> * Howard Dimsdale,
> writer
> [39]
> * Ludwig Donath,
> actor
> [94]
> * Arnaud d'Usseau,
> screenwriter
> [122]
> * Phil Eastman,
> cartoon writer
> [123]
> * Leslie Edgley,
> screenwriter
> [124]
> * Edward Eliscu,
> screenwriter
> [125]
> * Faith Elliott,
> animator
> [126]
> * Cy Endfield,
> screenwriter and director
> [127]
> * Guy Endore,
> screenwriter
> [122]
> * Francis Edward Faragoh,
> screenwriter
> [128]
> * Frances Farmer,
> actress
> [129]
> * Howard Fast,
> writer
> [130]
> * John Henry Faulk,
> radio personality
> [131]
> * Jerry Fielding,
> composer
> [56]
> * Carl Foreman,
> producer and screenwriter
> [132]
> * Anne Froelick,
> screenwriter
> [39]
> * Lester Fuller,
> director
> [133]
> * Bert Gilden,
> screenwriter
> [134]
> * Lee Gold,
> screenwriter
> [135]
> * Harold Goldman,
> screenwriter
> [136]
> * Michael Gordon,
> director
> [137]
> * Jay Gorney,
> screenwriter
> [138]
> * Lee Grant,
> actress
> [139]
> * Morton Grant,
> screenwriter
> [140]
> * Anne Green,
> screenwriter
> [141]
> * Jack T. Gross,
> producer
> [142]
> * Margaret Gruen,
> screenwriter
> [143]
> * David Hilberman,
> animator
> [144]
> * Tamara Hovey,
> screenwriter
> [145]
> * John Hubley,
> animator
> [146]
> * Edward Huebsch,
> screenwriter
> [147]
> * Ian McLellan Hunter,
> screenwriter
> [148]
> * Kim Hunter,
> actress
> [149]
> * John Ireland,
> actor
> [46]
> * Daniel James,
> screenwriter
> [150]
> * Paul Jarrico,
> producer and screenwriter
> [151]
> * Gordon Kahn,
> screenwriter
> [39]
> * Victor Kilian,
> actor
> [152]
> * Sidney Kingsley,
> playwright
> [153]
> * Alexander Knox,
> actor
> [154]
> * Mickey Knox,
> actor
> [155]
> * Lester Koenig,
> producer
> [156]
> * Charles Korvin,
> actor
> [157]
> * Hy Kraft,
> screenwriter
> [158]
> * Canada Lee,
> actor
> * Constance Lee,
> screenwriter
> [159]
> * Robert Lees,
> screenwriter
> [148]
> * Carl Lerner,
> editor and director
> [160]
> * Irving Lerner,
> director
> [161]
> * Sam Levene,
> actor
> [162]
> * Lewis Leverett,
> actor
> [163]
> * Alfred Lewis Levitt,
> screenwriter
> [164]
> * Helen Slote Levitt,
> screenwriter
> [164]
> * Mitch Lindemann,
> screenwriter
> [142]
> * Norman Lloyd,
> actor
> [165]
> * Ben Maddow,
> screenwriter
> [166]
> * Arnold Manoff,
> screenwriter
> [167]
> * John McGrew,
> animator
> [168]
> * Ruth McKenney,
> writer
> [169]
> * Bill Meléndez,
> animator
> [170]
> * John "Skins" Miller,
> actor
> [171]
> * Paula Miller,
> actress
> [163]
> * Josef Mischel,
> screenwriter
> [172]
> * Karen Morley,
> actress
> [173]
> * Henry Myers,
> screenwriter
> [174]
> * Mortimer Offner,
> screenwriter
> [125]
> * Alfred Palca,
> writer and producer
> [175]
> * Larry Parks,
> actor
> [176]
> * Leo Penn,
> actor
> [177]
> * Irving Pichel,
> director
> [178]
> * Louis Pollock,
> screenwriter
> [44]
> * Abraham Polonsky,
> screenwriter and director
> [140]
> * William Pomerance,
> animation executive
> [144]
> * Vladimir Pozner,
> screenwriter
> [179]
> * Stanley Prager,
> director
> [145]
> * John Randolph,
> actor
> [180]
> * Maurice Rapf,
> screenwriter
> [181]
> * Rosaura Revueltas,
> actress
> [182]
> * Robert L. Richards,
> screenwriter
> [150]
> * Frederic I. Rinaldo,
> screenwriter
> [183]
> * Martin Ritt,
> actor and director
> [184]
> * W. L. River,
> screenwriter
> [121]
> * Marguerite Roberts,
> screenwriter
> [185]
> * David Robison,
> screenwriter
> [186]
> * Naomi Robison,
> actress
> [186]
> * Louise Rousseau,
> screenwriter
> [101]
> * Jean Rouverol (Butler),
> actress and writer
> [187]
> * Shimen Ruskin,
> actor
> [124]
> * Madeleine Ruthven,
> screenwriter
> [188]
> * Waldo Salt,
> screenwriter
> [189]
> * John Sanford,
> screenwriter
> [190]
> * Bill Scott,
> voice actor
> [115]
> * Martha Scott,
> actress
> [44]
> * Joshua Shelley,
> actor
> [177]
> * Madeleine Sherwood,
> actress
> [191]
> * Reuben Ship,
> screenwriter
> [192]
> * Viola Brothers Shore,
> screenwriter
> [179]
> * George Sklar,
> playwright
> [101]
> * Art Smith,
> actor
> [163]
> * Louis Solomon,
> screenwriter and producer
> [193]
> * Ray Spencer,
> screenwriter
> [142]
> * Janet Stevenson,
> writer
> [94]
> * Philip Stevenson,
> writer
> [94]
> * Donald Ogden Stewart,
> screenwriter
> [194]
> * Arthur Strawn,
> screenwriter
> [195]
> * Bess Taffel,
> screenwriter
> [145]
> * Julius Tannenbaum,
> producer
> [99]
> * Frank Tarloff,
> screenwriter
> [196]
> * Shepard Traube,
> director and screenwriter
> [102]
> * Dorothy Tree,
> actress
> [197]
> * Paul Trivers,
> screenwriter
> [198]
> * George Tyne,
> actor
> [177]
> * Michael Uris,
> writer
> [199]
> * Peter Viertel,
> screenwriter
> [200]
> * Bernard Vorhaus,
> director
> [201]
> * John Weber,
> producer
> [202]
> * Richard Weil,
> screenwriter
> [147]
> * Hannah Weinstein,
> producer
> [203]
> * John Wexley,
> screenwriter
> [204]
> * Michael Wilson,
> screenwriter
> [205]
> * Nedrick Young,
> actor and screenwriter
> [206]
> * Julian Zimet,
> screenwriter
> [122]
> list end
>
> Notes[
> edit]
> List of 6 items
> A. ^
> The following transcript of an excerpt from the interrogation of
> screenwriter
> John Howard Lawson
> by HUAC chairman
> J. Parnell Thomas
> gives an example of an alternative wording of the question and a sense of
> the tenor of some of the exchanges:
> Block quote start
>
> Thomas: Are you a member of the Communist Party or have you ever been a
> member of the Communist Party?
