1950's: Movies, TV, and Society:
A Bibliography of Books and Articles in the UC Berkeley Libraries












General and Miscellaneous

Science Fiction Films of the 1950s/60s
(See separate Science Fiction Film Bibliography)

The Hollywood Blacklist

Film Noir Bibliography
Program Notes on Film and Beat Generation
Teens in the Movies and TV
Cold War/Nuclear War in motion pictures
Science Fiction& Fantasy bibliography (for books/articles about 50's sci-fi films)
Horror Film bibliography (for books/articles about 50's horror films)
Melodrama and Women's Film bibliography
The Hollywood 10 (biographies and film credits)
Edward R. Murrow bibliography

Film History of the 1950s (via FilmSite)
The Red Scare: A Filmography(All Powers Project, University of Washington)
The Literature & Culture of the American 1950s (Professor Al Filreis, University of Pennsylvania)

I. General and Miscellaneous

Abbott, Tristan
"Bomb Media, 1953-1964." Postmodern Culture; May2008, Vol. 18 Issue 3, p1-1, 1p
UC users only

Allan, Kenneth; Coltrane, Scott.
"Gender Displaying Television Commercials: A Comparative Study of Television Commercials in the 1950s and 1980s." Sex Roles: A Journal of Research v35, n3-4 (August, 1996):185 (19 pages).

Alves, Teresa.
"Some Enchanted Evening": Tuning in the Amazing Fifties, Switching Off The Elusive Decade. American Studies International 2001 39(3): 25-40.
" Challenges the tendency to characterize the 1950's as an inactive period of domesticity and anxiety and instead contends that the 1950's provided the impetus for the counterculture that defined the 1960's and ethnic revivals that characterized the 1970's. Although the arts of the era did reflect the frailties of the human condition and the hysteria of the Cold War and McCarthyism, technological developments, the emergence of rock and roll music, and new artistic focuses also signaled the beginning of a new era. Actors Marlon Brando and James Dean and Beat poets Allen Ginsberg and Jack Kerouac reflected both the emphasis on authenticity and the rebelliousness that characterized the generation." [America History and Life]

Amidi, Amid.
Cartoon modern : style and design in fifties animation / by Amid Amidi. San Francisco : Chronicle Books, c2006.
Main (Gardner) Stacks NC1766.U5 A47 2006

American cinema of the 1950s : themes and variations
Edited by Murray Pomerance. New Brunswick, N.J. : Rutgers University Press, c2005. Screen decades
Main PN1993.5.U6 A8575 2005
Contents Movies and landscapes / Mary Beth Haralovich -- Movies and the new faces of masculinity / Kristen Hatch -- Movies and the paradox of female stardom / Sumiko Higashi -- Movies and our secret lives / Rebecca Bell-Metereau -- Movies and the walls of privacy / Michael DeAngelis -- Movies and growing up ... absurd / Jon Lewis -- Movies and the crack of doom / Barry Keith Grant -- Movies and the search for proportion / Murray Pomerance -- Movies and allegories of ambivalence / Adrienne L. McLean -- Movies and the racial divide / Arthur Knight.

Anderson, Christopher
HollywoodTV: the studio system in the fifties Austin: University of Texas Press, c1994.
MAIN: PN1992.75 .A49 1994
Moffitt: PN1992.75 .A49 1994

Anisfield, Nancy
"Godzilla/Gojiro: Evolution of the Nuclear Metaphor." Journal of Popular Culture, Winter 1995, 29:3, pp:53+

Appy, Christian G.
"We'll follow the old man": the strains of sentimental militarism in popular films of the fifties." In: Rethinking Cold War culture / edited by Peter J. Kuznick and James Gilbert. Washington : Smithsonian Institution Press, c2001.
Main (Gardner) Stacks E169.12 .R475 2001

Austen, D.
"The fifties: 'Let's go to the pictures'." Films & Filming Vol XX nr 12 (Sept 1974); p 20-25
A nostalgic look at the US and British films of the 1950's and the cinema-going habits during those days.

Banner, Deborah
"Why don't they just shoot him? The Bond villains and Cold War heroism." In: The Devil himself : villainy in detective fiction and film / edited by Stacy Gillis and Philippa Gates. Westport, Conn. : Greenwood Press, 2002. Contributions to the study of popular culture,0198-9871 ;no. 73
Main PR830.D4 D45 2002

Baron, Cynthia
"As Red as a Burlesque Queen's Garters: Cold War Politics and the Actors' Lab in Hollywood." In: Headline Hollywood : a century of film scandal / edited by Adrienne L. McLean and David A. Cook. New Brunswick, N.J. : Rutgers University Press, c2001.
Main PN1993.5.U65 H39 2001

Beck, P.
"Technology as commodity and representation: cinema stereo in the fifties." Wide Angle Vol VII nr 3 (1985); p 62-73
Analyses the pressures influencing the development of stereophonic sound as a representational technology in Hollywood in the 1950's.

Belton, John.
"Hollywood and the Cold War." In: American cinema/American culture / John Belton. New York : McGraw-Hill, c1994.
Main PN1993.5.U6 B365 1994

Belton, John.
"The 1950s and beyond." Film History, Vol. 8, No. 2, The 1950s and beyond (1996), pp. 107-108
UC users only

Berger, Roger A.
"'Ask What You Can Do for Your Country': The Film Version of H. G. Wells's The Time Machine and the Cold War." Literature/ Film Quarterly, vol. 17 no. 3. 1989. pp: 177-187.

Bingham, Dennis.
""Before She Was a Virgin . . .": Doris Day and the Decline of Female Film Comedy in the 1950s and 1960s." Cinema Journal. Spring 2006. Vol. 45, Iss. 3; p. 3 (29 pages)
UC users only

Biskind, Peter
"Pods, blobs, and ideology in American films of the fifties." In: Shadows of the magic lamp: fantasy and science fiction in film / Edited by George Slusser and Eric S. Rabkin. pp: 58-72. Carbondale: Southern Illinois University Press, c1985. Series title: Alternatives.
UCB Main PN1995.9.F36 S5 1985
UCB Moffitt PN1995.9.F36 S5 1985

Biskind, Peter
"Rebel Without a Cause: Nicholas Ray in the Fifties." Film Quarterly 28:1 (1974:Fall) 32 Film Quarterly Vol XXVIII nr 1 (Fall 1974); p 32-38
A analysis of Nicholas Ray's career in the 1950's with special emphasis on the political-sociological aspects.

