3815609

A Bibliography of Communism, Film, Radio and Television
Author(s): John Earl Haynes

Source: Film History, Vol. 16, No. 4, Politics and Film (2004), pp. 396-423
Published by: Indiana University Press
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Film History, Volume 16, pp. 396-423, 2004. Copyright John Libbey Publishing
ISSN: 0892-2160. Printed in United States of America
A Bibliography of
Communism, Film, Radio
and Television
John Earl Haynes
Bibliography was a task I was glad word processor

others did:with its integrated 'Ibidim' bibliog-
it seemed a tedious business with few re-
raphic utility invaluable. The total bibliography now
wards. But in 1982 I helped to found a stands
small somewhere in excess of 8,000 entries. Dan
Leab,
scholarly organization, the Historians of who has served as HOAC's general secretary
American Communism, and agreed to put out
for a
many years, encouraged me to pull out those
HOAC newsletter. Looking around for material, I with film, radio, and television, nearly 400
dealing
included recent publications by members and also
compared with the fifty-four of 1987, for publication
added citations of new essays and books that in this special issue.
seemed of interest to historians in the field. This Let me note several aspects of the entries
newsletter feature turned out to be one appreciated below. I originally annotated some entries in the
HOAC Newsletter when I saw that in a number of
by members and I soon found myself not just listing
instances the formal title gave little indication of why
items that came to my attention but seeking them out
a historian of American communism would want to
to keep the Newsletter of the Historians of American
Communism full. By 19871 had accumulated enough consider reviewing the item. In other cases, simply
material that I published Communism and Anti-Com- for my own research purposes I noted aspects of a
munism in the United States: An Annotated Guide to publication that were of interest to me or, in some
cases, irritated me. Other entries, however, were not
Historical Writings (Garland). This book listed slightly
more than 2,000 books, essays, dissertations and annotated because the titles were sufficiently indica-
other publications. As the title stated, it was a bibli-tive of the contents or simply were on matters not
ography of historical writings, not a listing of primaryrelevant to my own research. Let me also note that
film, television, and other visual media are not an
sources or contemporary journalism, although some
of the latter were included for illustrative purposes orarea of my own research, and I am quite conscious
to fill in gaps in the scholarly coverage. There were,that there likely are significant gaps in coverage.
as well, some cases where contemporary journalism Bibliography still seems to me to be tedious,
was of extremely high quality and of lasting value notalthough not as much as it used to be, but rewards
only as contemporary documentation but as histori-seem as few as ever. Still, over the years I have grown
cal analysis as well. The 1987 bibliography had a to appreciate the usefulness of bibliography and I
short chapter on film, radio, and television with hope
a the entries below will assist historians and other
mere fifty-four entries. scholars.
As the years have passed I have continued to

add new publications as well as older material to my John Earl Haynes is Specialist in American History at
original 1987 bibliography. Electronic data bases, the Library of Congress. He has been editor of the
and the availability of powerful bibliographic utilitiesbibliographically oriented Newsletter of the Historians
of American Communism for many years. His books
linked with a word processor have also taken a goodinclude Communism and Anti-Communism in the
deal, but far from all, of the tedium out of bibliog- United States: An Annotated Guide to Historical
raphic work. I have found the 'Nota Bene' scholarlyWritings.
A Bibliography of Communism, Film, Radio and Television 397
General works by Richard Wood - v. 2. World War II, part 1 /