> Lawson: It's unfortunate and tragic that I have to teach this committee the
> basic principles of Americanism.
> Thomas: That's not the question. That's not the question. The question
> is--have you ever been a member of the Communist Party?
> Lawson: I am framing my answer in the only way in which any American citizen
> can frame his answer to ...
> Thomas: Then you deny it?
> Lawson: ... a question that invades his ... absolutely invades his privacy.
> Thomas: Then you deny ... You refuse to answer that question, is that
> correct?
> Lawson: I have told you that I will offer my beliefs, my affiliations and
> everything else to the American public and they will know where I stand as
> they
> do from what I have written.
> Thomas: Stand away from the stand ...
> Lawson: I have written for Americanism for many years ...
> Thomas: Stand away from the stand ...
> Lawson: And I shall continue to fight for the Bill of Rights, which you are
> trying to destroy.
> Thomas: Officer, take this man away from the stand.
> [207]
> Block quote end
> B. ^
> At least a couple of important recent histories incorrectly give December 3
> as the date of the Waldorf Statement: Ross (2002), p. 217; Stone (2004), p.
> 365. Among the many 1947 sources that make unquestionable the error, there
> is, for example, the New York Times article "Movies to Oust Ten Cited For
> Contempt
> of Congress; Major Companies Also Vote to Refuse Jobs to
> Communists--'Hysteria, Surrender of Freedom' Charged by Defense Counsel;
> Movies Will Oust Ten Men
> Cited for Contempt of Congress After Voting to Refuse Employment to
> Communists", which appeared on the front page of the newspaper November 26.
> C. ^
> Blankfort gave cooperative, if uninformative, testimony to HUAC and was not
> blacklisted.
> [208]
> D. ^
> Madeline Lee--who was married to actor Jack Gilford, also listed by Red
> Channels--was frequently confused with another actress of the era named
> Madaline Lee.
> [209]
> E. ^
> Four months after refusing to cooperate with HUAC, Dagget appeared again
> before the committee and named names.
> [210]
> F. ^
> In 1951, Dare appeared before HUAC, lied about having never been a
> Communist, and continued to work in the entertainment industry. He was
> blacklisted two
> years later for his involvement in Meet the People, a 1939 theatrical
> production. Soon afterward, he recanted his earlier testimony and named
> names.
> [211]
> list end
>
> References[
> edit]
> List of 211 items
> 1. ^
> ref blacklist Kirk Douglas, "My Spartacus Broke All the Rules",
> the Telegraph
> 2. ^
> Murphy (2003), p. 16.
> 3. ^
> Ceplair and Englund (2003), pp. 156-57.
> 4. ^
> a
> b
> Ceplair and Englund (2003), pp. 157-58.
> 5. ^
> Johnpoll (1994), p. xv.
> 6. ^
> Horne (2006), p. 174.
> 7. ^
> Murphy (2003), p. 17.
> 8. ^
> Cohen (2004), pp. 169-70.
> 9. ^
> Wilkerson, William
> (1946-07-29). "A Vote For Joe Stalin". The Hollywood Reporter. p. 1.
> 10. ^
> a
> b
> Baum, Gary; Miller, Daniel (Nov. 30, 2012 (Online Nov. 19, 2012)).
> "Blacklist: THR Addresses Role After 65 Years".
> Hollywood Reporter. Retrieved 20 November 2012. Check date values in: |date=
> (
> help)
> 11. ^
> Wilerson III, W.R. (Nov. 30, 2012 (online Nov. 19, 2012)).
> "Blacklist: Billy Wilkerson's Son Apologizes for Publication's Dark Past".
> Hollywood Reporter. Retrieved 20 November 2012. Check date values in: |date=
> (
> help)
> 12. ^
> See, e.g., Schwartz, Richard A. (1999).
> "How the Film and Television Blacklists Worked".
> Florida International University. Retrieved 2010-03-03.
> 13. ^
> Cohen (2004), p. 167.
> 14. ^
> Scott and Rutkoff (1999), p. 338.
> 15. ^
> Ceplair and Englund (2003), pp. 275-79.
> 16. ^
> Sean Griffin (ed). What Dreams Were Made Of: Movie Stars of the 1940s.
> Rutgers University Press, 2011, p. 92
> 17. ^
> Ronald and Allis Radosh. Red Star over Hollywood: The Film Colony's Long
> Romance with the Left. San Francisco: Encounter Books, pp. 161-162.
> 18. ^
> Ceplair and Englund (2003), pp. 281-82.
> 19. ^
> a
> b
> Dick (1989), p. 7.
> 20. ^
> Schuetze-Coburn, Marje (February 1998).