Biskind, Peter
Seeing is believing: how Hollywood taught us to stop worrying and love the fifties New York: Henry Holt, 2000.
MAIN: PN1995.9.P6 B57 2000;
MAIN: PN1995.9.P6 B57 1983 [earlier edition]
Moffitt: PN1995.9.P6 B57 1983[earlier edition]

Boddy, William
Fifties Television: The Industry and Its Critics / William Boddy. Urbana: University of Illinois Press, c1990. Series title: Illinois studies in communications.
UCB Main PN1992.3.U5 B64 1990
UCB Moffitt PN1992.3.U5 B64 1990

Boddy, William
"The Studios Move into Prime Time: Hollywood and the Television Industry in the 1950s." Cinema Journal, Vol. 24, No. 4 (Summer, 1985), pp. 23-37
UC users only

Boddy, William
"The studios move into prime time: Hollywood and the television industry in the 1950s." Cinema Journal Vol XXIV nr 4 (Summer 1985); p 23-37
Analysis of the economic relations between film and tv industries, incl. the transition from live to filmed programming.

Booker, M. Keith.
"The beginning or the end? : post-holocaust novels and films, 1946-1964." In: Monsters, mushroom clouds, and the Cold War : American science fiction and the roots of postmodernism, 1946-1964 / M. Keith ... Westport, Conn. : Greenwood Press, 2001. Contributions to the study of science fiction and fantasy ; no. 95
Main Stack PS374.S35.B66 2001

Booker, M. Keith.
"The creature from the Cold War : science fiction monster movies of the long 1950s." In: Monsters, mushroom clouds, and the Cold War : American science fiction and the roots of postmodernism, 1946-1964 Westport, Conn. : Greenwood Press, 2001. Contributions to the study of science fiction and fantasy ; no. 95
Main Stack PS374.S35.B66 2001

Booker, M. Keith.
Monsters, mushroom clouds, and the Cold War : American science fiction and the roots of postmodernism, 1946-1964 / Westport, Conn. : Greenwood Press, 2001. Contributions to the study of science fiction and fantasy ; no. 95
Main Stack PS374.S35.B66 2001

Booker, M. Keith
The post-utopian imagination: American culture in the long 1950s Westport, Conn.: Greenwood Press, 2002.
MAIN: PS374.P6 B66 2002

Booker, M. Keith.
"We're there and they're here! : space exploration and alien invasion films of the long 1950s." In: Monsters, mushroom clouds, and the Cold War : American science fiction and the roots of postmodernism, 1946-1964 / M. Keith ... Westport, Conn. : Greenwood Press, 2001. Contributions to the study of science fiction and fantasy ; no. 95
Main Stack PS374.S35.B66 2001

Boozer, Jack, Jr.
"Entrepreneurs and 'Family Values' in the Postwar Film." In: Authority and Transgression in Literature and Film / edited by Bonnie Braendlin and Hans Braendlin. pp: 89-102. Gainesville: University Press of Florida, c1996.
Main Stack PN56.A87.A87 1996

Bordo, Susan
"Fifties Hollywood: the rebel male crashes the wedding." The male body : a new look at men in public and in private / Susan Bordo. 1st ed. New York : Farrar, Straus and Giroux, 1999.
Main Stack HQ1090.B67 1999

Borrie, Lee Adam
Wild Ones: Containment Culture and 1950s Youth Rebellion. [Dissertation, University of Canterbury. American Studies, 2007]
My study seeks to fill a void in Cold War historiography by situating the emergence of 1950s youth culture in the context of containment culture, evaluating the form and extent of youth's cultural 'rebellion'. The pervasive cultural discourse of 'containment', which operated as both a foreign policy to restrict the Soviet Union's sphere of influence and a domestic policy to stifle political dissent, mandated that America propagate an image of social harmony and political plurality during the early years of the Cold War. Yet the emergence of a rebellious youth culture in the middle of the 1950s challenges the notion that America was a 'consensus society' and exposes the limitations and fissures of the white middle class hegemony that the containment narrative worked to legitimate. In examining the rise of rock n roll, the emergence of the drive-in theatre as a "teen space," and the significance of "style" to the galvanization of 1950s youth culture, this study examines the ways in which youth culture of the period variously negotiated, resisted, and accommodated containment culture.

Braudy, Leo
"No body's perfect" : method acting and 50s culture." In: The movies : texts, receptions, exposures / edited by Laurence Goldstein and Ira Konigsberg. Ann Arbor : University of Michigan Press, c1996.
Main Stack PN1994.M78 1996
Moffitt PN1994.M78 1996

Briley, Ron
"Hollywood and the rebel image in the 1950s." Social Education Oct 1997 v61 n6 p352(7)
'Images of rebellious youths have been portrayed in the 1950s films 'The Wild One' and 'Rebel Without a Cause.' An analysis of the films has revealed that the movie industry was not prepared to discard the societal norms of the decade. The motion pictures have only represented the industry's ability to capitalize on social issues and the public's curiosity on the youth's responses to these issues, as portrayed by actors Marlon Brando and James Dean, in promoting social values during that period." [Expanded Academic Index]

Briley, Ron
"John Wayne and big Jim McLain (1952): the Duke's Cold War legacy." Film & History Vol XXXI nr 1 (2001); p 28-33
Examines John Wayne's contribution to the anti-communist crusade of the 1950's, focusing on the film "Big Jim McLain".

Briley, Ron
"Reel History and the Cold War." OAH Magazine of History 8 (Winter 1994).
UC users only

Brode, Douglas
The films of the fifties : Sunset Boulevard to On the beach / by Douglas Brode. Secaucus, N.J. : Citadel Press, c1976.
Pacific Film Archive Call No. PN1993.5.U65 B7 1976

Broderick, Mick.
"Nuclear frisson: Cold War cinema and human radiation experiments." Literature-Film Quarterly July 1999 v27 i3 p196(6)
"Motion pictures' portrayals of human radiation experiments during the Cold War are discussed. Issues addressed include the moral aspects of human experimentation, the film industry's production of Cold War films in conjunction with the US government, and actual cases of atomic testing on humans." [Expanded Academic Index]

Broderick, Mick.
Nuclear Movies: A Critical Analysis and Filmography of International Feature Length Films Dealing with Experimentation, Aliens, Terrorism, Holocaust, and Other Disaster Scenarios, 1914-1990 / by Mick Broderick; with a foreword by Helen Caldicott. Jefferson, N.C. McFarland & Co., 1991, c1988.
Main Stack PN1995.9.N9.B76 1991
Moffitt PN1995.9.N9.B76 1991

Buckley, R. C.V.
"National body: Gina Lollobrigida and the cult of the star in the 1950s." Historical Journal of Film, Radio and Television Vol XX nr 4 (Oct 2000); p 527-547
Examines the place of Gina Lollobrigida in Italian culture; what she represented for Italians and for women in particular.