edited by David Culbert - v. 3. World War II, part
Bernhard, Nancy E. U.S. Television News and Cold War
2 / edited by David Culbert - v. 4. 1945 and after
Propaganda, 1947-1960. Cambridge, UK & New
/ edited by Lawrence H. Suid.
York, NY: Cambridge University Press, 1999.
Curtin, Michael. 'Defining the Free World: Prime-Time
Billingsley, Kenneth Lloyd. 'Hollywood's Missing Mov-
Documentary and the Politics of the Cold War,
ies: Why American Films Have Ignored Life Under
1960-1964'. Ph.D. diss. University of Wisconsin,
Communism'. Reason, June 2000.
1990. Finds that the boom of TV documentaries
Biskind, Peter. Seeing is Believing: How Hollywood
of the early 1960s derived from a marriage of
Taught Us to Stop Worrying and Love the Fifties.
American corporations' desire to expand over-
New York: Pantheon Books, 1983. Judges that
seas all
with Kennedy's anti-Communist New Fron-
movies in the 1950s 'no matter how trivial or tier internationalism.
apparently escapist, was made in the shadow of
Doherty, Thomas Patrick. Projections of War: Hollywood,
the anti-Communist witch-hunt, subject to the
American Culture, and World War II. New York:
strictures' of US House Committee on Un-Ameri-
can Activities.
Columbia University Press, 1999.
Doherty, Thomas Patrick. Cold War, Cool Medium: Tele-
Black, Gregory D. 'Movies, Politics and Censorship: The
Production Code Administration and Political vision, McCarthyism, and American Culture. Film
and Culture. New York: Columbia University
Censorship of Film Content in the 1930s'. Paper
Press, 2003. Among the matters discussed are
presented at Organization of American Historians
the Army McCarthy hearings and the Lucy Show
Annual Meeting, 1990.
response to Lucy appearing in Red Channels.
Booker, M. Keith. Film and the American Left: A Research
Doherty, Thomas. 'Frank Costello's Hands: Film, Tele-
Guide. Westport, CT: Greenwood Press, 1999.
vision, and the Kefauver Crime Hearings'. Film
Summaries of left ideas (which are 'considered a
History 10, no. 3 (1998). 'From the vantage of later
positive virtue) in more than 250 movies.
decades, the alarum over crime in the 1950s looks
Breindel, Eric M. 'The Communists & the Committees'.like another random outbreak of Cold War hys-
Commentary, January 1981. Critical comment on teria'.
books and films depicting American Communists
as romantic idealists. Douglas, Andrew J. 'Television and Cold War Culture:
A Face in the Crowd'. Paper presented at 'Knaves,
Brownlow, Kevin. Behind the Mask of Innocence. New Fools, and Heroes,' Film and Television Repre-
York: Knopf, 1990. On films of social conscience sentations of the Cold War', 17th International
in the silent era, includes a section on the 1918-20
Association for Media and History Conference.
Red Scare.
Salisbury State University, Maryland, 1997.
Buhle, Paul. 'The Hollywood Left: Aesthetics and Poli-
Dowdy, Andrew. The Films of the Fifties: The American
tics'. New Left Review, no. 212 (1995). State of Mind. New York: Morrow, 1975. Discusses
Campbell, Russell. 'Nihilists and Bolsheviks: Revolution- reflections of the Cold War in movies.
ary Russia in American Silent Film'. Silent Pic- Dunn, David. 'Defining a Cold War Film'. Paper pre-
ture 19 (1974). sented at 'Knaves, Fools, and Heroes,' Film and
Christensen, Terry. Reel Politics: American Political Mov- Television Representations of the Cold War', 17th
ies from Birth of a Nation to Platoon. Oxford, UK, International Association for Media and History
New York, NY, USA: Blackwell, 1987. Films exam- Conference. Salisbury State University, Maryland,
ined include Reds, Advice and Consent, and Dr. 1997.
Strangelove.
Eder, Bruce. 'Seeing Red, Hollywood-Style'. Video 14
Clark, Randal. 'Who Put the U.N. in U.N.C.L.E.?' Paper (December 1990). On Red Scare movies.
presented at 'Knaves, Fools, and Heroes,' Film Edgerton, Gary R., and Peter C. Rollins, eds. Television
and Television Representations of the Cold War',
Histories: Shaping Collective Memory in the Media
17th International Association for Media and His-
Age. Lexington: University Press of Kentucky,
tory Conference. Salisbury State University, Mary- 2001.
land, 1997.
Eldridge, David N. 'Dear Owen': The CIA, Luigi Luraschi
Cohen, Joan. 'Political Movies'. Mankind 5, no. 10
and Hollywood, 1953'. Historical Journal of Film,
(1976).
Radio and Television [U.K.] 20, no. 2 (2000). Dis-
Culbert, David Holbrook, Richard E. Wood, and cusses reports written in 1953 by a Paramount
Lawrence H. Suid, eds. Film and Propaganda in Studios executive to a Central Intelligence Agency
America: A Documentary History. New York: contact. Provides evidence of ties between the
Greenwood Press, 1990. v. 1. World War I / edited CIA and movie studios as both strove to represent
398 John Earl Haynes
America in a positive light to postwar foreign OWI encouragement of a favorable image of the
audiences to prevent the spread of communism. Soviet Union in films.
Luraschi's reports addressed alcoholism, racism, Kracauer, Siegfried. 'National Types as Hollywood Pre-
criminal activity, and cultural insensitivity by sents Them'. Public Opinion Quarterly 13 (1949).
Americans abroad. Discusses treatment of Russians.
Felsenthal, Daniel Sonnel. 'Keepers of the Flame: Indi-
Landon, Phil. 'The Cold War'. In The Columbia Compan-
vidualism in the Films of the 1950s'. Master's ion to American History on Film: How the Movies
thesis. Stephen F. Austin State University, 1996. Have Portrayed the American Past, edited by Peter
'Examines the individualist theme in three 1950s C. Rollins. New York: Columbia University Press,
movie genres (westerns, science fiction, and 2004.
youth 'rebel' films) and its use as an attack against
Laville, Helen. 'Scratchy Underwear and False Equality:
cold war antiCommunist conformity. Alarmed by
US Representations of Soviet Women in Film'.
public allegiance toward the House Committee
Paper presented at Society for Historians of
on Un-American Activities and the subsequent
American Foreign Relations Annual Meeting,
industry blacklists, leftist screenwriters sought to
2002.
remind fifties audiences that democracy and in-
dividual rights were increasingly at risk'. Leab, Daniel J. 'Hollywood and the Cold War,
1945-1961'. In Hollywood as Mirror: Changing
Fones-Wolf, Elizabeth. 'Labor Radio: A Catalyst for So- Views of 'Outsiders' and 'Enemies' in American
cial Change in Depression Era America'. Paper
Movies, edited by Robert Brent Toplin. Westport,
presented at American Studies Association An- CT: Greenwood Press, 1993.
nual Meeting, 2001.
Leab, Daniel J. 'Introduction: The Cold War and the
Fuller, Linda K. 'The Ideology of the 'Red Scare' Move- Movies'. Film History 10, no. 3 (1998).
ment: McCarthyism in the Movies'. In Beyond the
Stars: Themes and Ideologies in American Popular Leab, Daniel J. 'The Hollywood Feature Film as Cold
Film (v. 5), edited by Paul Loukides and Linda K. Warrior'. OAH Newsletter 13, no. 2 (May 1985).
Fuller. Bowling Green, Ohio: Bowling Green Uni- Lenihan, John H. 'Hollywood Laughs at the Cold War,
versity Popular Press, 1990. 1947-1961'. In Hollywood as Mirror: Changing
Views of 'Outsiders' and 'Enemies' in American
Fyne, Robert. 'From Hollywood to Moscow'. Literature
Film Quarterly 13, no. 3 (1985). Discusses Holly-
wood films about the USSR from the 1930s to the CT: Greenwood Press, 1993.
1940s. Lorence, James J. 'The 'Foreign Policy of Hollywood':
Interventionist Sentiment in the American Film,
Georgakas, Dan. 'Films of the New Deal'. Cineaste 21,
1938-1941'. In Hollywood as Mirror: Changing
no. 4 (1995). Discusses the artistic and political
Views of 'Outsiders' and 'Enemies' in American
problems of the film Native Land that stemmed
from adherence to a shifting C.P. line. Also com-
CT: Greenwood Press, 1993.
ments on film footage relating to Upton Sinclair's
EPIC campaign for governor of California. MacDonald, J. Fred. Television and the Red Menace:
The Video Road to Vietnam. New York: Praeger,
Giovacchini, Saverio. 'Democratic Modernism and the
1985. Argues that television both in its news
Hollywood Community, 1933-53: The Art and
coverage and its entertainment programs heavily
Politics of the Movies in the Era of the New Deal'.
promoted anticommunism, blacklisted 'progres-
Ph.D. diss. New York University, 1998.
sives', presented a negative image of the Soviet
Giovacchini, Saverio. Hollywood Modernism: Film and Union and communism and thereby exalted
Politics in the Age of the New Deal. Philadelphia: American militarism and helped bring about
Temple University Press, 2001. America's participation in the evil and imperialistic
Vietnam war.
Haralovich, Mary Beth. 'The Proletarian Woman's Film
of the 1930s: Contending with Censorship and MacDonald, J. Fred. 'The Cold War as Entertainment in
Entertainment'. Screen 31, no. 2 (1990). 'Fifties Television'. Journal of Popular Film and
Television 7, no. 1 (1978).
Inglis, Fred. 'Public Trust and the Growth of Popular
Incredulity: The Cold War Movies'. Paper pre- Maland, Charles J. 'Film Gris: Crime, Critique, and Cold
sented at 'Cold War Culture' conference. Univer- War Culture in 1951'. Film Criticism 26, no. 3
sity College, London, U.K., 1994. (Spring 2002).
Maltby,
Koppes, Clayton R., and Gregory D. Black, 'What to Richard. 'Film Noir: The Politics of the Malad-
Show the World: The Office of War Information justed Text'. Journal of American Studies
and Hollywood, 1942-1945'. Journal of American [U.K.] 18, no. 1 (1984). Judges that the film noir
History 64, no. 1 (June 1977). Briefly discusses movies of the 1946-49 era contained so much
disgusting anti-Communist paranoia that they wood Legal Films of the 1950s'. UCLA Law Re-
encouraged political repression. view 48, no. 6 (2001).
Mankiewicz, Frank. 'When the Menace Was Clearly Red'. Pearson, Glenda, comp. 'Red Scare Filmography', 1998
New York Times, 23 November 1990. Review of <http://www.lib.washington.edu/exhibits/allpo
the film exhibition 'Red Scare: Soviet Communism wers/film.html>. Listing and short description of
in American Film and Television, 1919-1988' at films categorized as 'The anti-Communist films',
the American Museum of the Moving Image. 'Films that can be interpreted as reaction against
Critical of the films for 'leading the cheers against to HUAC activities', 'Science fiction films', 'Com-
the "Evil Empire"', judges that 'these films were munists, the Cold War and the 1960's', 'HUAC
not so much anti-Communist as pro-estab- and the Hollywood Ten Through the 1970's and
lishment' and that movie producers were not into the 90's', 'Films that may have 'implicated'
motivated by ideology but 'merely going along Hollywood and/or the Hollywood Ten', and 'Early
with what they saw as good box office'. Anti-Communist Films'.
Margolis, Barbara. 'The Cold War, the Mass Media and Perdew, Richard M. 'Source Materials for Teaching
American Culture, 1945-60'. Paper presented at About Communism'. Social Education 28, no. 2
American Historical Association Annual Meeting, (1964). Lists books, documents, articles, films
1983.
and filmstrips available to help secondary teach-
ers deal with Communism.
Markle, M.L. 'Rockwell Meets Orwell: Early Cold War
Rhetoric in Feature Films and Political Speech'.
Perez, Vincent. 'Movies, Marxism, and Jim Crow: Richard
Paper presented at 'Knaves, Fools, and Heroes,' Wright's Cultural Criticism'. Texas Studies in Lit-
Film and Television Representations of the Cold erature and Language 43, no. 2 (2001).
War', 17th International Association for Media and
Philip, Davies, and Brian Neve, eds. Cinema, Politics,
History Conference. Salisbury State University,
Maryland, 1997. and Society in America. New York: St. Martin's
Press, 1981. Includes: Introduction / Philip Davies
Maynard, Richard A., ed. Propaganda on Film: a Nation and Brian Neve - The mind of the mob / P.H.
at War. Rochelle Park, NJ: Hayden Book Co., Melling - The political economy of Hollywood /
1975. An anthology exploring the relationship of Richard Maltby- The nation in crisis / Ralph Willett
commercial films and political propaganda, par- - Made for each other / Richard Maltby - The
ticularly concerning hot and cold wars. 1950s, the case of Elia Kazan and On the water-
Monteath, Peter, comp. The Spanish Civil War in Litera- front / Brian Neve - A growing independence /
ture, Film, and Art: An International Bibliography of Philip Davies - The American western and Ameri-
Secondary Literature. Westport, CT: Greenwood can society / Christopher Frayling - The working
Press, 1994. class goes to Hollywood / Leonard Quart and
Albert Auster - Blacks in American film / Mary
Morrow Robert W. 'Sesame Street and the Spirit of Ellison- Keystone to Kojak/ Robert Reiner- Blood
Detente'. Paper presented at 'Knaves, Fools, and on the Nash Ambassador / Eric Mottram.
Heroes,' Film and Television Representations of
Reisz, Karl. 'Hollywood's Anti-Red Boomerang'. Sight
the Cold War', 17th International Association for
Media and History Conference. Salisbury State and Sound, January 1953. Comment on anti-
University, Maryland, 1997. Communist films by a film critic.
Moser, John E. 'Gigantic Engines of Propaganda: TheRoffman, Peter, and Jim Purdy. The Hollywood Social
1941 Senate Investigation of Hollywood'. Histo- Problem Film: Madness, Despair, and Politics from
rian 63, no. 4 (2001). On congressional anti-inter- the Depression to the Fifties. Bloomington: Indi-
ventionist investigations of Hollywood for films ana University Press, 1981.
judged to be pro-war.
Rogin, Michael. 'Kiss Me Deadly: Communism, Mother-
Murphy, Brenda. Congressional Theatre: Dramatizing hood, and Cold War Movies'. Representations,
McCarthyism on Stage, Film, and Television. New no. 6 (Spring 1984).
York: Cambridge University Press, 1999.
Rollins, Peter C., ed. The Columbia Companion to Ameri-
Murray, Hugh T., Jr. 'Changing America and the Chang- can History on Film: How the Movies Have Por-
ing Image of Scottsboro'. Phylon, March 1977. trayed the American Past. New York: Columbia
Contrasts plays and films dealing with the University Press, 2004. Contains: Phil Landon,
Scottsboro case in the 1930s and the 1950s. 'The Cold War'; Phil Landon, 'The Korean War';
Peter C. Rollins, 'The Vietnam War'; Michael Shull
Neve, Brian. Film and Politics in America: A Social Tradi-
and David Wilt, 'Radicals and Radicalism'; Mi-
tion. London New York: Routledge, 1992.
chael Shull and David Wilt, 'The Labor Movement
Papke, David Ray. 'Law, Cinema, and Ideology: Holly- and the Working Class'.
Rollins, Peter C., ed. Hollywood as Historian. American can Society, 1929-1939. London New York: Rout-
Film in a Cultural Context. Lexington: University ledge, 1996. Includes discussion of Hollywood's
Press of Kentucky, 1998. response to Sinclair's EPIC campaign and achap-
Ross, Steven Joseph. Working-Class Hollywood. Silent ter entitled 'The Swimming Pool Reds'.
Film and the Shaping of Class in America. Prince- Shull, Michael S., and David E. Wilt. Hollywood War Films,
ton, NJ: Princeton University Press, 1998. In- 1937-1945: An Exhaustive Filmography of Ameri-
cludes discussion of films touching on the can Feature-Length Motion Pictures Relating to
1918-20 Red Scare. World War II. Jefferson, N.C.: McFarland & Co.,
Sayre, Nora. Running Time. Films of the Cold War. New 1996. Identifies and annotates nearly 1,300 Hol-
York: Dial Press, 1982. Argues that numerous lywood feature motion pictures which reflect the
films in the 1950s contained objectionable anti- crisis of the period, contains a content-analysis
Communist propaganda. database with hundreds of coding terms in mul-
tiple fields, and a historical-critical text which
analyses the cumulative impact of the form and
content of the pictures upon film audiences. In-
cludes films treating the Spanish Civil War, anti-
Communist films of the 1939-1941 period, and
films treating the role of the Soviet Union and Stalin
as an ally in the 1942-1945 period.
Shull, Michael S. 'Premature Anti-Communism, or, Hol-
lywood's Cinematic Backlash to the Nazi-Soviet
Pact, 1939-1941'. Paper presented at 'Knaves,
Fools, and Heroes,' Film and Television Repre-
sentations of the Cold War', 17th International
Association for Media and History Conference.
Shull, Michael S. Radicalism in American Silent Films,
1909-1929: A Filmography and History. Jefferson,
N.C.: McFarland, 2000. Identifies hundreds of
films released between 1909 and 1929 that en-
gaged the issues of militant labor and revolution-
ary radicalism. An extended introduction and
three analytical chapters investigate how the
American film industry portrayed the interrelation-
ships between labor radicals, exploitative capital-
ists, socialist idealists and Bolsheviks during
these critical years in US history. There follows a
comprehensive filmography of over 400 silent
motion pictures organized into the three eras
covered in the textual chapters, 1909-17,
1918-20 and 1921-29. Each entry contains a
detailed plot synopsis, citations to primary
sources and subject coding keyed to 64 related
Sayre, Nora. 'Unglaring Exceptions: Dissent in the Filmsterms and concepts - such as female radicals,
of the 1950s'. Monthly Review 53, no. 5 (2001). liquor linkage, bombs, agitators, Russians, Jews,
Bolsheviks, etc. This statistical data is presented
Shain, Russell. 'Hollywood's Cold War'. Journal of Popu-
in a series of charts and is fully integrated into the
larFilm 3, no. 4 (1974). Reviews treatment of Com-
historical-critical text.
munists in films of the 1940s and 1950s.
Shull, Michael S. 'Silent Agitators: Militant Labor in the
Shaw, Tony. 'Martyrs, Miracles, and Martians: Religion
Movies, 1909-1919'. Labor's Heritage 9, no. 3
and Cold War Cinematic Propaganda in the
(Winter 1998): 58-77.
1950s'. Journal of Cold War Studies 4, no. 2
(Spring 2002): 3-22. Shull, Michael S. 'Tinted Shades of Red: The Popular
American Cinematic Treatment of Militant Labor,
Shindler, Colin. Hollywood Goes to War: Films andAmeri- Domestic Radicalism and Russian Revolutionar-
can Society, 1939-1952. London, Boston: Rout-
ies, 1909-1929'. Ph.D. diss. University of Mary
ledge & K. Paul, 1979.
land, 1994. Uses a variety of sources to recreat
Shindler, Colin. Hollywood in Crisis: Cinema and Ameri- and analyze the content of over 400 silent-era
films. In many cases, the films themselves no berg, and five movies on the Russian Revolution:
longer exist. Finds that the plots of nearly a hun- Pudovkin's The End of St. Petersburg,
dred of the pre-1918 films centered around capi- Dovzhenko's Earth, Eisenstein's Potemkin, Ten
tal-labor conflicts with a majority sympathetic to Days That Shook the World and The General Line.
the problems of the working class. However, Includes an essay 'Father and Son - and the FBI'
almost all of the ninety feature films of 1918-1920 on the film My Son John.
related to the Red Scare were extremely hostile
Wasserman, Harry. 'Ideological Gunfight at the RKO
to Bolshevism and helped to shape attitudes Corral'. Velvet Light Trap 11 (Winter 1974).
demonizing Bolshevism.
Weinstein, David. 'Capital Communism: Washington,
Shull, Michael, and David Wilt. 'Radicals and Radical-
DC, the Cold War, and Early Television'. Paper
ism'. In The Columbia Companion to American
presented at 'Knaves, Fools, and Heroes,' Film
History on Film: How the Movies Have Portrayed
the American Past, edited by Peter C. Rollins. New 17th International Association for Media and His-
York: Columbia University Press, 2004.
tory Conference. Salisbury State University, Mary-
Skinner, James M. 'Cliche and Convention in Holly- land, 1997.
wood's Cold War Anti-Communist Films'. North
Wilt, David. 'Uncle Joe Joins the Family: Hollywood's
Dakota Quarterly 46, no. 3 (1978). Discusses anti-
Image of the Soviet Union, 1941-1945'. Paper
Communist themes in films of the late 1940s and
presented at 'Knaves, Fools, and Heroes,' Film
early 1950s.
Small, Melvin. 'Buffoons and Brave Hearts: Hollywood 17th International Association for Media and His-
Portrays the Russians, 1939-1944'. California His- tory Conference. Salisbury State University, Mary-
torical Quarterly 52, no. 4 (Winter 1973). land, 1997.
Small, Melvin. 'Hollywood and Teaching About Russian Zaniello, Tom. Working Stiffs, Union Maids, Reds, and
American Relations'. Film and History 10, no. 1 Riffraff: An Organized Guide to Films About Labor.
(1980). Discusses the attitude toward Commu- Ithaca: ILR Press, 1996.
nism and the Soviet Union suggested by a selec-
tion of films from the late 1930s to the 1960s. Individual films
Sorlin, Pierre. 'The Cinema: American Weapon'. Film Advise and Consent
History 10, no. 3 (1998).
Poe, G. Tom. 'Secrets, Lies and Cold War Politics:
Stead, Peter. Film and the Working Class: The Feature 'Making Sense' of Otto Preminger's Advise and
Film in British andAmerican Society. London New Consent'. Film History 10, no. 3 (1998).
York: Routledge, 1989.
The Alamo
Strout, Cushing. 'Reconsidering the Rosenbergs: His-
Hutton, Paul Andrew. 'The Celluloid Alamo'. Arizona and
tory, Novel, Film'. Reviews in American History 12,
the West 28, no. 1 (1986). On film depictions of
no. 3 (September 1984). Review-essay on recent
the Alamo battle as a metaphor for the struggle
coverage of the Rosenberg case.
against communism.
Wagner, Dave, and Paul Buhle. 'Communists in Outer
Amerika
Space: Cold War Politics in Hollywood Science
Fiction of the 1950s'. Filmhaftet[Sweden], no. 119 Lenart, Silvo, and Kathleen M. McGraw. 'America
(30:1) (2002). Watches 'Amerika:' Television Docudrama and
Walsh, Francis R. 'The Films We Never Saw: American Political Attitudes'. Journal of Politics 51, no. 3
Movies View Organized Labor, 1934-1 954'. Labor (August 1989). Results of a panel study examining
History 27 (Fall 1986). Notes the anti-Communist
the impact of the 1987 television miniseries
Amerika, which depicted life in the Midwest ten
views of King Vidor and the controversy over the
sympathetic treatment of a Communist-influ- years after a Soviet takeover of the United States.
enced union in the film 'Salt of the Earth'. Wallach, Glenn. "Ich Bin ein Amerikaner': Soviet Invasion
Warren, Spencer. 'Celluloid Soviets: A History of Holly- and the Uses of Camelot'. Radical History Review,
wood's Take on Communism'. Weekly Standard, no. 39 (September 1987). Hostile examination,
9 October 2000. suggesting that in part the ABC TV miniseries
'Amerika' was 'a jeremiad' based on the 'Ask not'
Warshow, Robert. The Immediate Experience: Movies, themes of John F. Kennedy's disgraceful Cold
Comics, Theatre & Other Aspects of Popular Cul- War liberalism.
ture. Garden City, NY: Doubleday, 1962. Analysis
Animal Farm
of popular culture. Includes discussions of Trill-
ing's The Middle of the Journey, Miller's play 'The Leab, Dan. 'The American Government and the Filming
Crucible', the letters of Julius and Ethel Rosen- of George Orwell'sAnimalFarm'. Paper presented
at 'Britain and the Culture of the Cold War' con- Vacha, J.E. 'The Case of the Runaway Opera: The
ference. Institute of Historical Research, Univer- Federal Theatre and Marc Blitzstein's "The Cradle
sity of London, U.K., 2003. Will Rock"'. NewYork History 62 (1981). Discusses
Black and White the controversy regarding the Federal Theatre
Project administration's cancellation of the open-
El-Hai, Jack. 'Black and White and Red'. American ing of a proletarian musical play and the defiance
Heritage 42 (May-June 1991). 'In 1932 the Com- of the order by producer John Houseman and
munist International paid to send a cast of Ameri- director Orson Welles.
can blacks to Moscow to make a movie [to be
Crossfire
called Black and White] about American racial
injustice. The scheme backfired'. Fox, Darryl. 'Crossfire and HUAC: Surviving the Slings
Hughes, Langston. I Wonder as I Wander: An Autobio- and Arrows of the Committee'. Film History 3,
graphicalJourney. New York: Rinehart, 1956. Dis- no. 1 (1989). Sees no evidence that the popularity
cusses an ill-fated joint Soviet-American attempt or marketing of RKO's Crossfire (1947) was af-
in the early 1930s to make a film on American fected by Adrian Scott and Edward Dmytryk, pro-
race relations entitled Black and White. ducer and director of the film, having been
uncooperative witnesses before the committee
Moore, David Chioni. 'Colored Dispatches From the and part of the 'Hollywood Ten'.
Uzbek Border: Langston Hughes' Relevance,
1933-2002'. Callaloo 25, no. 4 (Fall 2002). Holt, Jennifer. 'Hollywood and Politics Caught in the Cold
War Crossfire (1947)'. Film & History 31, no. 1
Moore, David Chioni. 'Local Color, Global 'Color': Lang-
(2001).
ston Hughes, the Black Atlantic, and Soviet Cen-
tral Asia, 1932'. Research in African Literatures 27,Langdon-Teclaw, Jennifer Elizabeth. 'Caught in the
no. 4 (Winter 1996). Crossfire: Anti-Fascism, Anti-Communism and
the Politics of Americanism in the Hollywood Ca-
Scammell, Michael. 'Langston Hughes in the USSR'.
reer of Adrian Scott'. Ph.D. diss. State University
New York Review of Books, 29 June 1989. Notes
that Arthur Koestler asserted that the Soviets of New York, Binghamton, 2000. Focuses on the
1947 film Crossfire where radical film maker and
dropped support for Hughes' 1932 film about
Hollywood Ten member Scott exposes America's
blacks in the US in connection with the rapproche-
hatred of Jews and potential for fascism.
ment between the Soviet government and that of
the US.
Ifi's 9 Go-Get'EmOuy for <ho U.&A, ON
.0
Big Jim McLain reson -Tral bt tod "f-a-*World Awo
Briley, Ron. 'The Duke's Cold War Education: John

_ph"kT . N,
Wayne's Big Jim McLain'. Paper presented at
'Knaves, Fools, and Heroes,' Film and Television
Representations of the Cold War', 17th Interna-
tional Association for Media and History. Salis-
bury State University, Maryland, 1997.
Briley, Ron. 'John Wayne and Big Jim McLain (1952):
The Duke's Cold War Legacy'. Film & History 31,
no. 1 (2001).
Long, Edward Robert. 'Red Scare in Paradise: Anti-Com-
munism in Hawaii'. In The Cold WarAgainst Labor,
edited byAnn Fagan Ginger and David Christiano.
Berkeley, CA: Meiklejohn Civil Liberties Institute,
1987. Discusses Big Jim McClain.
The Cradle Will Rock and Marc Blitzstein
Gordon, Eric A. Mark the Music: The Life and Work of

WARNER BROS.
Marc Blitzstein. New York: St. Martin's Press,
JOHN WAYNE
1989. Discusses Blitzstein's Communist mem-
bership (early 1930s to 1949) and its influence on
his music.
THE BIG MAN IN HIS BIG ADVENTUIREI
BIC JIM M'LII

Podhoretz, John. 'Rock-A-Bye Stalin: Communism
Stages a Comeback in Hollywood'. Weekly Stand-
ard, 24 January 2000. On the film The Cradle Will
Rock.
The Devil and Miss Jones The Front and Guilty by Suspicion
Hall, Jeanne. 'The Benefits of Hindsight: Re-Visions of
Rogin, Michael. 'How the Working Class Saved Capital-
ism: The New Labor History and The Devil and HUAC and the Film and Television Industries in
Miss Jones'. Journal of American History 89, no. 1 The Front and Guilty by Suspicion'. Film Quar-
(June 2002). terly 54 (Winter 2001).
Dr. Strangelove Navasky, Victor. 'Has "Guilty By Suspicion" Missed the