> "Bertolt Brecht's Appearance Before the HUAC".
> USC-Feuchtwanger Memorial Library. Retrieved 2010-03-03.
> 21. ^
> Lasky (1989), p. 204.
> 22. ^
> Gevinson (1997), p. 234.
> 23. ^
> Stone (2004), p. 365.
> 24. ^
> Bogart (1948).
> 25. ^
> Jablonski (1998), p. 350.
> 26. ^
> Newman (1989), 140.
> 27. ^
> Red Channels (1950), pp. 6, 214.
> 28. ^
> Buhle and Wagner (2003a), p. 7.
> 29. ^
> Brown, pp. 89-90
> 30. ^
> Parish (2004), p. 92.
> 31. ^
> Ceplair and Englund (2003), p. 387.
> 32. ^
> Susman, Gary (August 19, 2004).
> "Goodbye".
> EntertainmentWeekly.com. Retrieved 2009-02-27.
> "Composer Elmer Bernstein Dead at 82".
> MSNBC.com (Associated Press). August 19, 2004. Retrieved 2009-02-27.
> 33. ^
> Wakeman (1987), pp. 190, 192.
> 34. ^
> Doherty (2003), p. 31.
> 35. ^
> Quoted in Belton (1994), pp. 202-3.
> 36. ^
> a
> b
> Belton (1994), p. 203.
> 37. ^
> Cohen (2004), pp. 173-79.
> 38. ^
> a
> b
> Buhle and Wagner (2003b), p. 21.
> 39. ^
> a
> b
> c
> d
> Buhle and Wagner (2003a), p. 250.
> 40. ^
> Horne (2006), p. 134.
> 41. ^
> Billingsley, Hollywood's Missing Movies
> 42. ^
> Dick (1989), p. 94.
> 43. ^
> O'Neill (1990), p. 239.
> 44. ^
> a
> b
> c
> Ceplair and Englund (2003), p. 388.
> 45. ^
> Cohen (2004), p. 176.
> 46. ^
> a
> b
> Doherty (2003), p. 236.
> 47. ^
> Charity (2005), p. 1266.
> 48. ^
> Bosworth (1997), passim.
> 49. ^
> Cohen (2004), pp. 187-88; Ceplair and Englund (2003), p. 345.
> 50. ^
> Chapman (2003), p. 124.
> 51. ^
> Andrew (2005), p. 981.
> 52. ^
> Christensen and Haas (2005), pp. 116-17 ("screened in only eleven
> theaters"); Weigand (2002), p. 133 ("arranged showings of the film in only
> fourteen theaters").
> 53. ^
> Faulk (1963), passim.
> 54. ^
> Anderson (2007); Lumenick (2007b).
> 55. ^
> Buhle and Wagner (2003a), p. 30.
> 56. ^
> a
> b
> Burlingame (2000), p. 74.
> 57. ^
> Smith (1999), p. 206.
> 58. ^
> "...
> the anti-communist frenzy of the 1950s ... crippled artistic and
> intellectual life in the US for decades. The film industry still suffers
> from the purge
> of left-wing and critical spirits."<
> [1]
> 59. ^
> Fried (1997), p. 197.
> 60. ^
> Belton (1994), p. 202.
> 61. ^
> Navasky (1980), p. 280.
> 62. ^
> a
> b
> Buhle and Wagner (2003a), p. 251.
> 63. ^
> Weinraub (2000);
> "Corrected Blacklist Credits".
> Writers Guild of America, West. July 17, 2000. Retrieved 2010-03-03.
> 64. ^
> Verrier (2011); Devall, Cheryl, and Paige Osburn (December 19, 2011).
> "Blacklisted Writer Gets credit Restored after 60 years for Oscar-Winning
> Film".
> 89.3 KPCC. Retrieved 2011-12-20.
> 65. ^
> "Hollywood Ten".
> Encyclopedia Brittanica. Retrieved 9 December 2012.
> 66. ^
> Cole, Lester (1981). Hollywood Red: The Autobiography of Lester Cole. Palo
> Alto, CA: Ramparts Press.
> ISBN
> 978-0878670857.
> 67. ^
> http://humanevents.com/2008/07/31/hollywood-still-loves-very-red-dalton-trumbo/
> 68. ^
> http://www.britannica.com/EBchecked/topic/269472/Hollywood-Ten
> 69. ^
> Herman (1997), p. 356; Dick (1989), p. 7.
> 70. ^
> Gordon (1999), p. 16.
> 71. ^
> Ceplair and Englund (2003), p. 403; Goldstein (1999).
> 72. ^
> Ceplair and Englund (2003), p. 401.
> 73. ^
> Everitt (2007), p. 53.
> 74. ^
> Navasky (1980), p. 88.
> 75. ^
> a
> b
> Ward and Butler (2008), pp. 178-79.
> 76. ^
> Newman (1989), p. 140.
> 77. ^
> Horne (2006), pp. 204-5, 224; Goudsouzian (2004), p. 88.
> 78. ^
> Gill (2000), pp. 50-52.
> 79. ^
> Nelson and Hendricks (1990), p. 53.
> 80. ^
> Cogley (1956), pp. 25-28.
> 81. ^
> Buhle and Wagner (2003b), p. 188.
> 82. ^
> a
> b
> Buhle and Wagner (2003b), p. 28.
> 83. ^
> Buhle and Wagner (2003b), p. 253.
> 84. ^
> Buhle and Wagner (2003b), p. 159.
> 85. ^
> Buhle and Wagner (2003b), p. 146.
> 86. ^
> Faulk (1963), p. 7.
> 87. ^
> McGill (2005), pp. 249-50; Ward (1998), p. 323; Cogley (1956), pp. 8-9.
> 88. ^
> Katz (1994), p. 106.
> 89. ^
> Buhle and Wagner (2003b), p. 50.