Byars, Jackie.
All That Hollywood Allows: Re-reading Gender in 1950s Melodrama / Jackie Byars. Chapel Hill: University of North Carolina Press, c1991.Series title: Gender & American culture.
UCB Main PN1995.9.S47 B9 1991
UCB Moffitt PN1995.9.S47 B9 1991
Contents via Google books

Byars, Jackie
"Feminism, Psychoanalysis, and Female-Oriented Melodramas of the 1950s." In: Multiple voices in feminist film criticism / Diane Carson, Linda Dittmar, and Janice R. Welsch, editors. pp: 93-108 Minneapolis: University of Minnesota Press, c1994.
Main Stack PN1995.9.W6.M82 1994
Moffitt PN1995.9.W6.M82 1994

Byars, Jackie
"The Prime of Miss Kim Novak: Struggling over the Feminine in the Star Image." In: The other fifties : interrogating midcentury American icons / edited by Joel Foreman. pp: 197-223. Urbana : University of Illinois Press, c1997.
Main Stack E169.12.F67 1997

Byman, Jeremy
Showdown at high noon : witch-hunts, critics, and the end of the Western / Jeremy Byman. Lanham, Md. : Scarecrow Press, 2004. Filmmakers series ; 111
Table of contents: http://www.loc.gov/catdir/toc/ecip0413/2004000190.html
Main Stack PN1997.H484.B96 2004

Caputi, Jane
" Films of the Nuclear Age." Journal of Popular Film and Television 16:3 (1988:Fall) p.101
UC users only

Carruthers, Susan L.
"Redeeming The Captives: Hollywood and The Brainwashing Of America's Prisoners Of War In Korea." Film History 1998 10(3): 275-294.
UC users only
"Several American films made during the Cold War years of the 1950's and early 1960's, such as Prisoner of War (1954) and The Manchurian Candidate (1962), portrayed American prisoners of war who were brainwashed by their Communist captors during the Korean War." [America: History and Life]

Cassidy, Marsha F.
"Sob stories, merriment, and surprises: the 1950s audience participation show on network television and women's daytime reception." Velvet Light Trap nr 42 (Fall 1998); p 48-61
A study of the daytime audience participation shows (such as "Truth or consequences" and "Queen for a day") that argues for their creation of a metaphysic of feminine presence through their linkage of studio space with home space. [FIAF]

Chapman, James
'Our finest hour revisited." Journal of Popular British Cinema nr 1 (1998); p 63-75
British war films of the 1950's and early 1960's have been largely ignored by scholars. This article seeks to provide an exploratory discussion of the cultural and ideological significance of World War II narrative in British. [FIAF]

Chopra-Gant, Mike.
Hollywood genres and postwar America : masculinity, family and nation in popular movies and film noir / Mike Chopra-Gant. London ; New York : I.B. Tauris Pub. ; New York : Distributed in the U.S. by Palgrave Macmillan, 2006.
Full text available online (UCB users only)
MAIN: PN1995.9.M46 C43 2006

Christensen, Terry.
"The 1950s: Anti-Communism and Conformity" In: Projecting politics : political messages in American film Armonk, N.Y. : M.E. Sharpe, c2005.
MAIN: PN1995.9.P6 C47 2005
Table of contents http://www.loc.gov/catdir/toc/ecip054/2004027997.html

Clark, Ginger.
"Cinema of Compromise: Pinky and thePolitics of Post War Film Production."(Elia Kazan's anti-racist film, "Pinky")Western Journal of Black Studies v21, n3 (Fall, 1997):180 (10 pages).

Clark, Randall.
"Teenage Films." In: At a theater or drive-in near you : the history, culture, and politics of the American exploitation film New York : Garland Pub., 1995.
MAIN: PN1995.9.S284 C63 1995
MOFF: PN1995.9.S284 C63 1995

Cohan, Steven.
Masked men : masculinity and the movies in the fifties / Steven Cohan. Bloomington : Indiana University Press, c1997. Arts and politics of the everyday.
Main Stack PN1995.9.M46.C65 1997
Contents via Google Books

Cook, Pam.
"Fashion and Sexual Display in 1950s Hollywood." In: Screening the past : memory and nostalgia in cinema / London ; New York : Routledge, 2005.
MAIN: PN1995.9.N67 C66 2005; View current status of this item
Contents via Google Books

Corkin, Stanley
"Cowboys and Free Markets: Post-World War II Westerns and U.S. Hegemony." Cinema Journal - 39, Number 3, Spring 2000 -
UC users only
"This essay looks at the historical phenomenon of the western as a focal genre in postwar America. Through discussion of Howard Hawks's Red River and John Ford's My Darling Clementine, it shows how the western was well suited to convey important ideological rationales for postwar U.S. foreign policy, including the inevitability of American expansion and the strategies for hegemony that guided the Truman administration's foreign policy."

Corber, Robert J.
Homosexuality in Cold War America: Resistance and the Crisis of Masculinity / Robert J. Corber. Durham [N.C.]: Duke University Press, 1997.
Main Stack HQ76.3.U5.C65 1997

Cohan, Steven.
"Almost like being at home : showbiz culture and Hollywood road trips in the 1940s and 1950s." In: The road movie book / edited by Steven Cohan and Ina Rae Hark. London ; New York : Routledge, 1997.
Main Stack PN1995.9.R63.R63 1997

Cohan, Steven.
"Cary Grant in the Fifties: Indiscretions of the Bachelor's Masquerade." Screen. 33(4):394-412. 1992 Winter
Analysis of the appeal of Cary Grant in the 1950's, despite the assertion that his image was a masquerade hiding his 'sexual problems'.

Cohan, Steven.
"Masquerading as the American Male in the Fifties: Picnic, William Holden and the Spectacle of Masculinity in Hollywood Film." Camera Obscura January-May 1991.
UC users only

Cohan, Steven.
"Masquerading as the American Male in the Fifties: Picnic, William Holden and the Spectacle of Masculinity in Hollywood Film." In: Male trouble / Constance Penley and Sharon Willis, editors. Minneapolis : University of Minnesota Press, c1993.
Main Stack PN1995.9.M46 M27 1993
Moffitt PN1995.9.M46 M27 1993

Cohan, Steven.
Masked men: masculinity and the movies in the fifties Bloomington: Indiana University Press, c1997.
MAIN: PN1995.9.M46 C65 1997

Cohen, M.M.
"Forgotten audiences in the passion pits: drive-in theatres and changing spectator practices in post-war America." Film History Vol VI nr 4 (Winter 1994); p 470-486
Examines reasons for the popularity of drive-in cinemas in the USA in the 1940's and 1950's.