Point?' New York Times, 31 March 1991. Dis-
Maland, Charles. 'DR. STRANGELOVE (1964): Night- cusses the disagreement between Irwin Winkler
mare Comedy and the Ideology of Liberal Con- and Abraham Polonsky over Winkler's change of
sensus'. American Quarterly 31, no. 5 (1979). the chief character in the film Guilty By Suspicion
Regards the American cultural consensus that from a Communist to a non-Communist wrongly
American society was basically sound and Com- accused.
munism threatened the United States as a major
cause of the Cold War and the nuclear arms race. Radosh, Ronald. 'Scoundrel Times'. American Specta-
tor, June 1991. Discusses the New York Times's
Kubrick's film, Dr. Strangelove. used black com-
commissioning of him to review the film Guilty by
edy to attack such thinking.
Suspicion and then without informing him replac-
Wolfe, Gary K. 'Dr. Strangelove, Red Alert, and Patterns ing his finished essay with a Victor Navasky essay
of Paranoia in the 1950's'. Journal of Popular on the film that linked Radosh with Pat Buchanan.
Film 5, no. 1 (1956). Sees the film Dr. Strangelove The reproduced essay says 'missing from the film
and the novel Red Alert as demonstrating the are the actual Hollywood Communists' and 'Is it
paranoid fear of Communism that obsessed a not time that Hollywood, which once gave us a
deeply fearful America in the 1950s. comic opera portrayal of villainous Reds in long-
forgotten anti-Communist films, not flip over to
Easy Rider
offering us films in which there are simply no Reds
Kreiner, Leslie. 'Captain America is a Commie; or, Cold at all, or some who committed no moral wrongs?'
War Anxiety in Easy Rider'. Paper presented atStiles, Victoria M. 'The Front: American
Dream/McCarthyan Nightmare'. Paper pre-
Representations of the Cold War', 17th Interna-
sented at 'Knaves, Fools, and Heroes,' Film and
tional Association for Media and History Confer-
Television Representations of the Cold War', 17th
ence. Salisbury State University, Maryland, 1997.
International Association for Media and History
Fellow Traveler Conference. Salisbury State University, Maryland,
1997.
Harris, Ben. 'Hollywood Blacklist's Psycho-History'. In
These Times, 1913, 28 March 1990. Discusses Szamuely, George. 'The Way They Are'. National Review,
Fellow Traveler, a British-made TV movie about 15 April 1991. Discusses past and present radical
congressional investigations of Communists in politics in Hollywood, particularly the divisions in
Hollywood. For US audiences with an interest in the 1940s between Communists, anti-Commu-
McCarthyism and the Hollywood left, Eaton's nists, and liberals, in light of the film Guilty by
screenplay is notable for its wealth of biographical Suspicion.
detail. The character Cliff Byrne, for example, is High Noon
loosely based on the actor John Garfield, who
Ceplair, Larry. 'Shedding Light on Darkness at Noon'.
testified before HUAC, refused to be an informant
Cineaste 27, no. 4 (Fall 2002). About the film High
and died of a heart attack at age 39. The film's Noon.
Jerry Leavy is based on Garfield's therapist, E.
Philip Cohen, who was a very real presence in Kael, Pauline. Kiss Kiss Bang Bang. Boston: Little, Brown,
Southern California after World War II and whose 1968. Kael, an influential movie reviewer, depicts
patient list read like a Who's Who of the Hollywood the film 'High Noon' as an anticapitalist epic.
left. Cohen, who parlayed his psychology mas- The Hoaxters
ter's degree and shortlived Communist Party
Graham, Cooper C. "The Hoaxters' (1952): MGM's
membership into a position as party-approved
Definitive Statement on Communism'. Paper pre-
therapist, was eventually denounced as an FBI sented at 'Knaves, Fools, and Heroes,' Film and
collaborator, as one after another of his patients
Television Representations of the Cold War', 17th
cooperated with HUAC's mid-'50s hearings. In
International Association for Media and History
drafting the character of Asa Kaufman, screen-
Conference. Salisbury State University, Maryland,
writer Eaton has again borrowed from real life, 1997.
combining details from the careers of Ring Lard-
I Led 3 Lives
ner Jr. and Alvah Bessie, both members of the
Hollywood Ten'. Kackman, Michael. 'Citizen, Communist, Counterspy: /
Led 3 Lives and Television's Masculine Agent of the life of Matt Cvetic, an FBI informant in Pitts-
History'. Cinema Journal 38 (Fall 1998). burgh in the 1940s, as well as other Cold War
I Married a Communist films. Finds that Cvetic's testimony, speeches,
and writings were unreliable and the Hollywood
Leab, Daniel J. 'How Red is My Valley: Hollywood, the version of his life injected even more fiction and
Cold War Movies, and I MARRIED A COMMU-
melodrama. Indicates the decisions of the major
NIST'. Paper presented at American Historical Hollywood studios to produce these films driven
Association Annual Meeting, 1983. chiefly by box office hopes rather than by fear or
Leab, Daniel J. 'How Red is My Valley: Hollywood, the pressure.
Cold War Movies, and I MARRIED A COMMU-
Leab, Daniel. 'I Was a Communist for the FBI'. In The
NIST'. Journal of Contemporary History [U.K.] 19,
Movies as History: Visions of the Twentieth Cen-
no. 1 (January 1984).
tury, edited by David W. Ellwood. Stroud: Sutton,
Invasion of the Body Snatchers 2000.
Brown, David A. 'Communist Vegetables from Hell: Leab, Dan. 'I Was a Communist for the FBI'. History
Invasion of the Body Snatchers and the Ideology Today [U.K.] 46, no. 12 (1996). On Cvetic.
of Containment'. Paper presented at 'Knaves,
Fools, and Heroes,' Film and Television Repre- Leab, Daniel J. 'Anti-Communism, the FBI, and Matt
sentations of the Cold War', 17th International Cvetic: The Ups and Downs of a Professional
Association for Media and History Conference. Informer'. Pennsylvania Magazine of History & Bi-
Salisbury State University, Maryland, 1997. ography 115, no. 4 (October 1991). Highly docu-
mented story of Cvetic's career as a FBI informant
The Iron Curtain
in the C.P. in Pittsburgh in the mid-1940s, his
Leab, Daniel J. "The Iron Curtain' (1948): Hollywood's career as an professional anti-Communist after-
First Cold War Movie'. Historical Journal of Film, wards, and the creation of the sensationalized
Radio and Television 8, no. 2 (1988). The movie and largely fictional film and radio series I Was a
was based on the defection of Igor Gouzenko. Communist for the F.B.I. 'That Cvetic, unlike so
Concludes that 'those involved in the production many other professional anti-Communists, is still
thought not in ideological terms but about what remembered has nothing to do with his place in
would woo an audience .... That HUAC did inspire history. He is not unique. There were many other
fear there is no gainsaying. And the blacklist active anti-Communists, a significant number of
evidences all too well the weak response of Hol- whom played a more important role in the domes-
lywood and the American film industry. But if fear tic Cold War. They, like Cvetic, also had a symbi-
served as a goad in the making of films like the otic relationship with the media. Yet in the main
The Iron Curtain that fear was of a much different only individuals with a special interest in the period
kind, a fear of losing out at the box office'. remember Elizabeth Bentley, Louis Budenz, or
Rossi, John. 'The Iron Curtain: A Premature Anti-Com- John Lautner. Their flame may have in its time
shone more brightly than Cvetic's but it has been
munist Film'. Film & History 24, no. 3/4 (1994). The
a long time since they were on the nation's tele-
Iron Curtain (1948) was assailed by left-wing and
vision screens fighting Red subversion. But Cvetic
fellow-traveler organizations for its negative por-
continues his battles as a Communist for the FBI
trayal of the Soviet Union and alleged warmon-
wherever and whenever a station broadcasts the
gering.
film. No matter how bad the movie, no matter how
Swann, Paul. 'International Conspiracy in and Around far removed from reality, I Was a Communist for
The Iron Curtain'. Velvet Light Trap, no. 35 (1995). the F.B.I. continues to form the viewer's image of
It's a Wonderful Life Matt Cvetic. For us, the Cold War has ended, the
'evil empire' is breaking up, but on television I Was
Noakes, John A. 'Bankers and Common Men in Bedford
Falls: How the FBI Determined That It's a Won- a Communist for the F.B.I. remains history and
derful Life Was a Subversive Movie'. Film His- reality'.
tory 10, no. 3 (1998). Leab, Daniel J. I Was a Communist for the F.B.I.: The
I was a Communist for the FBI and Mathew Cvetic Unhappy Life and Times of Matt Cvetic. University
Park: Pennsylvania State University Press, 2000.
Cvetic, Matthew. The Big Decision. [Hollywood? CA.]: Biography of Cvetic who became an FBI informant
Privately Published, 1959. Sensationalistic treat- in the CPUSA in Pittsburgh in 1943 but was fired
ment of the C.P. as a Fifth Column.
by the Bureau in 1950 for erratic behavior, a fact
Leab, Daniel. "I Was a Communist forthe FBI' and Other unknown outside the FBI. His melodramatic tes-
Horrors: Hollywood Fights the Cold War'. Paper timony to HUAC and a multipart series in the
presented at American Historical Association An- Saturday Evening Post led to a screen deal with
nual Meeting, 1990. Discusses the film based on Warner Bros. and a mercurial career as a profes-
sional anti-Communist witness. Eventually dis- Giffin, Frederick C. 'Improving the Image of Stalin's
credited by his excesses, he drifted to the extrem- Russia: Joseph Davies's Mission to Moscow'.
ist right. Discusses the creation, merchandising, Social Science, Winter 1977.
and manipulation of Cvetic and his image for MacLean, Elizabeth K. 'Joseph E. Davies'. Ph.D. diss.
commercial and polemical purposes. University of Maryland, 1986. Argues that Davies'
US House Committee on Un-American Activities. Expos6 attitude toward the Soviet Union and Stalin was
of the Communist Party of Western Pennsylvania in part a consequence of his lifelong role as a
Based Upon Testimony of Matthew Cvetic, Under- mediator.
cover Agent. Washington: U. S. Govt. Print. Off., MacLean, Elizabeth Kimball. 'Joseph E. Davies and
1950.
Soviet-American Relations, 1941-1943'. Diplo-
Lawrence of Arabia matic History 4 (Winter 1980). Discusses Davies's
Hudson, Joel. 'Who Wrote Lawrence of Arabia?' pro-Stalin attitudes and influence on American
domestic opinion toward the Soviet Union.
Cin6aste 20, no. 4 (1994). Offers the data upon
which the Writer's Guild of America allocated the MacLean, Elizabeth Kimball. Joseph E. Davies: Envoy to
script credits of Lawrence of Arabia to Michael the Soviets. Westport, CT: Praeger, 1992. Davies
Wilson, previously denied due to his blacklisted became a leading apologist for Stalin in the United
state at the time of the film's release. States.
The Manchurian Candidate and Cold War BrainwashingMy Darling Clementine

of POWs
Sickels, Robert. 'All East on the Western Frontier: John
Carruthers, Susan L. 'The Manchurian Candidate and Ford's My Darling Clementine (1946)'. Film &
the Cold War Brainwashing Scare'. Paper pre- History 31, no. 1 (2001). Sees it as a Cold War film
sented at 'Knaves, Fools, and Heroes,' Film and because it shows law and order being imposed
Television Representations of the Cold War', 17th on the unruly frontier.
International Association for Media and History My Son John
1997. Doherty, Thomas. 'Hollywood Agit-Prop: The Anti-Com-
munist Cycle, 1948-1954'. Journal of Film and
Carruthers, Susan L. 'The Manchurian Candidate (1962) Video 40 (Fall 1988): 15-27. On films Big Jim
and the Cold War Brainwashing Scare'. Historical McLain and My Son John.
Journal of Film, Radio and Television [U.K.] 18,
Junco, Victory. "What's Happened to My Boy?' Patterns
no. 1 (1998).
of Anti-Communist Otherness in The Red Menace
Carruthers, Susan L. 'Redeeming the Captives: Holly- and My Son John'. Paper presented at 'Knaves,
wood and the Brainwashing of American Prison- Fools, and Heroes,' Film and Television Repre-
ers of War in Korea'. Film History 10, no. 3 (1998). sentations of the Cold War', 17th International
Coates, Ivan. 'Enforcing the Cold War Consensus: Association for Media and History Conference.
McCarthyism, Liberalism, and The Manchurian Salisbury State University, Maryland, 1997.
Candidate'. Australasian Journal of American Warshow, Robert. 'Father and Son - and the FBI'. In
Studies [Australia] 12 (July 1993). Propaganda on Film: A Nation at War, edited by
Higham, Charles, and Joel Greenberg. The Celluloid Richard A. Maynard. Rochelle Park, NJ: Hayden
Muse. Hollywood Directors Speak. Chicago: Book Co., 1975. Critical commentary on the anti-
Regnery, 1971. John Frankenheimer discusses Communist film My Son John (Paramount, 1952).
the themes of communism and anticommunism Ninotchka
in The Manchurian Candidate.
Mindich, Jeremy. 'Re-Reading Ninotchka: A Misread
Young, Charles S. 'Missing Action: POW Films, Brain- Commentary on Social and Economic Systems'.
washing and the Korean War, 1954-1968'. His- Film & History 20, no. 1 (1990). Widely perceived
torical Journal of Film, Radio, and Television 18, as a satire of Stalinism, the film Ninotchka (1939)
no. 1 (March 1998). criticizes both communism and capitalism.
Mission to Moscow and Joseph Davies Nixon
Bennett, Todd. 'Culture, Power, and Mission to Moscow:

Hamburg, Eric. JFK, Nixon, Oliver Stone, and Me: An
Film and Soviet-American Relations During World Idealist's Journey from Capitol Hill to Hollywood
War II'. Journal of American History 88, no. 2 Hell. New York: Public Affairs, 2002.
(2001).
Stone, Oliver. Nixon: An Oliver Stone Film. Edited by Eric
Culbert, David Holbrook, ed. Mission to Moscow. Madi- Hamburg. New York: Hyperion, 1995. Includes
son: Wisconsin Center for Film and Theater Re- the original screenplay by Stephen J. Rivele,
search by University of Wisconsin Press, 1980. Christopher Wilkinson, and Oliver Stone
406 4J0n Earl Haunes
North Star / Armored Attack
Georgakas, Dan. 'The Revisionist Releases of North

Star'. Cineaste 22, no. 1 (1996). Probes how So-
viet propaganda needs were served by Lillian
Hellman's script for the 1943 released North Star
and howthe film was recut in the 1950s to become
the anti-Communist Armored Attack.
One Lonely Night and Jet Pilot

Hendershot, Cyndy. 'The Seduction of Communism:
One Lonely Night and Jet Pilot'. Popular Culture
Review 12, no. 1 (2001). Notes anti-Communist
themes in Jet Pilot.
Pickup on South Street

McConnell, Frank D. 'Pickup on South Street and the
Metamorphosis of the Thriller'. Film Heritage 8,
no. 3 (1973). Discusses the effects of McCarthy-
ism on Samuel Fuller's films.
Point of Order
Kepley, Vance, Jr. 'The Order of Point of Order'. Film

History [Australia] 13, no. 2 (2001).
The Quiet American
Whitfield, Stephen. 'Limited Engagements: The Quiet

American as History'. Paper presented at 'The pated. Biberman headed the production com-
Cold War and American Culture'. American Uni-
pany. Includes the screenplay by Michael Wilson.
versity and the National Museum of American
History, 1994. Boisson, Steve. 'The Movie Hollywood Could not Stop'.
American History 36, no. 6 (2002). About Salt of
Red Planet Mars, Invasion USA, and The Beast of Yucca
the Earth.
Flats
Hendershot, Cyndy. 'Anti-Communism and Ambiva- Chambers, Virginia Derr. 'Mine, Mill, and Smelter Work-
lence in Red Planet Mars, Invasion USA, and The ers: The Salt of the Earth'. In The Cold WarAgainst
Beast of Yucca Flats'. Science Fiction Studies 28, Labor, edited by Ann Fagan Ginger and David
no. 2 (2001). Christiano. Berkeley, Calif., 1987. Chambers, wife
of Clinton Jencks, Mine-Mill organizer, discusses
Ahonen, Kimmo. 'Hollywoodin Ristiretki Kommunismia
the Empire Zinc strike and the subsequent film.
Vastaan: Tieteiselokuva Punainen Planeetta An-
tikommunismin Manifestina [Hollywood's Cru-
Hodges, Robert C. 'The Making And Unmaking Of 'Salt
sade Against Communism: The Anti-Communist Of The Earth': A Cautionary Tale'. Ph.D. diss.
Manifesto in the Science Fiction Film Punainen University of Kentucky, 1997. Judges that the film
Planeetta]'. Historiallinen Aikakauskirja [Fin- is evidence of an authentic grass-roots Commu-
land] 100, no. 2 (2002). nist movement that was different from the not-
Reds that-important leadership of the CPUSA with its

ties to the USSR.
Culbert, David. 'Reds: Propaganda, Docudrama, and
Lorence, James J. 'Salt ofthe Earth and Free Expression:
Hollywood'. Labor History 24 (1983). Reviews
Reds, a commercial film portrayal of the life of The Mine-Mill Union and the Movies in the Rocky
John Reed. Mountain West'. New Mexico Historical Re-
view 76, no. 4 (2001).
Rosenstone, Robert A. 'Reds as History'. Reviews in
American History 10, no. 3 (September 1982). Es- Lorence, James J. 'The Suppression of Salt of the Eart
say review of the film 'Reds' on the life of John (1954): The Underside of Cold War Culture in
Reed. Hollywood'. Paper presented at 'Knaves, Fools
Salt of the Earth and Heroes,' Film and Television Representation
of the Cold War', 17th International Association
Biberman, Herbert. Salt of the Earth: The Story of a Film.
for Media and History Conference. Salisbury Stat
Boston: Beacon Press, 1965. Salt of the Earth was
University, Maryland, 1997.
a film about a Communist-led miners strike in
Lorence, James J. 'The Suppression of Salt of the Earth
which many blacklisted Hollywood figures partici-
The Underside of Cold War Culture in Detroit and Moran, Kathleen, and Michael Rogin. "What's the Matter
Chicago'. Film History 10, no. 3 (1998). with Capra?' Sullivan's Travels and the Popular
Front'. Representations, no. 71 (Summer 2000).
Lorence, James J. The Suppression of Salt of the Earth:
How Hollywood, Big Labor, and Politicians Black-
106-134. Discusses Preston Sturges's 1942
movie Sullivan's Travels and its relationship to
listed a Movie in Cold WarAmerica. Albuquerque:
other popular directors, such as Frank Capra, and
University of New Mexico Press, 1999.
the Popular Front.
Lorence, James J. 'Mining Salt of the Earth'. Wisconsin
The Thing from Another World and Jet Pilot
Magazine of History 85 (Winter 2001-02): 28-43.
Marin, Christine. 'The Union, Community Organizing,Smoodin, Eric. 'Watching the Skies: Hollywood, the
1950s, and the Soviet Threat'. Journal of American
and Civil Liberties: Clinton Jencks, Salt of the
Culture 11, no. 2 (1988). On two 1950's films, The
Earth, and Arizona Copper in the 1950s'. Mining
Thing from Another World (1951) and Jet Pilot
History Journal, no. 7 (2000).
(1957).
McCarthy, Patrick. 'Salt of the Earth: Convention and
Trial
Invention of the Domestic Melodrama'. Rendez-
vous 19, no. 1 (1983). Leab, Daniel J. 'From Even-Handedness to Red-Baiting:
The Transformation of the Novel Trial'. Film His-
Miller, Tom. 'Class Reunion: Salt of the Earth Revisited'.
Cin6aste 13, no. 3 (1984). tory 10, no. 3 (1998).
Viva, Zapata!
Wilson, Michael. Salt of the Earth Screenplay. Old West-
bury, NY: Feminist Press, 1978. Includes com- Biskind, Peter. 'Ripping Off Zapata - Revolution Holly-
mentary by Deborah Silverton Rosenfelt. wood Style'. Cin6aste 7, no. 2 (1976).
The Shoes of the Fisherman Butler, Jeremy G. 'Viva Zapata!; HUAC and the Mexican
Revolution'. In The Steinbeck Question: New Es-
Mclnerney, John. 'The Shoes of the Fisherman: A Politi-
says in Criticism, edited by Donald R. Noble. Troy,
cally Prophetic Papal Potboiler'. Paper presented
at 'Knaves, Fools, and Heroes,' Film and Televi- N.Y.: Whitston Pub. Co., 1993.
Vanderwood, Paul J. 'An American Cold-Warrior: Viva,
sion Representations of the Cold War', 17th Inter-
national Association for Media and History Zapata! (1952)'. In American History/American
Conference. Salisbury State University, Maryland, Film: Interpreting the Hollywood Image, edited by
1997. John E. O'Connor and Martin A. Jackson. New
Song of Russia York: Ungar, 1979.
Mayhew, Robert. 'MGM's Potemkin Church: Religion in

Hollywood unions
Song of Russia'. American Communist History 1,
no. 1 (June 2002). Abrams, Brett L. 'The First Hollywood Blacklist: The Major
Studios Deal with the Conference of Studio Un-
Spartacus ions, 1941-1947'. Southern California Quarterly 77
Arnold, Gary. 'Restored 'Spartacus' Recalls Glories and (Fall 1995).
Intrigues of Old-Style Filmmaking'. Washington Bat6g, Wodzimierz. 'Dangerous Liaisons. Hollywood,
Times, 25 April 1991. Newspaper feature noting Communist Party USA, and House Committee on
that the 1960 film Spartacus was based on a Un-American Activities'. Dzieje Najnowsze [Po-
Howard Fast novel and adapted by Dalton land] 23, no. 1 (2001). Maintains that the 1947
Trumbo, a leading figure on the disintegrating hearings were an element of a struggle waged
blacklist and that Spartacus was competing with between CSU and IATSE, and HUAC came there
'The Gladiators', based an Arthur Koestler story, to weaken the CSU and its leader Sorrell person-
directed by the formerly blacklisted Martin Ritt,
ally. The 1952 hearings on Communist activity in
and whose screenwriter was the blacklisted Abra-
the film industry were an element of a wider battle
ham Polonsky with Ira Wolfert as his front.
against the CPUSA. In both cases the hearings
Smith, Jeffrey P. "A Good Business Proposition': Dalton met with the approval of industry leaders.
Trumbo, Spartacus, and the End of the Blacklist'.
Ceplair, Larry. 'A Communist Labor Organizer in Holly-
The Velvet Light Trap, no. 23 (Spring 1989).
wood: Jeff Kibre Challenges the IATSE,
Star Trek 1937-1939'. Velvet Light Trap, no. 23 (1989).
Worland, Ric. 'Captain Kirk: Cold Warrior'. Journal of Cooper, Sarah. 'On the Archival Trail of the CIO and
Popular Film and Television 16, no. 3 (1988). Sees Hollywood's Labor Wars'. California History 75
the television series Star Trek (1966-69) as sym- (Spring 1996).
bolizing America's anti-Communist mission.
Davis, Dave, and Neal Goldberg. 'Organizing the Screen
Sullivan's Travels Writers Guild - An Interview with John Howard
Lawson'. Cineaste 8, no. 2 (1978). Lawson was a significant Communist influence on Sorrell or sig-
leading (secret) Communist screen writer in Hol- nificant C.P. role in the Conference of Studio
lywood and a member of the Hollywood Ten. Unions.
Hartsough, Denise. 'Studio Labor Relations in 1939: Prindle, David F. The Politics of Glamour Ideology and
Historical and Sociological Analysis'. Ph.D. diss. Democracy in the Screen Actors Guild. Madison,
University of Wisconsin, 1988. WI: University of Wisconsin Press, 1988.
Harvey, Raphael. 'Popeye the Union Man: A Historical Schwartz, Nancy Lynn, and Sheila Schwartz. The Holly-
Study of the Fleischer Strike'. Ph.D. diss. Univer- wood Writers' Wars. New York: Knopf, 1982. Cov-
sity of Southern California, 1985. Discusses the ers the strife within the movie industry in the late
activities of the Animated Motion Picture Workers 1930s and 1940s around the efforts of the Screen
Union, part of the C.P.-aligned Artists Union, at Writers Guild to establish itself. Sympathetic to
Fleischer Studios in 1934-35 and the later activi- the Communist role in the SWG, hostile to those
ties of the Commercial Artists and Designers who oppose communism.
Union (AFL) and the United American ArtistsSpiro, Elaine. 'Hollywood Strike -October 1945: A Remi-
(CIO). niscence'. Film History 10, no. 3 (1998).
Home, Gerald. Class Struggle in Hollywood, 1930-1950. Wheaton, Christopher Dudley. 'A History of the Screen
Moguls, Mobsters, Stars, Reds, & Trade Unionists. Writers Guild (1920-1942): The Writers' Quest for
Austin: University of Texas Press, 2001. An ac- a Freely Negotiated Basic Agreement'. Ph.D. diss.
count of class conflict in the film industry with an University of Southern California, 1974.
emphasis on the strike of 1945 and lockout of
1946.
Communism, Hollywood, and
Lasky, Marjorie Penn. 'Off Camera: A History of theentertainment industry blacklisting
Screen Actors Guild During the Era of the Studio
Adler, Les K. 'The Politics of Culture: Hollywood and the
System'. Ph.D. diss. University of California, Cold War'. In The Specter; Original Essays on the
Davis, 1992. 'This study refutes previous interpre-
Cold War and the Origins of McCarthyism, edited
tations of the Guild as a militant trade union which
by Robert Griffith and Athan G. Theoharis. New
reacted to the Communist threat after World War
York: New Viewpoints, 1974.
II by becoming increasingly conservative. In-
American Business Consultants. Red Channels: The
stead, what has been viewed as SAG's early
militancy was, in reality, merely rhetoric. Almost Report of Communist Influence in Radio and Tele
from its inception, the Guild was dominated by vision. New York: Counterattack, 1950. A listin
:::.:.:
highly paid actors and a staff who accommodated

themselves to the producers' control of the motion
picture industry. As such, the Guild's eventual
acceptance of an anti-Communist ideology and
acquiescence in the Hollywood blacklist were very
much in keeping with SAG's history'.
;PW (^awei
May, Lary. 'Movie Star Politics: The Screen Actors' Guild,
The Report of
Cultural Conversion, and the Hollywood Red C :OMMUNIST INFLUENCE IN DIO AND TELEVISION
Scare'. In Recasting America: Culture and Politics
in the Age of Cold War, edited by Lary May.
Chicago: University of Chicago Press, 1989.
Nielsen, Michael C. 'Motion Picture Craft Workers and
Craft Unions in Hollywood: The Studio Era,
1912-1948'. Ph.D. diss. University of Illinois, Ur-
bana-Champaign, 1985.
Nielsen, Michael Charles, and Gene Mailes. Hollywood's
Other Blacklist: Union Struggles in the Studio
System. London, U.K.: British Film Institute, 1995.
Olsen, Richard. Hollywood Noir: Featuring Ronald Rea-

gan. Philadelphia, PA: Xlibris, 2001. On gangsters
Publishfe Bv
and Hollywood unions
COUNTERATTACK
Pinter, Laurie Caroline. 'Herbert K. Sorrell as the Grade-B THE NEWSLETTER OF FACTS TO COMBAT COMMUN
55 Wetl 42 Street, New York 18, N. Y.
Hero: Militancy and Masculinity in the Studios'. $1.00 per copy
Labor History 37, no. 3 (Summer 1996). Sees no
of entertainers claimed to be linked to Communist Brownstein, Ronald. The Power and the Glitter: the Hol-
or Communist Front activity; source for much of lywood-Washington Connection. New York: Pan-
the informal blacklist of suspect entertainers. theon Books, 1990. Notes the leftward shift of
Communists and their allies within Hollywood
Andersen, Thom. 'Red Hollywood'. In Literature and the
political groups in 1946.
Visual Arts in Contemporary Society, edited by
Suzanne Ferguson and Barbara S. Groseclose. Buhle, Paul. 'The Hollywood Reds and Their Influence'.
Columbus: Ohio State University Press, 1985. Paper presented at 'Cold War Culture' confer-
Andersen, Thom, and Noel Burch. Les Communistes de ence. University College, London, U.K., 1994.
Hollywood Autre Chose Que Des Martyrs. [Paris]: Buhle, Paul. 'The Hollywood Blacklist and the Jew: An
Presses de la Sorbonne nouvelle, 1995. Exploration of Popular Culture'. Tikkun 10, no. 5
Associated Press. 'Hollywood Writers Finally Get Full (September-October 1995). Argues that a
Credit'. Washington Times, 4 April 1997. On Writ- number of persons blacklisted in Hollywood
ers Guild of America list of corrected credits from found work and brought their admirable progres-
the 1950s when blacklisted writers used pseudo- sive sensibilities to TV in the 1950s.
nyms.
Buhle, Paul, and David Wagner. Radical Hollywood: The
Baron, Cynthia. 'As Red as a Burlesque Queen's Garters: Untold Story Behind America's Favorite Movies.
Cold War Politics and the Actors' Lab in Holly- New York: New Press, 2002. Sees Hollywood and
wood'. In Headline Hollywood: a Century of Film Hollywood films as strongly influenced by com-
Scandal, edited byAdrienne L. McLean and David munism and political radicalism. On errors in the
A. Cook. New Brunswick, NJ: Rutgers University text, see Wendy Smith review, Variety (3-9 June
Press, 2001. 2002) and Tom Weiner review, Washington Post
(24 July 2002).
Bentley, Eric. Are You Now or Have You Ever Been: The
Investigation of Show Business by the Un-Ameri- Buhle, Paul, and Dave Wagner. 'The Left and Popular
can Activities Committee, 1947-1958. New York: Culture: Film and Television'. Monthly Review 54,
Harper & Row, 1972. no. 3 (July/August 2002).
Bethel, Charles. 'From 'Mere Entertainment' to Protected
Buhle, Paul, and David Wagner. Blacklisted: The Film-
Speech: Cold War Ideology, Motion Pictures, and Lover's Guide to the Hollywood Blacklist. New
the First Amendment, 1945-1952'. Paper pre- York: Palgrave Macmillan, 2003. Some entries
sented at UCSB-GWU Graduate Student Confer-
contain multiple errors.
ence 'Reconsidering the Cold War'. University of
California, Santa Barbara, 2003. Ceplair, Larry, and Steven Englund. The Inquisition in
Hollywood: Politics in the Film Community,
Bilic, Danijela. 'Hollywood's Communists (1943-1953)'.
1930-1960. Berkeley: University of California
Unpublished master's thesis. Ohio University, Press, 1979. Looks at Communist and other radi-
2002.
cal political activity in Hollywood in the late 1930s;
Billingsley, K.L. 'Hollywood Edits Out Its Communist sees the controversy over the Hollywood Ten as
Past'. Investors Business Daily, 4 November 1997. an attack by largely malignant anti-Communists
upon benign left-wingers. Steven Englund is son
Billingsley, Lloyd. Hollywood Party: How Communism
of screenwriter Ken Englund, president of Screen
Seduced the American Film Industry in the 1930s
Writers Guild and Writers Guild of America and a
and 1940s. Rocklin, CA: Forum, 1998. On C.P.
participant in the Hollywood Red controversy.
influence in Hollywood and the struggle between
Communist and anti-Communist factions in film Cogley, John. Report on Blacklisting. [New York]: Fund
industry unions. for the Republic, 1956. Vol. I, movies, Vol. II, radio
Biskind, Peter. 'The Past is Prologue: The Blacklist in and television. Includes Jones, Dorothy B. 'Com-
Hollywood'. Radical America 15, no. 3 (1981). munism and the Movies' and Jahoda, Marie.
Sympathetic commentary on Navasky's Naming 'Anti-Communism and Employment Policies in
Names; concludes that liberal anti-Communists Radio and Television'.
cynically adopted anticommunism in order to Cohen, Karl. 'Toontown's Reds: HUAC's Investigation
avoid political attacks upon themselves. of Alleged Communists in the Animation Industry'.
Blue, Howard. WordsatWar: World Warll Era Radio Drama Film History 5, no. 2 (1993). Discusses the testi-
and the Postwar Broadcasting Industry Blacklist. mony of Eugene and Bernyce Polifka Fleury re-
Lanham: Scarecrow Press, 2002. garding Philip Eastman, John Hubley, William
Pomerance, and Zachary Schwartz.
Breindel, Eric. 'History Still Has Questions for Holly-
wood's Stalinists'. New York Post, 6 November Deutsch, James. 'No Left Turns on Hollywood Boule-
1997. vard'. Paper presented at Austrian Association
for American Studies 'America and the Left' con- were genuine American Communists who did
ference. University of Graz, Austria, 1992. their best to get as much of their political ideology
into their work as circumstance allowed. Like their
Deutsch, James I. 'Hunting Communists and Shooting
Films in Hollywood'. In Anti-Communism and comrades in labor, they failed more often than
McCarthyism in the United States (1946-1954). they succeeded, but they didn't always fail, par-
Essays on the Politics and Culture of the Cold War, ticularly in advancing generic egalitarian values'.
edited byAndr6 Kaenel. Paris: Editions Messene,Georgakas, Dan. 'The Hollywood Reds: 50 Years Later'.
1995. American Communist History 2, no. 1 (June
Ehret, Richard C. 'A Descriptive Analysis of the Hearings 2003). Essay review of the literature.
Held by the House Committee on Un-American Goodman, Walter. 'Communism at the Movies'. New
Activities in 1947 and 1951 on the Communist
Leader, 11-27 January 1988.
Infiltration of the Motion Picture Industry, and Their
Relationship to the Hollywood Labor Movement'. Goodman, Walter. 'How to Learn from the Blacklist'. New
Master's thesis. University of California, Los An- York Times, 25 February 1966. On showing of
geles, 1969. 'Blacklist: Hollywood on Trial' (American Movie
Classics) and 'Hollywood on Trial' (Turner Classic
Fagan, Myron C. Moscow Over Hollywood. Los Angeles,
Movies). 'In ignoring the special nature of the
CA: R.C. Cary, 1948. Contemporary polemic.
Communist Party, both documentaries do a dis-
Farah, Josep. 'The Real Blacklist'. National Review, 7 service to history'.
October 1989. Maintains that prior to the Holly-
Goodson, Mark. 'If I'd Stood Up Earlier ... ', New York
wood 10 hearings Hollywood Communists at-
Times Magazine, 13 January 1991. TV producer
tempted to censor films, citing Ring Lardner's of the 1950s discusses 'the Dark Terror of the
petition at MGM to halt production of a film ob-
Television blacklisting days'. Cites as examples
jectionable to the C.P., and DaltonTrumbo's claim
of 'terror' that the poet Louis Untermeyer lost his
in a C.P. journal that, although enjoying little
job with 'What's My Line' afterRed Channels noted
success in promoting progressive films, the C.P. his affiliation with the JointAnti-Fascist Committee
in Hollywood was successful in stopping many
and sponsorship of a 1948 May Day celebration.
anti-Soviet films. Claims that the Hollywood Left
maintained an informal blacklist of anti-C.P. art-
CBS's internal clearance procedures also kept
Leonard Bernstein, Judy Holliday, Harry Bela-
ists, citing Adolphe Menjou, Richard Macaulay,
fonte, Abe Burrows, Gypsy Rose Lee, Jack Gil-
and Morrie Ryskind, whose careers went downhill
ford, Uta Hagen, and Hazel Scott off high-profile
after testifying against the C.P. Notes that at a film
shows for several years.
industry symposium on the blacklist era, Edward
Dmytryk, the only one of the Ten in attendanceHausknecht, Murray. 'Informers and Other Villains: A
but one who had later broken with the C.P., was Discussion of Victor Navasky's Book Naming
not allowed on a panel after Left activists threat- Names'. Dissent 28, no. 2 (1981). Advances vari-
ened a boycott. Quotes director Jules Dassin, ous theories of social pathology to explain why
'They made a mistake by inviting Dmytryk. There anyone would disgrace themselves by testifying
are no two sides to the question, only one side'. truthfully under oath to a congressional commit-
tee investigating communism.
Federal Bureau of Investigation Confidential Files. FBI
Surveillance Files on Hollywood, 1942-1958 [Mi-Hirsen, James L. Tales from the Left Coast: True Stories
crofilm]. Edited by Daniel J. Leab. Bethesda, MD: of Hollywood Stars and Their Outrageous Politics.
University Publications of America, 1991. New York: Crown Forum, 2003.
Friedrich, Otto. City of Nets: A Portrait of Hollywood in theKanfer, Stefan. A Journal of the Plague Years. New York:
1940's. NewYork: Harper & Row, 1986. Discusses Atheneum, 1973. Sensationalistic account of dis-
the Hollywood blacklist. crimination against Communists in the movie and
Gabler, Neal. An Empire of Their Own: How the Jews broadcasting industries.
Invented Hollywood. NewYork: Crown Publishers,
Kanfer, Stefan. 'The Hollywood Blacklist: Fifty Years
1988. Asserts that the Jewish studio heads cra-
Later'. Paper presented at Eisenhower Center for
venly initiated the anti-Communist blacklist to American Studies 'McCarthyism in America' con-
'save themselves from the wrath of the anti-Sem-
ference. National Archives, Washington, DC,
ites' of US House Committee on Un-American
2000.
Activities.
Kashner, Sam, and Jennifer MacNair. The Bad & the
Georgakas, Dan. 'The Way They Really Were'.
Beautiful: Hollywood in the Fifties. New York: W.W.
Cineaste 23, no. 2 (1997). Review essay and
Norton, 2002.
commentary on recent memoirs and books re-
garding the Hollywood reds. 'The Hollywood redsKramer, Hilton. 'The Blacklist and the Cold War'. New
York Times, 3 October 1976. Arts and Leisure erated had self-interested motivations in most
Section cases.
Leab, Daniel J. 'Communist Infiltration of the Motion Noakes, John A. 'Subversive Frames: FBI Surveillance
Picture Industry?' Paper presented at 'Knaves, of Hollywood Movies, 1945-1947'. Paper pre-
sented at 'Knaves, Fools, and Heroes,' Film and
Fools, and Heroes,' Film and Television Repre-
sentations of the Cold War', 17th International Television Representations of the Cold War', 17th
Association for Media and History Conference. International Association for Media and History
1997.
Lewis, Jon. "We Do Not Ask You to Condone This': How Noakes, John A. 'Official Frames in Social Movement
the Blacklist Saved Hollywood'. Cinema Jour- Theory: The FBI, HUAC, and the Communist
nal 39, no. 2 (2000). Threat in Hollywood'. Sociological Quarterly 41,
no. 4 (2000): 657-680.
McGilligan, Patrick, and Paul Buhle, eds. Tender Com-
rades: A Backstory of the Hollywood Blacklist. New Phillips, Gary. 'The Big List'. Heritage [Southern California
York: St. Martin's Press, 1997. Interviews with 40 Library forSocial Studies and Research], Fall 1990.
blacklistees. Discusses the Hollywood blacklist. Denies there
was ever any real Communist presence in Holly-
Miller, Merle. The Judges and the Judged. Garden City, wood: 'John Bright, one of the founders of the
NY: Doubleday, 1952. Attack on the anti-Commu- [Screen Writers] Guild, spoke of the political char-
nist blacklisting activities of the American Busi- acter of several writers at the first meeting [of the
ness Consultants and Counterattack. A report for SWG]. "There was no real Communist party in
the American Civil Liberties Union
Hollywood at that time, but several of us had
working-class backgrounds or left-wing origins
Navasky, Victor. Naming Names. NewYork: Viking Press,
that we hadn't forgotten. Hell, we'd all come out
1980. Discusses congressional investigations of
of the Depression. We were all New Deal progres-
Communist party influence in Hollywood and the sives".'
subsequent blacklisting of those who refused to
cooperate. Treats left-wing Hollywood figures as Porton, Richard. 'The Politics of American Cinephilia:
heroic victims of anti-Communist hysteria. From the Popular Front to the Age of Video'.
Judges that any cooperation with the House Un- Cineaste 27, no. 4 (Fall 2002). Essay-review criti-
American Activities Committee, including telling cal of Buhle and Wagner's Radical Hollywood.
the truth, was immoral and that those who coop-Radosh, Ronald. 'The Blacklist as History'. New Criterion,
foreword by I December 1997. Essay-review discussing Walter
Bernstein's Inside Out, Edward Dmytryk's Odd
Man Out, Patrick McGilligan and Paul Buhle's
Tender Comrades, Larry Ceplair and Steven
Englund's The Inquisition in Hollywood, and
Stephen Schwartz's From West to East.
Robb, David. 'Naming the Right Names: Amending the
Hollywood Blacklist'. Cineaste 22, no. 2 (1996).
On the slow project to correct film credits listed
to pseudonyms or fronts of blacklisted Hollywood
writers. Discusses specific cases.
Rosenbaum, Jonathan. 'Guilty by Omission'. Film Com-
ment 27 (September/October 1991). Effects of
Hollywood blacklist upon Nicholas Ray, Cy End-
field, and John Berry.
Ross, Steven J. 'Struggles for the Screen: Workers,
Radicals, and the Political Uses of Silent Film'.
American Historical Review 96, no. 2 (April 1991).
Describes the attempt of unions and radicals to
use the early film industry for their cause and
argues that the triumph of commercial, bourgeois
The report on black-listing in film
radiohegemony was not foreordained. Discusses
and televiston
for the American Civil liberties Union
the 1919 'Americanism Committee of the Motion
Picture Industry', directed by Secretary of Interior
Franklin Lane, that 'pledged to "use the Power of
the Motion-Picture screen to spread anti-Red Cold War. That hysteria was used by anti-Semites,
teachings all over the country"' and radical films adventurers and those opposed to trade unions
produced by the C.P.'s International Workers' Aid to settle longstanding labor and political conflicts
and Alfred Wagenknecht. in the film industry.
Schrecker, Ellen W. 'Review of "Legacy of the Hollywood US House Committee on Un-American Activities. Hear-
Blacklist"'. Journal of American History 75, no. 3 ings Regarding the Communist Infiltration of the
(December 1988). Review of 'Legacy of the Hol- Motion Picture Industry. Washington: U. S. Govt.
lywood Blacklist', a film documentary produced Print. Off., 1947.
by Judy Chaikin, One Step Production, 1987. US House Committee on Un-American Activities. Com-
'Whether out of fear or duplicity, the victims' munist Infiltration of Hollywood Motion-Picture In-
widows never even mention the 'C-Word,' and the
dustry. Washington: U. S. Govt. Print. Off.,
filmmakers are either too naive or too disingenu- 1951-52. Ten parts.
ous to clarify the issue'.
US House Committee on Un-American Activities. Com-
Sbardellati, John. 'The Origins of the FBI's Cold War in munist Methods of Infiltration (Entertainment).
Hollywood'. Paper presented at UCSB-GWU Washington: US Govt. Print, Off., 1954. Two parts.
Graduate Student Conference 'Reconsidering
US House Committee on Un-American Activities. Inves-
the Cold War'. University of California Santa Bar-
bara, 2003. tigation of So-Called 'Blacklisting'in Entertainment
Industry Report of the Fund for the Republic, Inc.
Sbardellati, John. 'Brassbound G-Men and Celluloid Hearings. Washington: US Govt. Print. Off., 1956.
Reds: The FBI's Search for Communist Propa-
US House Committee on Un-American Activities. Com-
ganda in Hollywood, 1942-1945'. Paper pre-
munism in New York Area (Entertainment). Wash-
sented at Society for Historians of American
ington: US Govt. Print. Off., 1958.
Foreign Relations Conference. George Washing-
ton University, Washington, DC, 2003. US Senate Committee on the Judiciary. Subversive In-
filtration of Radio, Television and Entertainment
Schwartz, Richard. 'How the Hollywood Blacklist
Industry. Washington: U. S. Govt. Print. Off., 1952.
Worked'. Paper presented at Popular Culture As-
sociation - American Culture Association confer- Vaughn, Robert. Only Victims: a Study of Show Business
ence. Orlando, Florida, 1998. Blacklisting. New York: Putnam, 1972.
Sklar, Robert. Movie-Made America: a Social History ofVerdries, Ellen. 'Schooled in Fear by the Blacklist'. Paper
American Movies. New York: Random House, presented at Southwest Labor Studies Associa-
1975. Discusses congressional investigations of tion. San Francisco, CA, 1999.
Communism in Hollywood. Wattenberg, Daniel. 'Tinseltown Tyranny: Blacklist
Slide, Anthony, ed. Actors on RedAlert: Career nterviews Blues?' Washington Times, 5 July 1991. Critical
with Five Actors and Actresses Affected by the feature story on claims that the McCarthy-era
Blacklist. Filmmakers Series. Lanham, Md.: entertainment blacklist has been revived and the
Scarecrow Press, 1999. victims are opponents of American participation
in the Persian Gulf war.
Stanley, Alexandra. 'Hidden Hollywood'. New York
Times, 31 May 1992. Feature article on whether Waxman, Sharon. 'Blacklist: Hollywood's Raw Wound'.
Hollywood's pervasive left/liberalism has created Washington Post, 23 November 1997. Describes
a 'reverse McCarthyism'. the blacklist as a massive and evil act of oppres-
sion and discusses a moral imperative of a formal
Suber, Howard. 'The Anti-Communist Blacklist in the
congressional apology for its having dared to
Hollywood Motion Picture Industry'. Ph.D. diss. investigate communism in Hollywood.
University of California, Los Angeles, 1968. Finds
that 214 people were blacklisted, mostly writers, Wertheim, Larry M. 'Nedrick Young, et al. v. MPAA, et
and that the blacklist was effective until 1959 after al.: The Fight Against the Hollywood Blacklist'.
which it eased and disappeared when studios Southern Califoria Quarterly 57, no. 4 (1975). Dis-
decided that there was no loss of audience if cusses the confused legal effort to collect legal
blacklisted writers were used. Discusses the cri- damages for the blacklist.
teria used in blacklisting a person and the tactics
White, David Manning, and Richard Averson. The Cel-
used by blacklisted persons to continue work in luloid Weapon. Social Comment in the American
the movie industry. Film. Boston: Beacon Press, 1972.
Whitlatch, Michael David. 'The House Committee on
Suber, Howard. 'Politics and Popular Culture: Hollywood
at Bay, 1933-1953'. American Jewish History 68, Un-American Activities' Entertainment Hearings
no. 4 (June 1979). Sees hysteria and repression and Their Effects on Performing Arts Careers'.
dominating the United States during the early Ph.D. diss. Bowling Green State University, 1977.
Communism and Hollywood: 1940'. Historical Journal of Film, Radio, and Tele-
Biographical accounts vision 21 (June 2001).

Lynn, Kenneth Schuyler. Charlie Chaplin and His Times.
Larry Adler New York: Simon & Schuster, 1997. Discusses
Chaplin's admiration for Stalin and communism
Adler, Larry. 'My Life on the Blacklist'. New York Times,
15 June 1975. in the late 1930's and during World War II.
Maland, Charles J. 'A Documentary Note on Charlie
Norma and Ben Barzman Chaplin's Politics'. HistoricalJournalof Film, Radio
Barzman, Norma. The Red and the Black List: Intimate
and Television [U.K.] 5, no. 2 (1985). Discusses
Chaplin's political views and reproduces portions
Memoir of a Hollywood Expatriate. New York:
of government interviews with him.
Thunder's Mouth Press / Nation Books, 2003.
Norma and Ben Barzman were Communist Milton, Joyce. 'Comrade Chaplin'. Heterodoxy 4, no. 4
screenwriters in the 1940s. An unapologetic de- (April 1996). On Charlie Chaplin's relationship
fender of Stalinism, she writes proudly of the with the CPUSA. Says the signing of the Nazi-So-
efforts she and other Communists made to insert viet Pact during the preparation of The Great
material wanted by the CPUSA into films and to Dictator caused revisions to make the film less
exclude material they didn't like. explicitly anti-Nazi and more compatible with the
Nazi-Soviet Pact.
Walter Bernstein
Lester Cole
Bernstein, Walter. Inside Out: A Memoir of the Blacklist.
New York: A.A. Knopf, 1996. Cole, Lester. Hollywood Red: The Autobiography of
Lester Cole. Palo Alto, CA: Ramparts Press, 1981.
Georgakas, Dan. 'Bad Art Makes Bad Politics, an Inter-
Cole was one of the Hollywood Ten and an influ-
view with Walter Bernstein'. New Labor Forum,
ential Hollywood Communist. Notes that he pub-
no. 4 (Spring/Summer 1999). Bernstein dis-
licly denied his party membership on orders from
cusses writing for film and television during the
CPUSA officialswho felt public admission of Com-
blacklist (using fronts) and afterwards. Discusses
munist loyalties might weaken his position as an
working with Kazan as positive but explains why official of the Screen Writers Guild.
he opposed granting of a special Oscar.
Georgakas, Dan. 'Reflections on a Half-Century of
Script-Writing'. Left Curve 26 (2002). Walter Bern-
stein.
Alvah Bessie
Bush, Lawrence. Bessie. New York: Seaview/Putnam,

1983. Biography of Alvah Bessie.
Miller, Gariel. 'Two Alvah Bessies: The Innocent and the
Embittered'. Los Angeles Times, 27 November
1977.
Jean Rouverol and Hugo Butler

Rouverol, Jean. Refugees from Hollywood: A Journal of
the Blacklist Years. Albuquerque: University of
New Mexico Press, 2000. In 1951 Rouverol and
her husband, screenwriter Hugo Butler, fled to
Mexico under threat of subpoena and in light of
the blacklist. Rouverol treats their Communist
sympathies as a minor matter of little importance.
Charlie Chaplin
Brown, Wallace. 'Charles Chaplin's A King in New York
Revisited'. Film & History 22, no. 3 (September
1992). On Chaplin's 1957 film as a satire and
Richard Collins
attack on the evils of McCarthyism.
Collins, Richard. 'Confessions of a Red Screenwriter'.
Cole, Robert. 'Anglo-American Anti-Fascist Film Propa-
ganda in a Time of Neutrality: The Great Dictator, New Leader, 6 October 1952.
Constantin Costa-Gavras Weekly Standard, 19 July 1999. Surveys Dmytryk's

film art and his attitude toward Stalinism.
Grenier, Richard. 'The Curious Career of Costa-Gavras'.
Commentary 73, no. 4 (1982). Reviews the anti-
Ludwig Donath
American and pro-Communist content of the films
of Costa-Gavras. Haynes, John Earl. 'The Ludwig Donath File in the Joseph
Rauh Papers: How One Actor Got Off the Anti-
Emile De Antonio Communist Blacklist'. Labor History 30, no. 3
(Summer 1989). Discusses the successful efforts
Lewis, Randolph Robert. 'America Is Hard To See': Emile
of one actor to get off the blacklist without naming
De Antonio and the Art of Political Filmmaking'. names.
Ph.D. diss. University of Texas at Austin, 1994.
De Antonio's films included 'Point of Order'
Kirk Douglas
(1963), 'Rush To Judgment' (1966), 'In the Year
Douglas, Kirk. The Ragman's Son: An Autob
of the Pig' (1969), 'America Is Hard To See' (1970),
'Millhouse: A White Comedy' (1971), 'Painters New York: Simon and Schuster, 1988. Maj
Painting' (1973), 'Underground' (1976), 'In the lywood star discusses the blacklist of th
King of Prussia' (1983), and 'Mr. Hoover and I'
(1989). Melvyn Douglas
Ripmaster, Terence. 'A Note on Emile de Antonio: His- Arthur, Thomas H. 'The Political Career of a
torical Documentarist'. Film & History 20, no. 2 Melvyn Douglas and the New Deal'. Ph
(1990). On the radical views of de Antonio. Indiana University, 1973.
Arthur, Thomas H. 'An Actor in Politics: Melvy

Walt Disney and the New Deal'. Journal of Political Cul
Eliot, Marc. Walt Disney: Hollywood's Dark Prince: A no. 2 (1980). Notes Douglas participation
Biography. Secaucus, NJ: Carol Pub. Group, Nazi and Popular Front organizations in
wood in the late 1930s.
1993. Depicts Disney as an evil anti-Communist,
despicable FBI informer, heavy drinker, bigot, and
as mentally unstable. Philip Dunne
Dunne, Philip. Take Two: A Life in Movies and Politics.
Edward Dmytryk New York: McGraw-Hill & San Francisco Book
Dmytryk, Edward. It's a Hell of a Life, but Not a Bad Living.

Co., 1980. Argues that the Screen Writers Guild
was never under Communist control.
New York: New York Times Books, 1978. Dmytryk,
one of the Hollywood Ten, later broke with com- Dunne, Philip. 'Hollywood and the First Amendment'.
munism. Constitution 4 (Fall 1992). Dunne, a screenwriter,
described his Committee for the First Amend-
Dmytryk, Edward. Odd Man Out: A Memoir of the Holly-
wood Ten. Carbondale: Southern Illinois Univer- ment's opposition of HCUA investigations of com-
munism in Hollywood.
sity Press, 1995. Memoir of imprisoned member
of the Hollywood Ten who later broke with the C.P.
and testified to HUAC. Says he entered C.P. John Henry Faulk
circles in the early 1940s through the People's
Faulk, John Henry. Fear on Trial. New York: Simon and
Education Center and Writers Mobilization and Schuster, 1964. Includes an account of the
joined in 1944. He was suspended in 1945 for author's libel suit against Aware, Inc., and its
failing to carry out party orders regarding attempts associates, who attacked him for pro-Communist
to modify the scripts for Till the End of Time and activities.
All the King's Men. Scorns as dishonest the mem-
Will Geer
oirs of Hollywood Reds who maintain that Holly-
wood Communist meetings were chiefly
Norton, Sally Osborne. 'A Historical Study of Actor Will
concerned with socializing and promotion of in-
Geer, His Life and Work in the Context of Twenti-
nocuous liberal causes. Sees the CPUSA as cen-
eth-Century American Social, Political, and The-
tered around the promotion of Soviet interests
atrical History'. Ph.D. diss. University of Southern
and regards it as a moral duty of intellectuals to
California, 1981. Discusses Geer's association
expose its infiltration of American institutions.
with Communism and his experience with the
Friedman, Lester D. 'A Very Narow Path: The Politics of anti-Communist blacklist.
Edward Dmytryk'. Literature/Film Quarterly 12,
no. 4 (1984). Bernard Gordon
Schwartz, Stephen. 'Dmytryk's Honorable Mutiny'.

Gordon, Bernard. Hollywood Exile, or, How I Learned to
Love the Blacklist: A Memoir. Austin: University of ter 1979). Discusses the influence of past Com-
Texas Press, 1999. munist adherence and House Un-American Ac-
tivities Committee testimony on Elia Kazan's film
Charlton Heston 'On the Waterfront;' highly critical of Kazan for
testifying truthfully to the US House Committee
Raymond, Emilie Elizabeth. "From My Cold, Dead
on Un-American Activities.
Hands': A Political and Cultural Biography of
Johnson, Malcolm M. Crime on the Water Front. New
Charlton Heston'. Ph.D. diss. University of Mis-
souri - Columbia, 2003. Notes Heston's strong York: McGraw-Hill, 1950. Book version of the New
opposition to communism as a basic stance. York Sun newspaper series about mob control of
ILA locals that provided the basis of the film On
William Holden the Waterfront.
Landon, Philip J.'William Holden: Hollywood's ReluctantKazan, Elia. Elia Kazan: A Life. New York: Knopf, 1988.
Cold Warrior'. Paper presented at Popular Culture Kazan discusses his participation in a C.P. cau-
Association -American Culture Association con- cus in the Group Theater in New York in 1935 and
ference. Orlando, Florida, 1998. his decision to truthfully answer questions about
his Communist experiences when testifying to US
Hedda Hopper House Committee on Un-American Activities. In
Frost, Jennifer. "If You Stand Too Close to a Red Lamp, New York Times, May 3, 1988, Richard Bernstein
reviews Kazan's discussion and contrasts it with
You're Bound to Get Burned': Hedda Hopper,
the views of Arthur Miller and Lillian Hellman.
Hollywood Gossip, and the Cold War'. Paper
Kazan, Elia. Kazan on Kazan. Edited by Michel Ciment.
presented at Organization of American Historians
annual meeting. Los Angeles, Calif., 2001. New York: Viking Press, 1974.
Kazan, Elia. Kazan: The Master Director Discusses His
Sterling Hayden
Films: Interviews with Elia Kazan. With Jeff Young.
Hayden, Sterling. Wanderer. New York: Knopf, 1963. New York: Newmarket Press, 1999. Discusses his
Hayden, an established movie star, discusses his decision to testify to HCUA: 'The only other option
decision to truthfully answer questions from Con- was to remain silent and pretend I didn't know
gressional committees about the role of Commu- better when people said there's no Communist
nists in Hollywood. conspiracy. Nonsense. There was a conspiracy'.
Maland, Charles. 'ON THE WATERFRONT (1954): Film
Paul Jarrico
and the Dilemmas of American Liberalism in the
McGilligan, Patrick. 'A True-Blue Red in Hollywood: An McCarthy Era'. American Studies in Scandina-
Interview with Paul Jarrico'. Cin6aste 23, no. 2 via 14, no. 2 (1982).
(1997). Neve, Brian. 'The 1950s, the Case of Elia Kazan and On
the Waterfront'. In Cinema, Politics, and Society in
Elia Kazan and On the Waterfront
America, edited by Philip Davies and Brian Neve.
Biskind, Peter. 'The Politics of Power in On The Water- New York: St. Martin's Press, 1981.
front'. Radical America 10, no. 1 (1976). Sees theNeve, Brian. 'On the Waterfront'. History Today [UK] 45,
film as anti-Communist because of its emphasis no. 6 (1995). On Kazan and his testimony to
on personal motivation rather than class solidarity HCUA.
to defeat corruption and oppressive working con-
ditions. Pennington, Renee. 'The Agony of Kazan's Informer'.
The Thousand Eyes Magazine 8 (January 1976).
Davis, Colin J. "Launch Out Into the Deep and Let Down Sees On the Waterfront as an expression of
Your Nets': Father John Corridan, S.J., and New
Kazan's agony over answering questions of the
York Longshoremen in the Post-World War II Era'. US House Committee on Un-American Activities.
Catholic Historical Review 86, no. 1 (2000),
66-84. Labor priest Father John Corridan, S.J., Schulberg, Budd. On the Waterfront: A Screenplay. Car-
was associate director of the New York City Xavier bondale: Southern Illinois University Press, 1980.
Labor School from 1946 to 1955. Corridan was Includes an 'afterword' by Schulberg discussing
the model for the character portrayed by Karl the issue of the screenplay and his role in the
CPUSA.
Maiden in the film On The Waterfront. He fought
simultaneously against corrupt union bosses,Tailleur, Roger. 'Elia Kazan and the House Un-American
shipper employers, and Communist organizers. Activities Committee'. Film Comment 2 (Fall
Hey, Kenneth. 'Ambivalence as a Theme in On the 1966).
Waterfront (1954): An Inter Disciplinary ApproachWeinraub, Bernard. 'Book Says Kazan Had Scant Regret
to Film Study'. American Quarterly 31, no. 5 (Win- Over Testimony'. New York Times, 4 March 1999.
Says that in interviews conducted in 1973 and Meroney, John. 'Kazan's Honor'. Washington Post, 20
1974 Kazan stated he decided to testify 'out of a March 1999.
deep personal conviction that a genuine Com-
New Criterion editors. 'The One Unforgivable Sin'. New
munist conspiracy was threatening the nation'.
Criterion 17, no. 8 (April 1999). On Kazan's award.
Elia Kazan's Oscar Controversy New York Times editors. 'An Oscar Protest'. New York
Times, 24 February 1999. Editorial: 'The Academy
Billingsley, K.L. 'Best Witness'. Heterodoxy, February
has done what it has not always been able to do
1999. On Elia Kazan.
- distinguish clearly between the merit of an
Breindel, Eric. 'Waiting in the Wings for Cinema Esteem'. artist's work and the merit of his behavior or
Washington Times, 2 February 1997. On the Los convictions. Meanwhile, the protesters will make
Angeles Film Critics Association rejecting award- the necessary if implicit point that Mr. Kazan
ing Elia Kazan a life-time achievement award remains accountable for a decision he took not
because he testified truthfully to HCUA in 1952. as a film maker but as a human being'.
Cohen, Richard. 'A Salute to Elia Kazan'. Washington
Schlesinger, Arthur, Jr. 'Hollywood Hypocrisy'. New York
Post, 26 January 1999. 'Kazan is finally being Times, 28 February 1999. 'Mr. Kazan, the protest-
honored not because his anticommunism no ers say, is an informer, and his offense is unfor-
longer matters but because it does - and it is givable. But is that what the protesters really
triumphant. No longer does anyone of note be- mean? ... Had Mr. Kazan been a member of the
lieve either that the Soviet Union or communism German-American Bund naming underground
represented an essentially - if flawed - progres- Nazis, would they have condemned him just as
sive cause, or, for that matter, that Moscow and much? Or a former Klansman who informed on
Washington were equally at fault for the Cold War. his hooded brethren? Or a former Mafia thug who
That debate has ended'. informed on the mob? Or a member of the Nixon
Dowd, Maureen. 'Streetcar Named Betrayal'. New YorkWhite House who informed during Watergate? Or
Times, 24 February 1999. 'History has a way of a whistleblower who disclosed government mal-
getting at the truth, and it has brought out the feasance? No, informing per se is not Mr. Kazan's
offense. His true offense in the minds of the
terrible stench of Stalinism. These days, it's hard
to find serious people who will argue the inno- Hollywood protesters is that he informed on the
cence of Alger Hiss or the Rosenbergs. Many find Communist party'.
Mr. Kazan offensive now not for his dim view of Schwartz, Stephen. 'The Rehabilitation of Elia Kazan:
Communists, but for the scuzzy way he expressed Hollywood Great and Patriot is Finally Honored'.
it'.
Weekly Standard, 8 February 1999.
Erickson, Steve. 'Why Elia Kazan Should Not Receive Steyn, Mark. 'The Crucible of Hollywood's Guilt'. Atlantic
an Oscar'. Salon Magazine, 17 March 1999. Monthly, December 2003. On the moral squalor
Fettmann, Eric. 'Elia Kazan, Hero'. New York Post, 31 of those in Hollywood who take a benign view of
January 1999. 'Hollywood has long seen this as Stalinism and condemn Elia Kazan's speaking
the truth.
a black-and-white story with only angels on one
side and only devils on the other. The reality, Thomson, David. 'What Elia Kazan Won't Hear at the
however is far more gray - as Kazan himself Oscars'. Washington Post, 21 March 1999. 'The
understood all too well'.
blacklist worked and held terroristic sway be-
Fettmann, Eric. 'One of the 'Martyrs' Will Applaud'. New cause the pillars of the Academy ... agreed to
York Post, 21 March 1999. On Edward Dmytryk abide by it'.
and his support for Elia Kazan. Waxman, Sharon. 'Reelpolitik at the Oscars, Honor for
Goldstein, Patrick. 'Many Refuse to Clap as Kazan Elia Kazan Stirs Up Those Blacklisted in McCarthy
Receives Oscar'. Los Angeles Times, 22 March Era'. Washington Post, 25 February 1999. On
1999. plans to protest Kazan's Oscar.
Waxman, Sharon. 'For Elia Kazan, A Contentious Mo-
Jacoby, Jeff. 'Kazan's Lifetime Achievement'. Boston
Globe, 8 March 1999. 'However distasteful coop- ment of Glory'. Washington Post, 22 March 1999.
erating with the committee may have been, co-Weinraub, Bernard. 'Time Frees the Hollywood One'.
operating with the Communist party and the New York Times, 24 January 1999. On decision
Soviet Union - which is what refusing to testify or
of Academy of Motion Picture Arts and Sciences
taking the Fifth amounted to - would have been
to give Elia Kazan an honorary Oscar over the
infinitely worse'.
opposition of those who said his testimony to the
Klady, Leonard, and Nick Madigan. 'Kazan Takes Oscar House Committee on Un-American Activities dis-
with No Apologies'. Variety, 22 March 1999. qualified him.
West, Diana. 'Elia Kazan's Last Oscar'. Washington courier for the Communist underground in the
Times, 29 January 1999. 'The man remains type- 1930s. Losey was also a good friend of CPUSA
cast as the bad guy who made good movies .... underground head J. Peters and kept in contact
Mr. Kazan is being honored because he was into the 1970s.
great; because he is old; and because Hollywood Losey, Joseph. Losey on Losey. Edited by Tom Milne.
has some inkling that he may have been right, Garden City, NY: Doubleday, 1968. Losey, a film
although there is no one yet articulating that fact'. director, was a secret Communist.
West, Diana. 'One Fell Out of the Cuckoo's Nest'. Wash-
ington Times, 26 March 1999. On Elia Kazan. Albert Maltz
Will, George F. 'Honor Elia Kazan'. Washington Post, 21 Salzman, Jack. Albert Maltz. Boston: Twayne Publishers,
March 1999. 1978.
Zheutlin, Barbara, and David Talbot. 'Albert Maltz: Por-

Ring Lardner, Jr.
trait of a Hollywood Dissident'. Cineaste 8, no. 3
Lardner, Ring, Jr. 'My Life on the Blacklist'. Saturday (1978).
Evening Post, 14 October 1961.
Abraham Polonsky
Lardner, Ring, Jr. The Lardners: MyFamilyRemembered.
New York: Harper & Row, 1976. Lardner, a screen
Buhle, Paul, and David Wagner. A Very Dangerous Citi-
writer, was one of the Hollywood Ten. zen: Abraham Lincoln Polonsky and the Hollywood
Lardner, Ring, Jr. 'The Gilding of the Blacklisted: A Son Left. Berkeley: University of California Press, 2001.
of the Hollywood Ten Revisits a Heroic Legacy'. Sees Polonsky as a major figure in Hollywood.
Washington Post, 2 November 1997. Commentary See exchanges about this book in Cineaste, 27,2
on his memories of the Hollywood Ten. (Spring 2002).
Sorkin, Adam J. 'Politics, Privatism and the Fifties: Eckstein,
Ring Arthur M., Paul Buhle, and Dave Wagner.
Lardner Jr.'s "The Ecstasy of Owen Muir"'. Journal 'Polonsky, Politics and the Hollywood Blacklist'.
of American Culture 8, no. 3 (1985). On Lardner's Filmhaftet [Sweden] 30, no. 2 (March 2002). Criti-
satirization of America's hypocrisy, opposition to cal essay review with responses of Buhle and
communism, Christianity, and capitalism. Wagner's of A Very Dangerous Citizen.
Polonsky, Abraham. 'How the Blacklist Worked in Hol-
John Howard Lawson
lywood'. Film Culture, Fall 1970. Polonsky, a fer-
Carr, Gary L. The Left Side of Paradise: The Screenwriting vent Communist, was blacklisted for several
of John Howard Lawson. Ann Arbor, Mich.: UMI years.
Research Press, 1984.
Lawson, John Howard. 'Biographical Notes'. Zeitschrift
Fur Anglistik und Amerikanistik [German Demo-
cratic Republic] 4 (1956).
Lawson, John Howard. Film in the Battle of Ideas. New
York: Masses and Mainstream, 1953.
Chambers, Jonathan. 'How Hollywood Led John

Howard Lawson to Embrace Communism and
How He Turned Hollywood Red'. Theatre History
Studies 17 (June 1997).
Canada Lee
Gill, Glenda E. 'Careerist and Casualty: The Rise and

Fall of Canada Lee'. Freedomways 21, no. 1
(1981). Biography of black actor Canada Lee
(Leonard Lionel Cornelius Canegata) whose ca-
reer in American theater and films was damaged
by House Committee on Un-American Activities
and the Federal Bureau of Investigation probes.
Joseph Losey
Caute, David. Joseph Losey: A Revenge on Life. New
York: Oxford University Press, 1994. Says that
Losey told close associates that he had been a
Maurice Rapf Oliver Stone
Rapf, Maurice. Back Lot: Growing up with the Movies. Kagan, Norman. The Cinema of Oliver Stone. New York:
Lanham, Md.: Scarecrow Press, 1999. Discusses Continuum, 1995.
how his CPUSA allegiance affected his role in
Hollywood. Prasch, Thomas. 'Looking for Nixon's Rosebud: The
Cuban Connection and Oliver Stone's Historical
Ronald Reagan Revisionism in Nixon'. Paper presented at

Radosh, Ronald. 'Reagan and the Reds: New Details Representations of the Cold War', 17th Interna-
on a Noble Fight'. FrontPageMagazine.Com, 9 tional Association for Media and History Confer-
February 2001. On newly public 1960 letter by ence. Salisbury State University, Maryland, 1997.
Reagan on Communists in Hollywood.
Whaley, Donald M. 'Oliver Stone: Natural Born Anar-
Reagan, Ronald, and Richard Gibson Hubler. Where's
the Rest of Me? New York: Duell, Sloan and
chist'. Paper presented at 'Knaves, Fools, and
Heroes,' Film and Television Representations of
Pearce, 1965. Reagan discusses his shift as
the Cold War', 17th International Association for
leader of the Screen Actors Guild after World War
Media and History Conference. Salisbury State
II from Popular Front liberal to anti-Communist.
University, Maryland, 1997.
Rogin, Michael Paul. Ronald Reagan, the Movie and
OtherEpisodes in PoliticalDemonology. Berkeley: Robert Taylor
University of California Press, 1987. Discusses
the relationship of motion pictures and political Breindel, Eric. 'Hollywood Trying to Erase Its Past'.
attitudes and the effects of Hollywood anti-Com- Washington Times, 16 January 1990. Commen-
munism and Cold War films on Ronald Reagan's tary critical of the 1990 decision of Lorimar Studios
political views. to remove movie star Robert Taylor's name from
a building after a petition campaign by Hollywood
Vaughn, Stephen. 'Spies, National Security, and the liberals retrospectively condemning Taylorfortes-
'Inertia Projector': The Secret Service Films of
tifying in 1947 before US House Committee on
Ronald Reagan'. American Quarterly 39 (Fall Un-American Activities regarding communism in
1987). Discusses the depiction of the House Hollywood.
Committee on Un-American Activities in 1938-39
Warner Brothers' films. Elvir, John. 'Beyond the Beltway'. Washington Times, 4
January 1990. Reports that in response to a pe-
Vaughn, Stephen. 'Ronald Reagan and the Struggle for
tition led by screenwriter Stan Zimmerman and
Black Dignity in Cinema, 1937-1953'. Journal of
signed by fifty Hollywood figures, Lorimar Studios
Negro History 77, no. 1 (Winter 1992)..
has removed the dedication to the late film star
Vaughn, Stephen. Ronald Reagan in Hollywood: Movies Robert Taylor of a building on its lot. Zimmerman,
and Politics. Cambridge [England], New York: who says that Taylor's testifying truthfully to HUAC
Cambridge University Press, 1994. Discusses in 1947 destroyed the careers of innocent people,
Reagan's role in the Screen Actors Guild. stated that 'in this age of Jesse Helms and other
Wills, Garry. Reagan's America: Innocents at Home. right-wing noisemakers, we decided to take ac-
Garden City, NY: Doubleday, 1987. Discusses tion'.
Reagan role in the Screen Actors Guild.

West, Diana. 'Robert Taylor, Unperson'. Washington
Times, 27 February 1990. Newspaper feature
Edward G. Robinson
story on the removal of movie star Robert Taylor's
Ross, Steven. 'Little Caesar and the HUAC Mob: Edward name from a studio building in response to a
G. Robinson and the Tragedy of American Liber- petition from 50 movie writers and producers. In
alism'. Paper presented at Organization of Ameri- 1947 Taylor, then an official of the Screen Actors
can Historians annual meeting. Los Angeles, CA, Guild and an anti-Communist, testified to US
2001. House Committee on Un-American Activities.
Dore Schary Dalton Trumbo
Schary, Dore. Heyday: An Autobiography. Boston: Little, Cook, Bruce. 'The Black Years of Dalton Trumbo'. Ameri-
Brown, 1979. Discusses blacklisting in Hollywood. can Film, October 1975.
Budd Schulberg Cook, Bruce. Dalton Trumbo. New York: Scribner, 1977.
Biography of a Hollywood writer close to the
Rhodes, Chip. 'Ambivalence on the Left: Budd Schul-
Communist party.
berg's What Makes Sammy Run?' Studies in
American Fiction 30, no. 1 (Spring 2002). Hanson, Peter. Dalton Trumbo, Hollywood Rebel: A Criti-
cal Survey and Filmography. Jefferson, N.C.: artists. While documentarians during the Depres-
McFarland, 2001. sion and pre-World War II years were urged toward
a philosophy of committed social responsibility,
Teachout, Terry. 'The Odor of Sanctimony'. Wall Street
criticism in the Cold War era effectively silenced
Journal, 5 September 2003. Critical review of the
the political artist in American society. Discusses
play 'Trumbo', written by Dalton Trumbo's son
the creation and disbandment in 1951 of the Photo
Christopher in which Trumbo's letters are read
League after it was named a subversive organi-
along with a didactic slide show.
zation, the career of Sid Grossman (the only
Trumbo, Dalton. The Time of the Toad: A Study of member of the Photo League publicly singled out
Inquisition in America by One of the Hollywood as a Communist), Edward Steichen's 'Family of
Ten. [Hollywood, CA: Hollywood Ten, 1950.] Man' exhibition of 1955 and Robert Frank's 'The
Pamphlet. Trumbo was a leading Hollywood Americans' in 1959.
Communist and screen writer and one of the
Campbell, Russell. 'Radical Cinema in the United States,
Hollywood Ten.
1930-1942: The Work of the Film and Photo
Trumbo, Dalton. Additional Dialogue; Letters of DaltonLeague, Nykino, and Frontier Films'. Ph.D. diss.
Trumbo, 1942-1962. Edited by Helen Manfull. Northwestern University, 1978.
New York: M. Evans; in association with Lippin-
cott, 1970. Campbell, Russell. Cinema Strikes Back: Radical Film-
making in the United States, 1930-1942. Ann
Trumbo, Dalton. The Time of the Toad: A Study ofArbor, Mich.: UMI Research Press, 1982. Study
Inquisition in America, and Two Related Pam- of the Communist-aligned Workers' Film and
phlets. New York: Harper & Row, 1972. By a Photo League, Nykino, and Frontier Films. Judges
leading Hollywood Communist. that the adoption of a Popular Front stance
caused Frontier Films to move away from the
Radical photography and class struggle, adopt Hollywood devices, and
documentary film reinforce the status quo.
Campbell, Russell, Tony Stafford, Samuel Brody, and
Film and Photo League, Nykino, and Frontier
William Alexander. 'Film and Photo League: Radi-
Films
cal Cinema in the 30's'. Jump Cut, no. 14 (March
Alexander, William. Film on the Left: American Documen- 1977). Special section with essays and features.
tary Film from 1931 to 1942. Princeton, NJ: Prince- Dejardin, Fiona M. 'The Photo League: Aesthetics, Poli-
ton University Press, 1981. Survey and analysis tics, and the Cold War'. Ph.D. diss. University of
of social protest and left-wing documentary film Delaware, 1993.
making in the 1930s. Includes coverage of the
Communist-aligned Workers' Film and Photo Fishbein, Leslie. 'A Lost Legacy of Labor Films'. Film
League, Nykino, and Frontier Films.
and History 9, no. 2 (1979). Discusses the work
of the Communist-aligned Workers' Film and
Alexander, William. 'Film on the Left: American Docu- Photo League in filming Communist-organized
mentary Films from 1931-1942'. Canadian Re- marches and strikes during the Depression.
view of American Studies 16 (Summer 1985).
Kepley, Vance. 'The Workers' International Relief and
Bethune, Beverly M. 'A Case of Overkill: The FBI and the the Cinema of the Left 1921-1929'. Cinema Jour-
New York City Photo League'. Journalism His- nal 23 (Fall 1983). Notes films produced in the
tory 7, no. 3-4 (1980). early 1920s by the C.P.'s International Workers'
Bethune, Beverly Moore. 'The New York City Photo Aid in Chicago.
League: A Political History'. Ph.D. diss. University Miller, Rick. 'Remembering the Photo League'. Photog-
of Minnesota, 1979. Recounts the political and rapher's Forum, Fall 1997.
politically linked photographic activities of the
Communist-aligned Film and Photo League Miller, Sara, Sam Brody, and Peter Bates. 'The Workers
(1930-36) and the New York City Photo League Film and Photo League'. Jump Cut, no. 33 (Feb-
(1936-51). ruary 1988). Special section with essays and
features.
Bezner, Belinda Corbus. 'American Documentary Pho-
tography During the Cold War: The Decline of a Rosenzweig, Roy. 'Working Class Struggles in the Great
Tradition'. Ph.D. diss. University of Texas at Depression: The Film Record'. Film Library Quar-
terly 13 (1980).
Austin, 1993. Argues that left artists successfully
retreated from overt political content under pres- Rosenzweig, Roy. 'United Action Means Victory: Militant
sure from anticommunism and that this retreat Americanism on Film'. Labor History 24, no. 2
was often praised by critics who said, essentially, (1983). Discusses the militant Americanism of a
that politics was no business for true, visionary UAW documentary film and the patriotic themes
of the Popular Front cultural line. Argues that with Leo Hurwitz'. Cineaste 6, no. 3 (1974). Hur-
Popular Front Americanism had radical potential. witz was with the Film and Photo League and
Frontier Films. He also directed 'Native Land', a
Slide, Anthony, ed. Filmfront: A Reprint Edition.
full-length feature about labor organizing with
Metuchen, NJ: Scarecrow Press, 1986. Journal
music by Marc Blitzstein and songs and narration
of the Film and Photo League.
by Paul Robeson.
Radical documentary and Seshadri, Vijay. 'Which Side AreYou on, Boys?'American
photography: Biographical accounts Scholar 70, no. 2 (2001). Remembers radical film-
maker Leo Hurwitz.
James Abbe
Joris Ivens
Rappaport, Helen. 'Stalin & the Photographer'. History
Today 51, no. 5 (2001). On the work of AmericanWaugh, Thomas H. R. 'Joris Ivens and the Evolution of
photographer James Abbe. the Radical Documentary, 1926-1946'. Ph.D.
diss. Columbia University, 1981. Dutch documen-
Margaret Bourke-White tary filmmaker came to the US and became a
leading figure in the 'milieu of the Popular Front
Goldberg, Vicki. Margaret Bourke-White: A Biography. in North America, for which he becomes a major
New York: Harper & Row, 1986. This biography
artistic spokesperson during its initial growth
of the famous photographer notes Bourke- around the Spanish cause, its slump following the
White's association with the Film and Photo
Hitler-Nazi pact, its renewal after Pearl Harbor,
League, The League of Women Shoppers, the and, finally, its postwar rout'.
American League for Peace and Democracy, the
preparation of several pro-Soviet movies, books,
Tina Modotti
and film exhibits, and her speech at the 1936
Albers, Patricia. Shadows, Fire, Snow: The Life of Tina
American Artists' Congress lauding Soviet artistic
policies. Even so, Goldberg asserts Bourke- Modotti. New York: Clarkson Potter, 1999.
White's 'was not so involved in political matters
Hooks, Margaret. Tina Modotti, Photographer and Revo-
as the records suggest'. Discusses Westbrook lutionary. San Francisco: Pandora, 1993. Modotti,
Pegler's attacks on Bourke-White as a fellow-trav- a Communist photographer active in radical cir-
eler in 1951 and how a Bourke-White photo essay cles in San Francisco and Mexico (1896-1942),
on the defection of a Communist guerrilla during was closely associated with the Mexican Com-
the Korean war blunted Pegler's attack. munist Party and the Spanish Civil War.
Snyder, Robert E. 'Margaret Bourke-White and the Com-
munist Witch-Hunt'. Journal of American Stud- Paul Strand
ies 19, no. 1 (April 1985). Discusses the Peeler, David P. 'Apocalyptic Artist: Paul Strand in Mex-
controversy in the early 1950s when the photog- ico'. Paper presented at Washington Seminar on
rapher-journalist Bourke-White was allowed ac- American History. Washington, DC, 1994. Re-
cess to secret Air Force installations in order to
garding photographer Strand's adoption in
prepare a photo article on the Strategic Air Com- 1932-1933 of the view that capitalism and indi-
mand. Right-wing journalists pointed to her asso- vidualism were dying and communism and the
ciation with the American Youth Congress, the collective were about the sweep the world. Influ-
Film and Photo League, the League of Women ences included New York's Group Theatre and
Shoppers, and her photographic contributions to Sidney Hook who validated Strand's visual fasci-
Art Front and the Sunday Worker as evidence of nation with machinery.
Communist sympathies. Bourke-White denied
sympathy for Communism and claimed that sheTelevision and McCarthy
was nonpolitical, that her association with various
Communist front groups during the 1930s was Doherty, Thomas Patrick. Cold War, Cool Medium: Tele-
nonpolitical, and she was unaware of any Com- vision, McCarthyism, and American Culture. New
munist orientation of these groups. York: Columbia University Press, 2003.
Doherty, Thomas. 'Pixies: Homosexuality, Anti-Commu-

Leo Hurwitz
nism, and the Army-McCarthy Hearing'. In Tele-
Hurwitz, Leo. 'One Man's Voyage: Ideas and Films in vision Histories: Shaping Collective Memory in the
the 1930's'. Cinema Journal 5 (Fall 1975). Memoir Media Age, edited by Gary R. Edgerton and Peter
by a radical documentary film maker close to the C. Rollins. Lexington: University Press of Ken-
Communist party. tucky, 2001.
Klein, Michare, and Jill Klein. 'Native Land: An InterviewDoherty, Thomas. 'Point of Order!' History Today
[U.K.] 48, no. 8 (1998). On television and young anti-Stalinist socialists at City College in
McCarthy. the 1940s, their controversial role in the McCarthy
era, their battle with the New Left in the sixties,
Ferguson, Mary Jane. 'McCarthy Vs. Pearson'. Master's
and their vastly differing political views today.
thesis. University of Wisconsin, 1969. Discusses
the McCarthy-Drew Pearson feud. Lipset, Seymour Martin. 'Out of the Alcoves'. Wilson
Kendrick, Alexander. Prime Time: The Life of Edward R. Quarterly 23, no. 1 (Winter 1999). Essay-review of
Murrow. Boston: Little, Brown, 1969. Discusses documentary film Arguing the World regarding
Murrow's TV attacks on Joseph McCarthy Daniel Bell, Nathan Glazier, Irving Kristol and
Irving Howe. 'But Arguing the World is not only
Leab, Daniel J. 'See It Now: A Legend Reassessed'. In about these four men. It is a contribution to the
American History/American Television: Interpret- larger story of anti-Stalinism, the highly energized
ing the Video Past, edited by John E. O'Connor. brand of anticommunism that played a major and
New York: Frederic Ungar, 1983. Murrow and not fully appreciated role in undermining the So-
McCarthy. viet Union'.
Murray, Michael Dennis. 'See It Now Vs McCarthyism: Arthur Miller, Elia Kazan and the Blacklist: None Without
Dimensions of Documentary Persuasion'. Ph.D. Sin
diss. University of Missouri, Columbia, 1974.
Garvin, Glenn. 'Documentary on Hollywood Blacklist
Persico, Joseph E. Edward R. Murrow: An American Glosses Over Details'. MiamiHerald, 3 September
Original. New York: McGraw-Hill, 1988. Discusses 2003. Review of 'Arthur Miller, Elia Kazan and the
Murrow's attacks on McCarthy. Blacklist: None Without Sin' TVdocumentary aired
Rosteck, Henry Thomas, Jr. 'Rhetorical Analysis and on PBS on 3 September 2003.
Television Documentary: The Case of 'See It Now' Citizen Cohn, Angels in America and Roy Cohn.
and McCarthyism'. Ph.D. diss. University of Wis-
consin, Madison, 1987. Bottoms, Stephen J. 'Re-Staging Roy: Citizen Cohn and
the Search for Xanadu'. Theatre Journal 48, no. 2
Rosteck, Thomas. See It Now Confronts McCarthyism: (May 1996).
Television Documentary and the Politics of Rep-
resentation. Tuscaloosa: University of Alabama Breindel, Eric. 'Silence of the PC Fans'. Washington
Press, 1994. Times, 7 September 1992. Discusses HBO movie
Citizen Cohn, judging that the movie's ridicule of
Sperber, A.M. Murrow, His Life and Times. New York:
Cohn's homosexuality and death from AIDS went
Freundlich Books, 1986.
without criticism because Cohn was a right-wing
Straight, Michael Whitney. Trial by Television. Boston: anti-Communist. Says that the movie falsely de-
Beacon Press, 1954. Army-McCarthy Contro- picts Cohn as a self-hating Jew, that Cohn's father
versy disapproved of his son's actions, and that
Swann, Benjamin. 'How the Army-McCarthy Hearings McCarthy was a tool of Cohn.
Discredited Joseph McCarthy and Ended the Cadden, Michael. 'Strange Angel: The Pinklisting of Roy
Communist Witch-Hunts in America'. Master's Cohn'. In Secret Agents: The Rosenberg Case,
thesis. California State University, Dominguez McCarthyism, and Fifties America, edited by Mar-
Hills, 1994. jorie B. Garber and Rebecca L. Walkowitz. New
Wiebe, G.D. 'The Army-McCarthy Hearings and the York: Routledge, 1995.
Public Conscience'. Public Opinion Quarterly 22 Kramer, Yale. 'Angels on Broadway'. American Specta-
(Winter 1958-59). tor, July 1993. Essay on Tony Kushner's drama
Angels inAmericas, in which Roy Cohn is presented
Individual documentaries as a satanic figure embodying demonic evil.
Are We Winning, Mommy? America and theVon Hoffman,
Cold War Nicholas. Citizen Cohn. New York: Dou-
bleday, 1988. Pictures Roy M. Cohn as an irre-
Margolis, Barbara. Are We Winning, Mommy? America
sponsible,
and the Cold War. Television Documentary. Cine amoral, autocratic deal maker and
Information, Inc, 1987. Ricicules and mockspolitical
con- fixer.
cern about Soviet aggression. Zion, Sidney, and Roy M. Cohn. The Autobiography of
Arguing the World Roy Cohn. Secaucus, NJ: Lyle Stuart, 1988. Writ-
ten with the cooperation of Cohn.
Dorman, Joseph, ed. Arguing the World: The New York
The Cold War
Intellectuals in Their Own Words. New York: Free
Press, 2000. Companion to Borman's 1997 tele- Beichman, Arnold, ed. CNN's Cold War Documentary:
vision documentary 'Arguing the World' (First Issues and Controversy. Stanford, CA: Hoover
Run/Icarus Films). Traces the lives of Daniel Bell, Institution Press, 2000. Essays and comments on
Nathan Glazer, Irving Howe and Irving Kristol as CNN's television documentary by Arnold Beich-
man, Gabriel Schoenfeld, Jeremy Isaacs, John Love in the Cold War
Lewis Gaddis, Vladislav Zubok, Irving Louis
Horowitz, Thomas Mayer, Thomas M. Nichols, Berman, Paul. 'Lives of the Party'. Village Voice, 14
Erich Rauchway, Russell Roberts, Jackson Toby, January 1992. Essay-review on Eric Stange and
David Dugan's documentary Love in the Cold War
Richard Pipes, Robert Conquest, Mark Falcoff,
Charles Krauthammer, Jacob Heilbrunn, Kenneth about Eugene and Peggy Dennis. 'There's some-
thing odd about making a movie in a democratic
Auchincloss, Joseph Shattan, Ronald Radosh,
revolutionary time like this that shows Communist
Raymond A. Schroth, Mark Steyn, John L. Harper,
leaders from the past in a relatively positive or at
Thomas Doherty, Lawrence Freedman, and
David Wilson. least a sympathetic light. It's like choosing to
make a movie at the height of the civil rights
Krauthammer, Charles. 'CNN's Cold War: Twenty-Four movement about the sad defeat undergone by
Hours of Moral Equivalence'. Washington Post, Robert E. Lee and his dashing Confederate offi-
30 October 1998. Condemns episode six, 'Reds cers, who thought they were fighting for liberty
1948-1953' as equating McCarthyism with and states' rights but turned out - as who could
Stalin's purges, excusing Soviet espionage, and have imagined? - to be fighting for slavery. A film
implying that Hiss was innocent. less worried about trampling on the toes of the
The Five Cities of June and The March defeated ex-Communists might show how de-
structive was the American Communist Party dur-
Cull, Nicholas J. 'Auteurs of Ideology: USIA Documen-
ing its decades of prosperity, how badly it
tary Film Propaganda in the Kennedy Era as Seen
in Bruce Hershensohn's The Five Cities of June damaged the political culture in the United States,
how successful it was in convincing the American
(1963) and James Blue's The March (1964)'. Film
public that socialism means something like the
History 10, no. 3 (1998).
Soviet Union, how dreadful would have been the
The Spanish Earth result if the Communists had achieved any greater
Coleman, Arthur. 'Hemingway's The Spanish Earth'. success, how heartless and lacking in elementary
Hemingway Review 2, no. 1 (1992). Hemingway sympathy was their attitude toward the nameless
wrote the screenplay for the film The Spanish victims of Communist oppression around the
world'.
Earth, directed by Joris Ivens in 1937. The docu-
mentary film was propaganda for the Spanish
Radosh, Ronald. 'Love in the Cold War'. Heterodoxy 1,
Republic in the Spanish Civil War.
no. 1 (April 1992). Essay-review of PBS documen-
Waugh, Thomas. "Men Cannot Act in Front of the Cam- tary. 'The centerpiece of Love in the Cold War is
era in the Presence of Death': Joris Ivens' The the story of the Denises' first son, Tim, who was
Spanish Earth'. Cin6aste 12, no. 2-3 (1982-83). left behind in a Moscow day care facility reserved
Waugh, Thomas. 'Water, Blood and War: Documentary for the party elite while his parents did their dirty
business for the Soviet state. But when Moscow
Imagery of Spain from the North American Popu-
decided it was time ... for Gene Dennis to take his
lar Front'. In The Spanish Civil War and the Visual
Arts, edited by Kathleen M. Vernon. Ithaca, N.Y.: place in the national leadership of the American
Center for International Studies, Cornell Univer- party, Soviet leaders informed the boy's parents
sity, 1990. that little Tim, now five years old, was to remain a
hostage in Moscow.... The explanation provided
Legacy of the Hollywood Blacklist to the parents - and fatuously repeated in this film
Chaikin, Judy. Legacy of the Hollywood Blacklist. Docu- - was that it was too risky for the American party's
mentary film. One Step Production, 1987. image to have Dennis seen with a five year old
Letters from Karelia who spoke only Russian. The real reason the child
was held in Moscow was to provide Stalin with a
Stringer, Richard. 'From Russia with.. Film'. CSC News hammer over Gene Dennis, who in his new posi-
[Canadian Society of Cinematographers], April tion in the leadership of the American C.P. would
2003. Discusses the making of the documentary have the crucial duty of securing support for
film Letters from Karelia about the emigration from Moscow as the world moved closer to war'.
Northern Ontario of radical Canadian Finns to
Karelia and their fate during the purges. FocusesStange, Eric. Love in the Cold War, The American Expe-
on Aate Pitkanen, a Canadian Finn, who survived rience series. Television documentary. United
the purges to be drafted into the Red Army in States: WETA-TV, 1992. Eugene Dennis, Jr., re-
World War II and sent behind Finnish lines in 1942 counts the story of his parents, Gene and Peggy
as a spy. He was captured and executed by the Dennis, who helped build the American Commu-
Finns. Letters he wrote while awaiting execution nist Party during the Depression. After spending
were only recently found and sent to his relatives some years in Moscow, they were reassigned to
in Canada. the US and told to leave their son (Eugene, Jr.'s
brother) in the USSR. They were not to see him its testimony by Julius Rosenberg's former KGB
again until Khrushchev visited the US. Eugene case officer, Alexander Feklisov
Dennis was jailed for his political beliefs. Secrets Lies and Atomic Spies
Messengers from Moscow Yourgrau, Tug, producer. 'Secrets, Lies, and Atomic
Simes, Dimitri K. 'Confirmation Time: A Review of Mes- Spies', 2002. Companion web site to PBS Nova
sengers from Moscow'. National Interest 40 (Sum- documentary, Secrets, Lies, and Atomic Spies,
mer 1995). Essay-review of documents and first broadcast on 5 February 2002. Focuses on
interviews used in the TV documentary Messen- the Rosenberg case, Theodore Hall, and Venona.
gers from Moscow. Includes interviews with Joan and Ruth Hall, Wil-
liam Weisband, Jr., Robert and Michael Meeropol,
Operation Abolition
Boaria Sax, John Earl Haynes, Harvey Klehr, and
Bogle, Lori. 'AntiCommunist Propaganda: Operation others.
Abolition, Communism on the Map, and Other
Radical Right Films Featured at Military-Spon-
Seeing Red
sored Cold War Seminars of the Early 1960s'. Klehr, Harvey. 'Seeing Red "Seeing Red"'. Labor His-
Paper presented at Viet Nam Generation, Inc's tory 26, no. 1 (Winter 1985). Critical review-essay
'Sixties Generations' conference. Western Con- on the film Seeing Red: Stories of American Com-
necticut State University, 1994. munists.
Red Files: Secrets from the Russian Archives Reichert, Julia, and James Klein. Seeing Red, Stories of
American Communists. Heartland Productions,
Feifer, George. Red Files: Secrets from the Russian
Archives. New York: TV Books, 2000. Companion
1984. The film, described by its makers as a
bookto PBS documentary. Discusses several CPUSA
'supportive portrait of American Communists',
members who worked for Soviet intelligence. won the Bronze Hugo for documentary at the
Chicago film festival.
Johnson, J. Mitchell, producer. 'Red Files: Secret Victo-
ries of the KGB'. InVision Production with Abame- Shafransky, Renee. 'Seeing Red: An Interview with
James Klein and Julia Reichert'. Cin6aste 13,
dia in Association with PBS and Devillier Donegan
Enterprises, 1999. ttp://www.pbs.org/redfiles/kg
no. 2 (1984).
Web site of PBS television documentary by The Survivors: North American Finns in Stalin's Russia
Abamedia. Includes transcripts of interviews with Haga, Chuck. 'Survivors'. Minneapolis Star Tribune, 12
CPUSA and International Brigade veterans Morris February 2000. Newspaper feature story on sur-
Cohen and Jack Bjoze, as well as Soviet and vivors of Karelian Fever now living in Minnesota
American intelligence officers. and a documentary film entitled The Survivors:
Red Hollywood North American Finns in Stalin's Russia, prepared
Neve, Brian. 'Red Hollywood'. Historical Journal of Film, by Anita Middleton.
Radio and Television 19, no. 1 (March 1999). Es- The Trials of Alger Hiss, Hiss: The Improbable Spy, and
say-review of 1995 compilation film, Red Holly- Concealed Enemies
wood, by Thom Andersen and Noel Burch Lowenthal, John, director, The Trials of Alger Hiss,
regarding the film work of Hollywood Commu- Corinth Films and History on Film Company, 1979.
nists, ex-Communists, and Left sympathizers. John Lowenthal, a Hiss defense lawyer, depicts
Reluctant Comrade Hiss as innocent.
Kaiser, Robert Blair. 'Film About Hiss Trials Revives

British Broadcasting Corporation. Reluctant Comrade.
Documentary. Arts and Entertainment Network's Controversy'. New York Times, 26 February 1980.
Premiers Series, 1991. TV documentary on the About Lowenthal's The Trials of Alger Hiss.
life of Robert Robinson and his autobiography Elstein, David, and Lindsay Law, producers, Concealed
Black on Red: A Black American's 44 Years Inside
Enemies (1983), a public television miniseries on
the Soviet Union.
the Hiss case. Sympathetic to Hiss.
Paul Robeson: Here I Stand
Slaght, Margaret, producer, Hiss: The Improbable Spy,
Grove, Lloyd. 'Robeson: The Man in the Myth'. Wash- 'The Turning Points of History' series of 'History
ington Post, 24 February 1999. Review of PBS Television' in Canada, aired 2001. Took the view
television documentary Paul Robeson: Here I that new evidence from former Soviet and East
Stand. Bloc archives supported Hiss's guilt.
The Rosenberg File: Case Closed The Un-Americans
The19
Breindel, Eric. 'A Spy's Confession'. New York Post, Un-Americans. Time Machine. Arts & Entertainment
March 1997. On the Discovery Channel's docu- Network, 1993. Television documentary on post-
mentary 'The Rosenberg File: Case Closed' with World War II anticommunism.

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A Bibliography of Communism, Film, Radio and Television

Author(s): John Earl Haynes

John Earl Haynes

Bibliography was a task I was glad word processor

As the years have passed I have continued to

General works by Richard Wood - v. 2. World War II, part 1 /

Big Jim McLain reson -Tral bt tod "f-a-*World Awo

Briley, Ron. 'The Duke's Cold War Education: John

Gordon, Eric A. Mark the Music: The Life and Work of

BIC JIM M'LII

Dr. Strangelove Navasky, Victor. 'Has "Guilty By Suspicion" Missed the

The Manchurian Candidate and Cold War BrainwashingMy Darling Clementine

Bennett, Todd. 'Culture, Power, and Mission to Moscow:

North Star / Armored Attack

Georgakas, Dan. 'The Revisionist Releases of North

One Lonely Night and Jet Pilot

Pickup on South Street

Kepley, Vance, Jr. 'The Order of Point of Order'. Film

Whitfield, Stephen. 'Limited Engagements: The Quiet

Reds that-important leadership of the CPUSA with its

Song of Russia York: Ungar, 1979.

Mayhew, Robert. 'MGM's Potemkin Church: Religion in

highly paid actors and a staff who accommodated

Olsen, Richard. Hollywood Noir: Featuring Ronald Rea-

Biographical accounts vision 21 (June 2001).

Bush, Lawrence. Bessie. New York: Seaview/Putnam,

Jean Rouverol and Hugo Butler

Constantin Costa-Gavras Weekly Standard, 19 July 1999. Surveys Dmytryk's

Arthur, Thomas H. 'An Actor in Politics: Melvy

Dmytryk, Edward. It's a Hell of a Life, but Not a Bad Living.

Schwartz, Stephen. 'Dmytryk's Honorable Mutiny'.

Zheutlin, Barbara, and David Talbot. 'Albert Maltz: Por-

Chambers, Jonathan. 'How Hollywood Led John

Gill, Glenda E. 'Careerist and Casualty: The Rise and

Maurice Rapf Oliver Stone

Ronald Reagan Revisionism in Nixon'. Paper presented at

Reagan role in the Screen Actors Guild.

Dore Schary Dalton Trumbo

Doherty, Thomas. 'Pixies: Homosexuality, Anti-Commu-

Kaiser, Robert Blair. 'Film About Hiss Trials Revives

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