> 90. ^
> Buhle and Wagner (2003b), p. 123.
> 91. ^
> Buhle and Wagner (2003a), p. 42.
> 92. ^
> Denning (1998), p. 374; Buhle and Wagner (2003a), p. 108.
> 93. ^
> a
> b
> Buhle and Wagner (2003b), p. 31.
> 94. ^
> a
> b
> c
> d
> Buhle and Wagner (2003b), p. 49.
> 95. ^
> Buhle and Wagner (2003b), p. 83.
> 96. ^
> Schwartz, J. (1999); Buhle and Wagner (2003a), p. 50.
> 97. ^
> Buhle and Wagner (2003b), p. 2.
> 98. ^
> Barzman (2004), p. 449.
> 99. ^
> a
> b
> Buhle and Wagner (2003b), p. 22.
> 100. ^
> Buhle and Wagner (2003a), p. 128.
> 101. ^
> a
> b
> c
> Buhle and Wagner (2003b), p. 6.
> 102. ^
> a
> b
> Buhle and Wagner (2003b), p. 17.
> 103. ^
> Buhle and Wagner (2003a), p. 22.
> 104. ^
> Buhle and Wagner (2003b), p. 129.
> 105. ^
> Katz (1994), p. 241.
> 106. ^
> Navasky (1980), p. 283.
> 107. ^
> Buhle and Wagner (2003a), p. 73.
> 108. ^
> Faulk (1963), pp. 7-8.
> 109. ^
> Denning (1998), p. 374; Buhle and Wagner (2003b), p. 20.
> 110. ^
> Buhle and Wagner (2003a), p. 77.
> 111. ^
> Buhle and Wagner (2003b), p. 151.
> 112. ^
> Sullivan (2010), p. 64.
> 113. ^
> Times (2008).
> 114. ^
> Lumenick 2007a.
> 115. ^
> a
> b
> Cohen (2004), p. 178.
> 116. ^
> Boyer (1996); Cogley (1956), p. 124.
> 117. ^
> Buhle and Wagner (2003a), p. 105.
> 118. ^
> http://capitolwords.org/date/2005/02/09/H472_honoring-the-life-and-accomplishments-of-the-late-/
> 119. ^
> http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/dee1.html
> 120. ^
> Ramón (1997), p. 44.
> 121. ^
> a
> b
> Buhle and Wagner (2003b), p. 5.
> 122. ^
> a
> b
> c
> Buhle and Wagner (2003a), p. 83.
> 123. ^
> Cohen (2004), pp. 178-81.
> 124. ^
> a
> b
> Navasky (1980), p. 282.
> 125. ^
> a
> b
> Buhle and Wagner (2003b), p. 7.
> 126. ^
> Barzman (2004), p. 89.
> 127. ^
> Buhle and Wagner (2003a), p. 137.
> 128. ^
> Buhle and Wagner (2003b), p. 14.
> 129. ^
> Johnson, Allan (February 27, 1996).
> "Climate Of Fear: 'Blacklist' Chronicles Careers, Lives Trashed During Witch
> Hunts For Communists".
> Chicago Tribune. Retrieved 2012-12-09.
> 130. ^
> Buhle and Wagner (2003a), p. 48.
> 131. ^
> Faulk (1963), pp. 6-7.
> 132. ^
> Buhle and Wagner (2003a), p. xi.
> 133. ^
> Buhle and Wagner (2003b), p. 251.
> 134. ^
> Buhle and Wagner (2003b), p. 105.
> 135. ^
> Buhle and Wagner (2003a), p. 139.
> 136. ^
> Buhle and Wagner (2003b), p. 16.
> 137. ^
> Dick (1982), p. 80.
> 138. ^
> Buhle and Wagner (2003b), p. 96.
> 139. ^
> Buhle and Wagner (2003a), p. 31.
> 140. ^
> a
> b
> Buhle and Wagner (2003b), p. 13.
> 141. ^
> Buhle and Wagner (2003b), p. 95.
> 142. ^
> a
> b
> c
> Buhle and Wagner (2003b), p. 37.
> 143. ^
> Buhle and Wagner (2003b), p. 164.
> 144. ^
> a
> b
> Cohen (2004), pp. 172-76.
> 145. ^
> a
> b
> c
> Buhle and Wagner (2003b), p. 15.
> 146. ^
> Cohen (2004), pp. 178, 181-83.
> 147. ^
> a
> b
> Buhle and Wagner (2003b), p. 18.
> 148. ^
> a
> b
> Buhle and Wagner (2003a), p. 86.
> 149. ^
> Buhle and Wagner (2003a), p. viii.
> 150. ^
> a
> b
> Buhle and Wagner (2003a), p. 80.
> 151. ^
> Buhle and Wagner (2003a), p. 134.
> 152. ^
> Graulich and Tatum (2003), p. 115.
> 153. ^
> Zecker (2007), p. 106.
> 154. ^
> Buhle and Wagner (2003b), p. 194.
> 155. ^
> Buhle and Wagner (2003b), p. 106.
> 156. ^
> Herman (1997), p. 356.
> 157. ^
> Korvin (1997).
> 158. ^
> Buhle and Wagner (2003b), p. 39.
> 159. ^
> Buhle and Wagner (2003b), p. 24.
> 160. ^
> Buhle and Wagner (2003a), p. 150.
> 161. ^
> Buhle and Wagner (2003b), p. 53.
> 162. ^
> http://books.google.com/books?id=bXSdUTdA_dUC&pg=PA163&lpg=PA163&dq=sam+levene+blacklisted&source=bl&ots=Y72BkaWHN6&sig=UEy-LLTZi2KU5GzVVsFX5EIP1so&hl=en&sa=X&ei=cM7eU4KlHISbyASekYDYBQ&ved=0CCAQ6AEwAQ#v=onepage&q=sam%20levene%20blacklisted&f=false
> 163. ^
> a
> b
> c
> Schwartz (1999).