Cook, Pam
"Fashion and sexual display in 1950s Hollywood." In: Screening the past : memory and nostalgia in cinema / Pam Cook. London ; New York : Routledge, 2005.
Main (Gardner) Stacks PN1995.9.N67 C66 2005

Corber, Robert J.
"'You Wanna Check My Thumbprints?': Vertigo, the Trope of Invisibility and Cold War Nationalism." In: Alfred Hitchcock : centenary essays / edited by Richard Allen and S. Ishii-Gonzales. London : British Film Institute, 1999.
Main Stack PN1998.3.H58.A43 1999

Corkin, Stanley.
Cowboys as cold warriors : the Western and U.S. history Philadelphia : Temple University Press, 2004.
MAIN: PN1995.9.W4 C65 2004
BANC: PN1995.9.W4 C65 2004

Cox, Carole
"Popular Culture: The Fifties, Hollywood and Horror Films, Art and the Old West." English Journal 76:1 (1987:Jan.) 87

Creadick, Anna
"Incredible/Shrinking Men: Masculinity and Atomic Anxiety in American Postwar Science-Fiction Film." In: Fear itself : enemies real & imagined in American culture / edited by Nancy Lusignan Schultz. West Lafayette, Ind. : Purdue University Press, c1999.
Main Stack

Cripps, Thomas.
Hollywood's High Noon: Moviemaking & Society Before Television / Thomas Cripps. Baltimore: Johns Hopkins University Press, 1997. Series title: The American moment.
UCB Main PN1995.9.S6 C73 1997

Curtin, Michael.
Redeeming the Wasteland: Television Documentary and Cold War Politics / Michael Curtin. New Brunswick, N.J.: Rutgers University Press, c1995. Communications, media, and culture
Main Stack PN1992.8.D6.C87 1995
Moffitt PN1992.8.D6.C87 1995

Davis, Ronald L.
Celluloid Mirrors: Hollywood and American Society Since 1945 / Ronald L. Davis. Fort Worth, TX: Harcourt Brace College Publishers, c1997. Series title: Harbrace books on America since 1945.
UCB Main PN1993.5.U65 D339 1997
UCB Moffitt PN1993.5.U65 D339 1997

Dennis, Jeffery P.
Queering teen culture : all-American boys and same-sex desire in film and television / Jeffery P. Dennis. New York : Harrington Park Press, c2006.
Main (Gardner) Stacks PN1995.9.Y6 D45 2006
Contents: Devil on wheels: the rise of teen culture -- Father knows best: learning girl-craziness on TV -- Sal Mineo and friends: the juvenile delinquent films -- Teenage zombies from outer space: monster movies -- Heartbreak Hotel: the teen idols -- How to stuff a wild bikini: the beach movies -- Easy rider: the love generation -- American graffiti: 1950's nostalgia and teenage androgyny -- Real men and psycho-slashers -- The brat pack: teen nerds and operators -- Teencoms and teensoaps.

Dittmar, Linda
"From Fascism to the Cold War: Gilda's 'Fantastic' Politics." Wide Angle-A Quarterly Journal of Film History Theory & Criticism, 10 (3): 4-18 1988.

Dixon, Wheeler W.
Cold War, cool medium : television, McCarthyism, and American culture New York : Columbia University Press, c2003.
MAIN: PN1992.6 .D64 2003
MOFF: PN1992.6 .D64 2003

Dixon, Wheeler W.
Lost in the fifties : recovering phantom Hollywood Published: Carbondale : Southern Illinois University Press, c2005.
MAIN: PN1993.5.U6 D48 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip057/2005003747.html

Doherty, Thomas Patrick.
Cold War, cool medium : television, McCarthyism, and American culture / Thomas Doherty. Doherty, Thomas Patrick. New York : Columbia University Press, c2003.
Full-text available online (UCB users only)
Main (Gardner) Stacks PN1992.6 .D64 2003
Moffitt PN1992.6 .D64 2003

Doherty, Thomas Patrick.
Teenagers and teenpics: the juvenilization of American movies in the 1950s Philadelphia: Temple University Press, 2002.
MAIN: PN1993.5.U6 D53 2002
MAIN: PN1993.5.U6 D531 1988 [earlier edition]
Moffitt: PN1993.5.U6 D53 1988 [earlier edition]
Contents via Google books

Draper, Ellen.
"'Controversy Has Probably Destroyed Forever the Context': The Miracle and Movie Censorship in America in the Fifties." Velvet Light Trap. 25:69-79. 1990 Spring
"Discusses the New York City censorship debate over the exhibition of Italian director Roberto Rossellini's The Miracle during the early 1950's. The film was originally deemed blasphemous by New York City Commissioner of Licenses Edward McCaffery in 1950 and the issue eventually went before the Supreme Court, which overturned McCaffery's decision and extended 1st Amendment protection to films.: [America: History and Life]

Dunne, Michael.
"Cold War Ideology in John Ford's Fort Apache." Popular Culture Review, vol. 8 no. 1. 1997 Feb. pp: 83-95.

Edwards, Brian T..
"Yankee pashas and buried women: containing abundance in 1950's Hollywood Orientalism." Film & History; Vol.XXXI nr.2 (2001); p.13-24
Discusses how Hollywood's representation of oriental excess was actually an expression of the political and social concerns of the Cold War period. [FIAF]

Eldridge, David.
"'There Is Hope For The Future': Retrospective Visions Of The Bomb In 1950s Hollywood." Historical Journal of Film, Radio, and Television. Aug 2006. Vol. 26, Iss. 3; p. 295
UC users only

Elley, Derek
"Ticklish problems. The continental sex kittens." Films & Filming Vol XXV nr 1 (Oct 1978); p 18-22
A definition and discussion of the rise of the continental 'sex kitten' during the 1950's and why the English-speaking cinema was attracted by the foreign vamp. Detailed accounts of several 'sex kittens'. [FIAF]

Etherden, Matthew
"The Day the Earth Stood Still: 1950s Sci-Fi, Religion and the Alien." Journal of Religion and Film, vol. 9, no. 2, pp. [28 paragraphs], October 2005
UC users only

Evans, Joyce A.
Celluloid mushroom clouds: Hollywood and the atomic bomb / Joyce A. Evans. Boulder, Colo.: Westview Press, 1998. Critical studies in communication and in the cultural industries
Main Stack PN1995.9.W3.E82 1998

Fairlamb, Brian
"One in a thousand: western stars, heroes and their guns." CineAction nr 46 (June 1998); p 18-25
Explores the role of guns in relation to the crisis of masculinity in westerns of the 1950's.

Film posters of the 50s : the essential movies of the decade : from the reel poster gallery collection
Edited by Tony Nourmand and Graham Marsh. Woodstock, N.Y. : Overlook Press, 2001.
Main Stack PN1995.9.P5 F457 2001

Fink, Janet. Holden, Katherine
"Pictures from the Margins of Marriage: Representations of Spinsters and Single Mothers in the Mid-Victorian Novel, Inter-War Hollywood Melodrama and British Film of the 1950s and 1960s." Gender & History, 11 (2): 233-55 1999.

Fruth, Bryan, et al.
"The Atomic Age: Facts and Films from 1945-1965." Journal of Popular Film and Television 23:4 (1996:Winter) p.154
UC users only

Fore, Steve.
"Howard Hughes' 'Authoritarian Fictions': RKO, One Minute to Zero, and the Cold War." The Velvet Light Trap, vol. 31. 1993 Spring. pp: 15-26.

Foertsch, Jacqueline
Enemies within : the Cold War and the AIDS crisis in literature, film, and culture / Jacqueline Foertsch. Urbana : University of Illinois Press, c2001.
Main Stack PS228.C58.F64 2001

Fox, J.
"Madness, madness." Films & Filming Vol XXI nr 1 (Oct 1974); p 24-31
Account of the cinemagoing habits and films shown during the 1950's in England.

French, Brandon
On the verge of revolt: women in American films of the fifties New York: Ungar, c1978
MAIN: PN1995.9.W6 .F71
Moffitt: PN1995.9.W6 .F71

Fruth, Bryan, et al.
"The Atomic Age: facts and films from 1945-1965." Journal of Popular Film and Television (23:4) 1996, 154-60.

Fuchs, Cynthia J
"plit Screens: Framing and Passing in Pillow Talk." In: The other fifties : interrogating midcentury American icons / edited by Joel Foreman. pp: 224-51. Urbana : University of Illinois Press, c1997.
Main Stack E169.12.F67 1997

Friedman, Lester D.
"A Very Narrow Path: The Politics of Edward Dmytryk." Literature Film Quarterly; 1984, Vol. 12 Issue 4, p214, 11p
UC users only

Fulford, Robert
"American Demons of the 1950s." Queen's Quarterly 102, no. 3 (1995 Fall): p. 525-45

Fuller, Linda K.
"The Ideology of the 'Red Scare' Movement: McCarthyism in the Movies." In: Beyond the Stars / edited by Paul Loukides and Linda K. Fuller. pp: 229-248. Bowling Green, Ohio: Bowling Green University Popular Press, c1990
Main Stack PN1995.9.C36.B49 1990 Library has: v.[1]-5 (c1990-c1996)
Moffitt PN1995.9.C36.B49 1990

Gallagher, Brian.
"Howard Hawks's The Big Sleep: A Paradigm for the Postwar American Family." North Dakota Quarterly, vol. 51 no. 3. 1983 Summer. pp: 78-91.

Garmon, Ronald Dale.
"Drive-In Revolution: American International Pictures, The Protest Film, And The Fall And Rise Of Roger Corman." Journal of Unconventional History 1993 4(3): 41-59.
"During the 1950's and 1960's, Roger Corman (b. 1926) produced and directed for Hollywood's American International Pictures a succession of surrealist, absurdist, and socially critical films. Ostensibly aimed at the studio's teenage market, they subsequently became film cult favorites." [America: History and Life]

Garrison, Joshua
"'The Teenage Terror in the Schools'." American Educational History Journal; Spring2009, Vol. 36 Issue 1/2, p3-21, 19p
The article discusses the portrayal of youth in the media during the 1950s in the U.S. Why the public was instructed on the dangers teen’s posed on social order is explored.

George, Susan A.
"Pushing Containment: The Tale of the 1950s Science Fiction Vamp." Reconstruction: Studies in Contemporary Culture, vol. 5, no. 4, pp. [no pagination], October 2005

George, Susan A.
"Space for Resistance: The Disruption of the American Frontier Myth in 1950s Science Fiction Films." In: Space and beyond : the frontier theme in science fiction / edited by Gary Westfahl. Westport, Conn. : Greenwood Press, 2000.
Main Stack PS374.S35.S63 2000

Geraghty, Christine.
British cinema in the fifties: gender, genre and the 'new look' / Christine Geraghty. London; New York: Routledge, 2000. Communication and society (Routledge (Firm))
Full text available online (UCB users only)
Main Stack PN1993.5.G7.G47 2000
Contents via Google Books

Gianos, Phillip L.
"The Cold War and Vietnam in Film." In: Politics and politicians in American film. Westport, Conn. ; London : Praeger, 1998.
Main Stack PN1995.9.P6 G53 1998
Moffitt PN1995.9.P6 G53 1998

Gilbert, James B.
"Juvenile Delinquency Films." In: A Cycle of Outrage: America's Reaction to the Juvenile Delinquent in the 1950s New York : Oxford University Press, 1986.
Main (Gardner) Stacks HV9104 .G5451 1986
Contents via Google books

Gilbert, James B.
"Wars of the Worlds." Journal of Popular Culture 1976 10(2): 326-336.
"Science fiction movies of the 1950's, as close examination of the cinema adaptation of H. G. Wells' War of the Worlds illustrates, were metaphoric vehicles for social commentary. They reflected the social values believed to be in hazard during the Cold War and underscore the role popular culture plays in the assimilation of values and change." [America History and Life]

Gillett, Philip (Philip John)
The British working class in postwar film / Philip Gillett. Manchester ; New York : Manchester University Press, 2003.
Main (Gardner) Stacks PN1995.9.L28 G55 2003
Pacific Film Archive PN1995.9.L28 G55 2003

Gonder, Patrick.
"Like a Monstrous Jigsaw Puzzle: Genetics and Race in Horror Films of the 1950s."Velvet Light Trap. 52:33-44. 2003 Fall
UC users only
"The conception of the body as a collection of rebellious parts is a popular one in a certain set of horror films of the 1950s [H]and early 1960s. These films reflect the popular understanding of genetics, DNA, [H]and heredity, a discourse that greatly influenced the conception of the body. Changes in genetic science, fostered by the political [H]and social climate of the 1950s, enact a shift in the discourse of embodiment [H]and imbue the body with a somatic unconscious. Repressed within this unconscious is everything that is deemed "unhealthy" [H]and "abnormal," categories that are linked to race [H]and racial differnce due to the interplay between genetic science [H]and eugenic philosophy. These films then enact a nightmare of eugenic fears, fears that demand extensive measures of control, although these measures ultimately prove futile. These body-rebellion films return the body to a "purified" state through the xenophobic excision of the offensive, dangerous element thorugh a kind of violent therapy." [International Index to the Performing Arts]

Gonder, Patrick
"Race, Gender and Terror: The Primitive in 1950s Horror Films." Genders, Issue 40 2004

Gordon, Marsha
"'What Makes a Girl Who Looks Like That Get Mixed Up in Science?': Gender in Sam Fuller's Films of the 1950s." Quarterly Review of Film & Video, 17 (1): 1-17 2000 Mar.
UC users only

Gow, Gordon
Hollywood in the Fifties New York, A. S. Barnes [1971 (Series: The International film guide series)
Main Stack PN1993.5.U6.G6 NRLF #: $B 384 349M

Guerrero, Ed; Carter, S.; Shapiro, B.
"AIDS as monster in science fiction and horror cinema./ Avatars of the turtles./ Universal truths. Cultural myths and generic adaptations in 1950s science fiction films." Journal of Popular Film and Television Vol XVIII nr 3 (Fall 1990); p 86-111
Two articles on changes in US science-fiction films of the 1980's: allegorical representations of AIDS; conservatism expressed in the longing for an all-powerful machine; plus an examination of the uncritical portrayal of US society in such films from the 1950's. [FIAF]

Haralovich, Mary Beth
"Sitcoms and suburbs: positioning the 1950s homemaker." Quarterly Review of Film and Video Vol XI nr 1 (May 1989); p 61-83
UC users only
Addresses the portrayal of US suburban families in 1950's situation comedies "Father knows best" and "Leave it to Beaver", esp. the view given of the housewife.

Hardin, Michael.
"Mapping Post-War Anxieties onto Space: Invasion of the Body Snatchers and Invaders from Mars." Enculturation: A Journal for Rhetoric, Writing, and Culture. 1 (1): (no pagination). 1997 Spring

Harper, Sue
"Bonnie Prince Charlie Revisited: British Costume Film in the 1950s." In: The British cinema book / edited by Robert Murphy. 2nd ed. London : British Film Institute, 2001.
Main Stack PN1993.5.G7.B66 2001

Harper, Sue
British cinema of the 1950s : a celebration Manchester ; New York : Manchester University Press ; New York, NY, USA : Distributed exclusively in the USA by Palgrave, 2003.
MAIN: PN1993.5.G7 M263 2003

Harper, Sue
British cinema of the 1950s : the decline of deference Oxford ; New York : Oxford University Press, 2003.
MAIN: PN1993.5.G7 H36 2003
Contents via Google books

Harper, Sue; Porter, Vincent
"Moved to tears: weeping in the cinema in postwar Britain."Screen Vol XXXVII nr 2 (Summer 1996); p 152-173
A 1950's British Mass Observation survey on crying in the cinema is examined and conclusions drawn about the social and psychological function of film in the postwar period. [FIAF]

Harvey, James
Movie love in the fifties / James Harvey. 1st ed. New York: Alfred A. Knopf: Distributed by Random House, 2001.
Main Stack PN1995.9.L6.H37 2001
PFA PN1995.9.L6.H37 2001 Pacific Film Archive collection
Contents via Google books

Hay, James.
"Rethinking the Intersection of Cinema, Genre, and Youth." Scope: An Online Journal of Film Studies

Heffernan, Kevin.
Ghouls, gimmicks, and gold : horror films and the American movie business, 1953-1968 / Kevin Heffern Durham : Duke University Press, 2004.
Main (Gardner) Stacks PN1995.9.H6 H45 2004

Heine, Steven
"Sayonara can mean 'Hello': ambiguity and the Orientalist butterfly syndrome in postwar American films." Post Script Vol XVI nr 3 (Summer 1997); p 17-34
Examines the portrayal in the late 1950's American cinema of Asian women in terms of a 'butterfly syndrome', a type of cultural stereotyping.

Heffernan, Kevin.
Ghouls, gimmicks, and gold : horror films and the American movie business, 1953-1968 Durham : Duke University Press, 2004.
Main Stack PN1995.9.H6.H45 2004
Table of contents http://www.loc.gov/catdir/toc/ecip047/2003016429.html

Hendershot, Cynthia.
Anti-communism and popular culture in mid-century America Jefferson, N.C. : McFarland, c2003.
MAIN: E743.5 .H425 2003

Hendershot, Cyndy.
"The Atomic Scientist, Science Fiction Films, and Paranoia: The Day the Earth Stood Still, This Island Earth, and Killers from Space." Journal of American Culture, vol. 20 no. 1. 1997 Spring. pp: 31-41.

Hendershot, Cyndy.
"The Bomb and Sexuality: Creature from the Black Lagoon and Revenge of the Creature." Literature and Psychology 45, no. 4 (1999): p. 74-89

Hendershot, Cyndy.
"The Bear and the Dragon: Representations of Communism in Early Sixties American Culture."Journal of American & Comparative Cultures, 23 (4): 67-74 2000 Winter.

Hendershot, Cyndy.
"The Cold War Horror Film: Taboo and Transgression in The Bad Seed, The Fly, and Psycho." Journal of Popular Film & Television. 29(1):20-31. 2001 Spring
UC users only
"The Bad Seed (1956), The Fly (1958), and Psycho (1960) lend themselves to analysis using the theories of George Bataille on taboo and transgression as applied to the context of the Cold War." [America History and Life]

Hendershot, Cyndy.
"Darwin and the Atom: Evolution/Devolution Fantasies in The Beast from 20,000 Fathoms, Them! and The Incredible Shrinking Man." Science Fiction Studies 25, no. 2 (75) (1998 July): p. 319-35

Hendershot, Cyndy.
"Feminine Paranoia and Secrecy: I Married a Monster from Outer Space and Attack of the 50 Ft. Woman." Readerly/Writerly Texts, vol. 4 no. 2. 1997 Spring-Summer. pp: 71-86.

Hendershot, Cynthia.
I was a Cold War monster : horror films, eroticism, and the Cold War imagination / Cyndy Hendershot. Bowling Green, OH : Bowling Green State University Popular Press, c2001.
Main Stack PN1995.9.H6.H46 2001

Hendershot, Cyndy.
"Internal and external communism in popular film." In: Anti-communism and popular culture in mid-century America / Cyndy Hendershot. Jefferson, N.C. : McFarland, c2003.
Main E743.5 .H425 2003

Hendershot, Cyndy.
"Images - Monster at the Soda Shop: Teenagers and Fifties Horror Films." Images

Hendershot, Cyndy.
Paranoia, the bomb, and 1950s science fiction films / Cyndy Hendershot. Bowling Green, OH: Bowling Green State University Popular Press, c1999.
Main Stack PN1995.9.S26.H37 1999

Hendershot, Cyndy.
"Rebellion and Conformity in Fifties Juvenile Delinquency Films." Popular Culture Review. 14(1):5-17. 2003 Feb

Henriksen, Margot A.
Dr. Strangelove's America: society and culture in the atomic age / Margot A. Henriksen. Berkeley: University of California Press, c1997.
Moffitt E169.12.H49 1997
Ethnic Studies E169.12.H49 1997
Main Stack 308t 1989 787 Library has: 1-2 (1989)[earlier edition]
Text available online: http://ark.cdlib.org/ark:/13030/ft7r29p1qz (UCB users only)

Higson, Andrew
"Space, place, spectacle." Screen Vol XXV nr 4-5 (July-Oct 1984); p 2-21
Exploration of landscape and townscape in the British realist films of the late 1950's and early 1960's, taking as the main examples "Saturday night and Sunday morning" and "A taste of honey". [FIAF]

Hilliker, Lee
"Hulot vs. the 1950s: Tati, Technology and Mediation."Journal of Popular Culture, 32 (2): 59-78 1998 Fall.

Hoffman, Carl
"The Evolution of a Gladiator: History, Representation, and Revision in Spartacus."Journal of American & Comparative Cultures, 23 (1): 63-70 2000 Spring.

Holmes, Su .
"Looking at the wider picture on the small screen: reconsidering British television and widescreen cinema in the 1950s." (Critical Essay)Quarterly Review of Film and Video April-June 2004 v21 i2 p131-147
UC users only
"The author argues against the conventional assumption that the technological rejuvenation of British cinema during the 1950s was driven by the motion picture industry's desire to distance itself from television. She instead posits that television promoted cinema's technological advancements through the emerging genre of feature-length television cinema programs." [Expanded Academic Index]

Holmes, Su.
British TV & film culture in the 1950s: 'coming to a TV near you' Bristol, UK ; Portland, Ore. : Intellect Books, 2005.
Full text available online (UCB users only)
PFA : PN1992.3.G7 H65 2005

Holt, Jennifer.
"Hollywood and Politics Caught in the Cold War Crossfire(1947)." Film & History 2001 31(1): 6-12.
A prominent example of the Hollywood "social problem" film, Crossfire (1947) not only reflected the bigotry of postwar US society but also participated in the process of reconstructing identities at the beginning of the Cold War era.

Hutchings, Peter.
"'We're the Martians Now': British SF Invasion Fantasies of the 1950s and 1960s." In: British science fiction cinema / edited by I.Q. Hunter. pp: 33-47. London; New York: Routledge, 1999. Series title: British popular cinema.
Full text available online (UCB users only)
UCB Main PN1995.9.S26 B65 1999
Also in:
Liquid Metal: The Science Fiction Film Reader
Edited by Sean Redmond. London ; New York : Wallflower, 2004.
Main Stack PN1995.9.S26.L57 2004

Jackson, Tony.
"The Manchurian Candidate and the Gender of the Cold War." Literature-Film Quarterly. 28(1):34-40.

Jancovich, Mark
"Re-Examining the 1950s Invasion Narratives." In: Liquid Metal: The Science Fiction Film Reader
Edited by Sean Redmond. London ; New York : Wallflower, 2004.
Main Stack PN1995.9.S26.L57 2004

Jancovich, Mark
Rational fears : American horror in the 1950s / Mark Jancovich. Manchester, UK ; New York : Manchester University Press ; New York : Distributed exclusively in the USA and Canada by St. Martin's Press, 1996.
Main (Gardner) Stacks PN1995.9.H6 J37 1996

Jarvie, Ian
"The Cold War And The Movie Industry." Historical Journal of Film, Radio and Television, 1465-3451, Volume 28, Issue 2, 2008, Pages 241 – 247
UC users only

Jensen, Paul.
"The Return of Dr. Caligari." Film Comment. Winter 1971/1972. Vol. 7, Iss. 4; p. 36 (10 pages)
"While the post-War era, struggling within the Production Code and Legion of Decency, was artistically disappointing, the films made then can at least be defended as revealing certain contemporary concerns, less in the handling of specific problems or the development of new plot-lines than through the cumulative effect of certain familiar genre stories, especially mysteries and science-fiction. Italian films centered on the poverty and destruction caused by the war..." [ProQuest]

Joslin, Lyndon W.
"The Cold War in orbit: two films of aliens, arsenals, and interventions." In: Science fiction America : essays on SF cinema
Edited by David J. Hogan. Jefferson, N.C. : McFarland, 2006.
Main Stack PN1995.9.S26.S275 2006
Moffitt PN1995.9.S26.S275 2006
Table of contents http://www.loc.gov/catdir/toc/ecip058/2005004743.html

Jowett, Garth S.
"Hollywood, Propaganda and the Bomb: Nuclear Images in Post World War II Films." Film & History 1988 18(2): 26-38 13p.
UC users only
More effectively than documentaries, post-World War II commercial feature films such as 'The Day the Earth Stood Still' (1951) and 'The Day the Earth Caught Fire' (1961) helped to propagandize the public about the dangers inherent in the reckless use of atomic power. [J. H. Krukones]

Kaplan, P.W.
"A happier life through television." Film Comment Vol XV nr 4 (July-Aug 1979); p 49-52
A survey of the US tv situation comedies of the 1950's.

Kashner, Sam.
The bad & the beautiful: Hollywood in the fifties / Sam Kashner and Jennifer MacNair. 1st ed. New York: W.W. Norton, c2002.
Main Stack PN1993.5.U65.K34 2002
Moffitt: PN1993.5.U65 K34 2002
BANC: PN1993.5.U65 K34 2002

Katovich, Michael A; Kinkade, Patrick T
"The Stories Told in Science Fiction and Social Science: Reading The Thing and Other Remakes From Two Eras." Sociological Quarterly, 34:4 Nov 1993, pp: 619+
"Author's Abstract: COPYRIGHT 1993 University of California Press. We re-examine science fiction films of the 1950s (made during the cold war), and their remakes in the 1970s and 1980s (made in the post-sixties, after Vietnam and Watergate) in conjunction with stories told by social scientists during the same eras. In this light, we provide a subversive reading of social scientific data sets and science fiction films, and pay special attention to both versions of The Thing (1951, 1982) as relevant examples of cold war and post-sixties statements. Social scientific and film productions of the 1950s correlate with optimistic public sentiments of the cold war era in regard to the abilities of the military, government, and medicine to solve social problems. The more recent reproductions conjure images of a much more pessimistic view of institutions. We suggest by way of a conclusion that readings of social scientific products, science fiction films, and their remakes can inform social theories in general and postmodern social theories in particular." [Expanded Academic Index]

Kelley, Beverly Merrill.
Reelpolitik II : political ideologies in '50s and '60s films Lanham, MD : Rowman & Littlefield, c2004.
MAIN: PN1995.9.P6 K43 2004

Kirshner, Jonathan.
"Subverting The Cold War In The 1960s: Dr. Strangelove, The Manchurian Candidate, And The Planet Of The Apes."Film & History 2001 31(2): 40-44.
"The films The Manchurian Candidate (1962), Dr. Strangelove (1964), and Planet of the Apes (1968) subverted the Cold War by challenging the tenets on which US policy was based and by ridiculing and trivializing the conflict as one whose opponents were divided by meaningless differences." [America History and Life]

Kneeshaw, Stephen.
"Hollywood And 'The Bomb'". OAH Newsletter 1986 14(2): 9-11.
"The treatment of the atomic bomb in major Hollywood movies shifted from "bombs-create-monsters" science fiction in the 1950's to thoughtful examinations of the impact of the general nuclear energy threat in the 1960's and 1980's, while only a few second-quality movies and Planet of the Apes-style postholocaust films dealt with the bomb after the mid 1960's." [America History and Life]

Klinger, Barbara
"'Local' Genres: The Hollywood Adult Film of the 1950s In: Melodrama: stage, picture, screen / edited by Jacky Bratton, Jim Cook, Christine Gledhill. pp: 134-46 London: British Film Institute, 1994.
Main Stack PN1912.M45 1994

Kozak, Warren
"Killer Monster Bugs from Hell! How Americans Forgot About the War and Learned to Loathe Nature. (1950s and 1960s horror science fiction films on insects) I.D. Sept-Oct, 1997 Vol/Num: v. 44, n. 5, p. 76 (4 pages)

Krutnik, Frank
"The faint aroma of performing seals: the 'nervous' romance and the comedy of the sexes." Velvet Light Trap nr 26 (Fall 1990); p 57-72
US remakes of screwball comedies in the 1950's and 1960's replaced the romantic element with a sexual antagonism between the male and female characters. [FIAF]

Kuna, Franz M.
"Texts as Contexts: Problems of Reception and Transformation in Film Versions of Literary Works, the Example of the Fifties." In: Text - culture - reception : Cross-cultural aspects of english studies pp: 447-72. Heidelberg : Carl Winter, 1992 Forum Anglistik ; n.F., Bd. 8.
Main Stack XM92.04892 NRLF #: B 3 883 671

Langman, Larry.
A guide to American crime films of the forties and fifties / Larry Langman and Daniel Finn. Westport, Conn. : Greenwood Press, 1995.
Main (Gardner) Stacks PN1995.9.D4 L35 1995

Landon, Philip J.
"New Heroes: Post-War Hollywood's Image of World War II." Visions of war : World War II in popular literature and culture / edited by M. Paul Holsinger and Mary Anne Schofield. pp: 18-26 Bowling Green, Ohio : Bowling Green State University Popular Press, c1992.
Main Stack PN56.W665.V64 1992

Landrum, Larry N.
"A Checklist of Materials About Science Fiction Films of the 1950's"Journal of Popular Film 1:1 (1972:Winter) 61

Landy, Marcia.
"'You Remember Diana Dors, Don't You?': History, Femininity, and the Law in 1950s and 1980s British Cinema." In: The historical film: history and memory in media / edited and with an introduction by Marcia Landy. pp: 143-72. New Brunswick, N.J.: Rutgers University Press, c2001. Series title: Rutgers depth of field series.
UCB Main PN1995.9.H5 H59 2001

Larson, Mary Strom.
"Sibling Interactions in 1950s versus 1980s Sitcoms: A Comparison." (family relationships in television comedies)(Processes of Communication) Journalism Quarterly v68, n3 (Autumn, 1991):381 (7 pages).

Latham, Rob
"Subterranean suburbia: underneath the smalltown myth in the two versions of Invaders from Mars."Science-Fiction Studies, July 1995 v22 n66 p198(11)
Author's Abstract: COPYRIGHT SF-TH Inc. 1995 "The two film versions of Invaders from Mars provide crucial insight into the historical trajectory of suburbanization in the United States. Beneath its surface confidence in the postwar suburban project as a geographical resolution of abiding class conflict, the first film, released in 1953 during escalating Cold War preparedness, evinces deep-seated anxieties about the ethical implications of suburbia's essential dependence upon militarist power. The remake, released in 1986 at the height of Ronald Reagan's reinvigoration of the military-industrial foundations of suburban life, offers a pointed satire of contemporary suburbia's jingoistic antagonism toward alien 'others' - a mistrust which bespeaks a growing racial division within U.S. society that is the historical fallout of the suburbanization process. Both films display the power of the cinematic genre of science fiction to condense complex historical developments into visually arresting - even prophetic." [Expanded Academic Index]

Leab,Daniel J.
"Hollywood and the Cold War, 1945-1961." In: Hollywood as mirror : changing views of "outsiders" and "enemies" in American movies / edited by Robert Brent Toplin. Westport, Conn. : Greenwood Press, 1993.
Main PN1995.9.M56 H65 1993
Moffitt PN1995.9.M56 H65 1993

Leab, Dan.
"How Red was my Valley: Hollywood, the Cold War Film, and "I Married a Communist"."Journal of Contemporary History 19:1 (1984:Jan.) 59
UC users only

Leab, Dan.
"I Was A Communist For The FBI." History Today [Great Britain] 1996 46(12): 42-47.
"I Was a Communist for the FBI (1951), a crudely propagandistic film, chronicles the work of Matt Cvetic, a Federal Bureau of Investigation informer who infiltrated a Communist organization in Pennsylvania and later testified before the House Un-American Activities Committee, and documents paranoia about communism in the 1940's and 1950's." [America: History and Life]

Lee, Karen A.
"John Ford's The Searchers (1956) in Chuang Hua's Crossings: A Chinese American Woman's Categorical Liminality in a Cold War Society." Hitting Critical Mass: a Journal of Asian American Cultural Criticism, 4 (2): 79-86 1997 Summer.

LeGacy, Arthur
""The Invasion of the Body Snatchers": A Metaphor for the Fifties."Literature/Film Quarterly 6:3 (1978:Summer) 285
: Presents the historical context in which audiences received the film, arguing against Jack Finney's claim that the novel was written strictly to entertain. [FIAF]

Leibman, Nina C.
Living Room Lectures: The Fifties Family in Film and Television / Nina C. Leibman. 1st ed. