By Jennifer Langdon
In the summertime of 1947, Crossfire, a debatable mystery exposing American anti-Semitism, used to be a severe and box-office hit, and RKO manufacturer Adrian Scott used to be on the top of his occupation. inside numerous months, even if, Scott turned notorious as a member of the Hollywood Ten, blacklisted for his refusal to cooperate with the home Un-American actions Committee. stuck within the Crossfire: Adrian Scott and the Politics of Americanism in Forties Hollywood reconstructs the construction and reception of Scott's significant motion pictures, exploring the political and inventive demanding situations confronted via Hollywood radicals in the studio procedure and reassessing the connection between movie noir, antifascism, anticommunism, and the politics of Americanism. (6/24/09)
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Extra resources for Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood (Gutenberg-e)
Some were put off by the hierarchical structure of the Party, others by the rigidity of some of the Communists themselves. Some joined and then left, disturbed by reports of purges and atrocities in the Soviet Union or abrupt shifts in the ideological line. Many, both inside and outside the Party, were deeply disturbed by the Hitler-Stalin pact of 1939, and were alternately amused and outraged by the overnight transformation of the Party position on the war, from intervention to isolationism in 1939, and then back to interventionism again in 1941, after the Nazis invaded the Soviet Union.
44 Such divergences between Party dogma and the political consciousness of most Hollywood Communists help to explain Paxton's characterization of the "Reds" with such rare sympathy. He scoffs at the idea of the Communists as dangerous revolutionaries through the example he gives of their political activity—dunning him for money in the men's room to buy milk for rickety children in Georgia. " Indeed, the "Americanized" rhetoric of the Popular Front period not only helped to make the Party more palatable to liberals in the film community, but also transformed the radicals' perception of themselves, as George Charney describes: It was as though a new day had dawned for the American movement.
Note 3: George W. Carey, "Paterson Strike of 1913," and David J. , Encyclopedia of the American Left (Urbana: University of Illinois Press, 1990), 558–560, 562–563. Note 4: Joan Scott, interview with author, April 1999, Los Angeles. Note 5: Canfield's comments were made in support of Scott's request for parole in 1951; quoted in Robert Kenny to Scott, typewritten letter, January 5, 1951, in Robert W. Kenny and Robert S. Morris Papers (hereafter, Kenny-Morris Papers), B10-F5. Note 6: Scott bio from the Olio (1934), the Amherst College yearbook.
Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood (Gutenberg-e) by Jennifer Langdon
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