> 164. ^
> a
> b
> Buhle and Wagner (2003a), p. 130.
> 165. ^
> Denning (1998), p. 374; Lumenick (2007b).
> 166. ^
> Buhle and Wagner (2003a), p. 110.
> 167. ^
> Buhle and Wagner (2003a), p. 20.
> 168. ^
> Cohen (2004), pp. 172-73178.
> 169. ^
> Buhle and Wagner (2003b), p. 142.
> 170. ^
> Cohen (2004), pp. 178-79, 186.
> 171. ^
> Buhle and Wagner (2003b), p. 8.
> 172. ^
> Buhle and Wagner (2003b), p. 110.
> 173. ^
> Buhle and Wagner (2003b), p. 78.
> 174. ^
> Buhle and Wagner (2003a), p. 26.
> 175. ^
> Buhle and Wagner (2003a), p. 157.
> 176. ^
> Navasky (1980), pp. 371-73.
> 177. ^
> a
> b
> c
> Buhle and Wagner (2003a), p. 45.
> 178. ^
> Buhle and Wagner (2003b), p. 10.
> 179. ^
> a
> b
> Buhle and Wagner (2003b), p. 11.
> 180. ^
> Buhle and Wagner (2003a), p. 247.
> 181. ^
> Buhle and Wagner (2003b), p. 163.
> 182. ^
> Buhle and Wagner (2003a), p. 253.
> 183. ^
> Buhle and Wagner (2003b), p. 1.
> 184. ^
> Buhle and Wagner (2003a), p. 18.
> 185. ^
> Buhle and Wagner (2003a), p. 88.
> 186. ^
> a
> b
> Lerner (2003), pp. 337-38.
> 187. ^
> Buhle and Wagner (2003a), p. 142.
> 188. ^
> Buhle and Wagner (2003b), p. 55.
> 189. ^
> Buhle and Wagner (2003a), p. 208.
> 190. ^
> Buhle and Wagner (2003b), p. 101.
> 191. ^
> Perebinossoff, Gross, and Gross (2005), p. 9; Kisseloff (1995), p. 416.
> 192. ^
> Buhle and Wagner (2003b), p. 218.
> 193. ^
> Buhle and Wagner (2003a), p. 63.
> 194. ^
> Buhle and Wagner (2003a), p. 36.
> 195. ^
> Buhle and Wagner (2003a), p. 91.
> 196. ^
> Buhle and Wagner (2003a), p. 175.
> 197. ^
> Buhle and Wagner (2003b), p. 47.
> 198. ^
> Buhle and Wagner (2003b), p. 141.
> 199. ^
> Buhle and Wagner (2003b), p. 90.
> 200. ^
> Navasky (1980), pp. 93-94.
> 201. ^
> Buhle and Wagner (2003b), p. 9.
> 202. ^
> Buhle and Wagner (2003b), p. 209.
> 203. ^
> Buhle and Wagner (2003b), p. 66.
> 204. ^
> Buhle and Wagner (2003a), p. 111.
> 205. ^
> Buhle and Wagner (2003a), p. vii.
> 206. ^
> Buhle and Wagner (2003a), p. 248.
> 207. ^
> "HUAC Hollywood Investigation Testimony, October 1947: Unfriendly
> Witnesses--Howard Lawson (Screenwriter)".
> Authentic History Center. October 29, 1947. Retrieved 2010-10-14.
> 208. ^
> Navasky (1980), pp. 101-2.
> 209. ^
> Cook (1971), p. 13.
> 210. ^
> Cohen (2004), p. 179.
> 211. ^
> Boyer (1996); Navasky (1980), p. 74; Cogley (1956), p. 124.
> list end
>
> Sources[
> edit]
> List of 76 items
> * Anderson, John (2007). "Old Hollywood", Village Voice, November 20
> (available
> online).
> * Andrew, Geoff (2005). "On the Waterfront", in Time Out Film Guide, 14th
> ed., ed. John Pym. London: Time Out.
> ISBN 1-904978-48-7
> * Applebaum, Anne (2012), Iron Curtain: The Crushing of Eastern Europe,
> 1944-1956. New York: Doubleday.
> ISBN 978-0-385-53643-1.
> * Barnouw, Erik (1990 [1975]). Tube of Plenty: The Evolution of American
> Television. New York and Oxford: Oxford University Press.
> ISBN 0-19-506483-6
> * Barzman, Norma (2004). The Red And The Blacklist: The Intimate Memoir of a
> Hollywood Expatriate. New York: Thunder's Mouth/Nation Books.
> ISBN 1-56025-617-6
> * Belton, John (1994). American Cinema/American Culture [excerpt] in Ross
> (2002), pp. 193-212.
> * Kenneth Billingsley, "Hollywood's Missing Movies: Why American films have
> ignored life under communism", Reason Magazine, June 2000
> * Billingsley, Kenneth Lloyd (2000). Hollywood Party. Roseville, CA: Prima
> Publishing.
> ISBN 0-7615-1376-0.
> * Bogart, Humphrey (1948). "I'm No Communist", Photoplay, March (available
> online).
> * Bosworth, Patricia (1997). Anything Your Little Heart Desires: An American
> Family Story. New York: Simon and Schuster.
> ISBN 0-684-80809-9
> * Boyer, Edward J. (1996). "Danny Dare, 91; Blacklisted Choreographer,
> Dancer", Los Angeles Times, November 30 (available
> online).
> * Brown, Jared (1989) Zero Mostel: A Biography, New York: Athenium.
> ISBN 978-0-689-11955-2.
> * Buckley, William F., Jr. A Hymnal: The Controversial Arts . New York: G.P.
> Putnam's Sons. SBN 399-12227-3
> * Buhle, Paul, and David Wagner (2003a). Hide in Plain Sight: The Hollywood
> Blacklistees in Film and Television, 1950-2002. New York: Palgrave
> Macmillan.
> ISBN 1-4039-6144-1
> * Buhle, Paul, and David Wagner (2003b). Blacklisted: The Film Lover's Guide
> to the Hollywood Blacklist. New York: Palgrave Macmillan.
> ISBN 1-4039-6145-X
> * Burlingame, Jon (2000). Sound and Vision: 60 Years of Motion Picture
> Soundtracks. New York: Billboard/Watson-Guptill.
> ISBN 0-8230-8427-2
> * Ceplair, Larry, and Steven Englund (2003). The Inquisition in Hollywood:
> Politics in the Film Community, 1930-1960. Urbana and Chicago: University
> of
> Illinois Press.
> ISBN 0-252-07141-7
> * Chapman, James (2003). Cinemas of the World: Film and Society from 1895 to
> the Present. London: Reaktion.
> ISBN 1-86189-162-8
> * Charity, Tom (2005). "Storm Center", in Time Out Film Guide, 14th ed., ed.
> John Pym. London: Time Out.
> ISBN 1-904978-48-7
> * Christensen, Terry and Peter J. Haas (2005). Projecting Politics:
> Political Messages in American Films. Armonk, N.Y., and London: M.E.
> Sharpe.
> ISBN 0-7656-1444-8
> * Cogley, John (1956). "Report on Blacklisting." Collected in Blacklisting:
> An Original Anthology (1971), Merle Miller and John Cogley. New York: Arno
> Press/New
> York Times.
> ISBN 0-405-03579-9
> * Cohen, Karl F. (2004 [1997]). Forbidden Animation: Censored Cartoons and
> Blacklisted Animators in America. Jefferson, N.C.: McFarland.
> ISBN 0-7864-0395-0
> * Cook, Fred J. (1971). The Nightmare Decade: The Life and Times of Senator
> Joe McCarthy. New York: Random House.
> ISBN 0-394-46270-X
> * Denning, Michael (1998). The Cultural Front: The Laboring of American
> Culture in the Twentieth Century. London and New York: Verso.
> ISBN 1-85984-170-8
> * Dick, Bernard F. (1982). Hellman in Hollywood. East Brunswick, N.J.,
> London, and Toronto: Associated University Presses.
> ISBN 0-8386-3140-1
> * Dick, Bernard F. (1989). Radical Innocence: A Critical Study of the
> Hollywood Ten. Lexington: University Press of Kentucky.
> ISBN 0-8131-1660-0
> * Doherty, Thomas (2003). Cold War, Cool Medium: Television, McCarthyism,
> and American Culture. New York: Columbia University Press.
> ISBN 0-231-12952-1
> * Draper, Theodore (2003). The Roots of American Communism. New Brunswick,
> New Jersey: Transaction Publishers (Originally published by Viking Press in
> 1957).
> ISBN 0-7658-0513-8.
> * Everitt, David (2007). A Shadow of Red: Communism and the Blacklist in
> Radio and Television. Chicago: Ivan R. Dee.
> ISBN 1-56663-575-6
> * Faulk, John Henry (1963). Fear on Trial. Austin: University of Texas
> Press.
> ISBN 0-292-72442-X
> * Fried, Albert (1997). McCarthyism, The Great American Red Scare: A
> Documentary History. New York and Oxford: Oxford University Press.
> ISBN 0-19-509701-7
> * Gevinson, Alan (ed.) (1997). American Film Institute Catalog--Within Our
> Gates: Ethnicity in American Feature Films, 1911-1960. Berkeley, Los
> Angeles,
> and London: University of California Press.
> ISBN 0-520-20964-8
> * Gill, Glenda Eloise (2000). No Surrender! No Retreat!: African-American
> Pioneer Performers of 20th Century American Theater. New York: Palgrave.
> ISBN 0-312-21757-9
> * Goldfield, Michael (2004). "Communist Party", in Poverty in the United
> States: An Encyclopedia of History, Politics, and Policy, ed. Gwendolyn Mink
> and
> Alice O'Connor. Santa Barbara, Calif.: ABC-CLIO.
> ISBN 1-57607-608-3
> * Goldstein, Patrick (1999). "Many Refuse to Clap as Kazan Receives Oscar",
> Los Angeles Times, March 22 (available
> online).
> * Gordon, Bernard (1999). Hollywood Exile, Or How I Learned to Love the
> Blacklist. Austin: University of Texas Press.
> ISBN 0-292-72827-1
> * Goudsouzian, Aram (2004). Sidney Poitier: Man, Actor, Icon. Chapel Hill
> and London: University of North Carolina Press.
> ISBN 0-8078-2843-2
> * Graulich, Melody, and Stephen Tatum (2003). Reading The Virginian in the
> New West. Lincoln: University of Nebraska Press.
> ISBN 0-8032-7104-2
> * Herman, Jan (1997 [1995]). A Talent for Trouble: The Life of Hollywood's
> Most Acclaimed Director, William Wyler. Cambridge, Mass.: Da Capo.
> ISBN 0-306-80798-X
> * Horne, Gerald (2006). The Final Victim of the Blacklist: John Howard
> Lawson, Dean of the Hollywood Ten. Berkeley, Los Angeles, and London:
> University
> of California Press.
> ISBN 0-520-24860-0
> * Jablonski, Edward (1998 [1988]). Gershwin. Cambridge, Mass.: Da Capo.
> ISBN 0-306-80847-1
> * Johnpoll, Bernard K. (1994). A Documentary History of the Communist Party
> of the United States, vol. 3. Westport, Conn.: Greenwood.
> ISBN 0-313-28506-3
> * Katz, Ephraim (1994). The Film Encyclopedia, 2d ed. New York:
> HarperPerennial.
> ISBN 0-06-273089-4
> * Kisseloff, Jeff (1995). The Box: An Oral History of Television, 1920-1961.
> New York: Viking.
> ISBN 0-670-86470-6
> * Klehr, Harvey, Haynes, John Earl, and Firsov, Fridrikh Igorevich (1995).
> The Secret World of American Communism. New Haven and London: Yale
> University
> Press.
> ISBN 0-300-06183-8.
> * Korvin, Charles (1997). "Actors Suffered, Too" [letter to the editor], New
> York Times, May 4 (available
> online).
> * Lasky, Betty (1989). RKO: The Biggest Little Major of Them All. Santa
> Monica, California: Roundtable.
> ISBN 0-915677-41-5
> * Lerner, Gerda (2003). Fireweed: A Political Autobiography. Philadelphia:
> Temple University Press.
> ISBN 1-56639-889-4
> * Lumenick, Lou (2007a). "Father's Footsteps", New York Post, February 22
> (available
> online).
> * Lumenick, Lou (2007b). "Ask the Old Pro", New York Post, November 23
> (available
> online).
> * McGill, Lisa D. (2005). Constructing Black Selves: Caribbean American
> Narratives and the Second Generation. New York and London: New York
> University Press.
> ISBN 0-8147-5691-3
> * Murphy, Brenda (2003). Congressional Theatre: Dramatizing McCarthyism on
> Stage, Film, and Television. Cambridge: Cambridge University Press.
> ISBN 0-521-89166-3
> * Navasky, Victor S. (1980). Naming Names. New York: Viking.
> ISBN 0-670-50393-2
> * Nelson, Cary, and Jefferson Hendricks (1990). Edwin Rolfe: A Biographical
> Essay and Guide to the Rolfe Archive at the University of Illinois at
> Urbana-Champaign.
> Urbana: University of Illinois Press.
> ISBN 0-252-01794-3
> * Newman, Robert P. (1989). The Cold War Romance of Lillian Hellman and John
> Melby. Chapel Hill and London: University of North Carolina Press.
> ISBN 0-8078-1815-1
> * O'Neill, William L. (1990 [1982]). A Better World: Stalinism and the
> American Intellectuals. New Brunswick, N.J.: Transaction.
> ISBN 0-88738-631-8
> * Parish, James Robert (2004). The Hollywood Book of Scandals: The Shocking,
> Often Disgraceful Deeds and Affairs of More than 100 American Movie and TV
> Idols. New York et al.: McGraw-Hill.
> ISBN 0-07-142189-0
> * Perebinossoff, Philippe, Brian Gross, and Lynne S. Gross (2005).
> Programming for TV, Radio, and the Internet: Strategy, Development, and
> Evaluation. Burlington,
> Mass., and Oxford: Focal Press/Elsiver.
> ISBN 0-240-80682-4
> * Ramón, David (1997). Dolores del Río. México: Clío.
> ISBN 968-6932-35-6
> * Red Channels: The Report of Communist Influence in Radio and Television
> (1950). New York: Counterattack.
> * Ross, Stephen J. (ed.) (2002). Movies and American Society. Malden, Mass.,
> and Oxford: Blackwell.
> ISBN 0-631-21960-9
> * Schrecker, Ellen (2002). The Age of McCarthyism: A Brief History with
> Documents. New York: Palgrave.
> ISBN 0-312-29425-5
> * Schwartz, Jerry (1999). "Some Actors Outraged by Kazan Honor", Associated
> Press, March 13 (available
> online).
> * Scott, William Berryman, and Peter M. Rutkoff (1999). New York Modern: The
> Arts and the City. Baltimore: Johns Hopkins University Press.
> ISBN 0-8018-5998-0
> * Smith, Jeff (1999). "'A Good Business Proposition': Dalton Trumbo,
> Spartacus, and the End of the Blacklist", in Controlling Hollywood:
> Censorship/Regulation
> in the Studio Era, ed. Matthew Bernstein. New Brunswick, N.J.: Rutgers
> University Press.
> ISBN 0-8135-2707-4
> * Stone, Geoffrey R. (2004). Perilous Times: Free Speech in Wartime from the
> Sedition Act of 1798 to the War on Terrorism. New York: W. W. Norton.
> ISBN 0-393-05880-8
> * Sullivan, James (2010). Seven Dirty Words: The Life and Crimes of George
> Carlin. Cambridge, Mass.: Da Capo Press.
> ISBN 978-0-306-81829-5
> * Trumbo, Dalton (1970). Additional Dialogue: Letters of Dalton Trumbo
> 1942-1962. Manfull, Helen, ed. New York: Evans and Company. ISBN
> * "Oliver Crawford: Hollywood Writer", Times (London), October 8, 2008
> (available
> online).
> * Verrier, Richard (2011). "Writers Guild Restores Screenplay Credit to
> Trumbo for 'Roman Holiday'", Los Angeles Times, December 19 (available
> online).
> * Wakeman, John, ed. (1987). World Film Directors--Volume One: 1890-1945. New
> York: H. W. Wilson.
> ISBN 0-8242-0757-2
> * Ward, Brian (1998). Just My Soul Responding: Rhythm and Blues, Black
> Consciousness, and Race Relations. London: UCL Press.
> ISBN 1-85728-138-1
> * Ward, Jerry Washington, and Robert Butler (2008). The Richard Wright
> Encyclopedia. Westport, Conn.: Greenwood.
> ISBN 0-313-31239-7
> * Weigand, Kate (2002). Red Feminism: American Communism and the Making of
> Women's Liberation. Baltimore and London: Johns Hopkins University Press.
> ISBN 0-8018-6489-5
> * Weinraub, Bernard (2000). "Blacklisted Screenwriters Get Credits", New
> York Times, August 5.
> * Zecker, Robert (2007). Metropolis: The American City in Popular Culture.
> Westport, Conn.: Greenwood.
> ISBN 0-275-99712-X
> list end
>
> Further reading[
> edit]
> List of 10 items
> * Berg, Sandra (2006). "When Noir Turned Black" (interview with
> Jules Dassin),
> Written By (November) (available
> online).
> * Bernstein, Walter (2000). Inside Out: A Memoir of the Blacklist. New York:
> Da Capo.
> ISBN 0-306-80936-2
> * Briley, Ronald (1994). "Reel History and the Cold War", OAH Magazine of
> History 8 (winter) (available
> online).
> * Georgakas, Dan (1992). "Hollywood Blacklist", in Encyclopedia of the
> American Left, ed.
> Mari Jo Buhle,
> Paul Buhle,
> and
> Dan Georgakas.
> Urbana and Chicago: University of Illinois Press (available
> online).
> ISBN 0-252-06250-7
> * Kahn, Gordon (1948). Hollywood on Trial: The Story of the 10 Who Were
> Indicted. New York: Boni & Gaer (excerpted
> online).
> ISBN 0-405-03921-2
> * Leab, Daniel J., with guide by Robert E. Lester (1991). Communist Activity
> in the Entertainment Industry: FBI Surveillance Files on Hollywood,
> 1942-1958.
> Bethesda, Maryland: University Publications of America (available
> online).
> ISBN 1-55655-414-1
> * Murray, Lawrence L. (1975). "Monsters, Spys, and Subversives: The Film
> Industry Responds to the Cold War, 1945-1955", Jump Cut 9 (available
> online).
> * Nizer, Louis. (1966). The Jury Returns. New York: Doubleday & Co.
> ISBN 978-0-671-12505-9
> * "Seven-Year Justice", Time, July 6, 1962 (available
> online).
> * Vaughn, Robert. (2004). Only Victims: A Study of Show Business
> Blacklisting, 2nd ed. New York: Proscenium/Limelight Editions. (Originally
> published New
> York: Putnam, 1972).
> ISBN 978-0-87910-081-0
> list end
>
> External links[
> edit]
> List of 8 items
> * Albert Maltz's HUAC Testimony
> transcript of the writer's testimony (preceded by excerpts of actor Ronald
> Reagan's testimony--see below for link to complete Reagan transcript)
> * "Congressional Committees and Unfriendly Witnesses"
> detailed examination of legal issues involved in HUAC proceedings by
> historian Ellen Schrecker
> * "McCarthy Era Blacklist Victims, Peace Groups, Academics, and Media File
> Amicus Briefs in CCR Case"
> news release focused on 2009 brief filed by former blacklistees including
> Irwin Corey
> in
> Holder v. Humanitarian Law Project
> Supreme Court free speech case
> * Kenneth Billingsley, "Hollywood's Missing Movies: Why American films have
> ignored life under communism", Reason Magazine, June 2000
> * Ronald Reagan's HUAC Testimony
> transcript of the actor's testimony of October 23, 1947
> * "Seeing Red"
> transcript of excerpts from PBS documentary The Legacy of the Hollywood
> Blacklist and interview by
> NewsHour
> correspondent Elizabeth Farnsworth with two blacklisted artists,
> writer/producer
> Paul Jarrico
> and actress
> Marsha Hunt
> * FBI Documents on Communist Infiltration- Motion Picture Industry (COMPIC)
> * Hollywood Blacklist,
> series of interviews and transcripts (many online) from Center for Oral
> History Research, UCLA Library Special Collections, University of
> California, Los
> Angeles.
> list end
> Retrieved from "
> http://en.wikipedia.org/w/index.php?title=Hollywood_blacklist&oldid=637107988"
> Categories:
> List of 6 items
> * Film and video terminology
> * History of film
> * Hollywood blacklist
> * McCarthyism
> * Political and cultural purges
> * Political repression in the United States
> list end
> Hidden categories:
> List of 1 items
> * CS1 errors: dates
> list end
>
> Navigation menu
>
> Personal tools
> List of 2 items
> * Create account
> * Log in alt+o
> list end
>
> Namespaces
> List of 2 items
> * Article alt+c
> * Talk alt+t
> list end
>
> Variants
> #
>
> Views
> List of 3 items
> * Read
> * Edit alt+e
> * View history alt+h
> list end
>
> More
> #
>
> Search
> alt+f
> Search Wikipedia for this text
> Go to a page with this exact name if one exists
> Visit the main page
>
> Navigation
> List of 7 items
> * Main page alt+z
> * Contents
> * Featured content
> * Current events
> * Random article alt+x
> * Donate to Wikipedia
> * Wikimedia Shop
> list end
>
> Interaction
> List of 5 items
> * Help
> * About Wikipedia
> * Community portal
> * Recent changes alt+r
> * Contact page
> list end
>
> Tools
> List of 8 items
> * What links here alt+j
> * Related changes alt+k
> * Upload file alt+u
> * Special pages alt+q
> * Permanent link
> * Page information
> * Wikidata item alt+g
> * Cite this page
> list end
>
> Print/export
> List of 3 items
> * Create a book
> * Download as PDF
> * Printable version alt+p
> list end
>
> Languages
> List of 19 items
> * Català
> * Deutsch
> * ????????
> * Español
> * Français
> * ???
> * ?????
> * Nederlands
> * ???
> * Polski
> * Português
> * Româna
> * ???????
> * Simple English
> * Srpskohrvatski / ??????????????
> * Suomi
> * Türkçe
> * ??
> * #
> list end
> Edit links
> List of 2 items
> * This page was last modified on 8 December 2014 at 02:27.
> * Text is available under the
> Creative Commons Attribution-ShareAlike License
> ; additional terms may apply. By using this site, you agree to the
> Terms of Use
> and
> Privacy Policy.
> Wikipedia(R) is a registered trademark of the
> Wikimedia Foundation, Inc.,
> a non-profit organization.
> list end
> List of 6 items
> * Privacy policy
> * About Wikipedia
> * Disclaimers
> * Contact Wikipedia
> * Developers
> * Mobile view
> list end
> List of 2 items
> * Wikimedia Foundation
> * Powered by MediaWiki
> list end
>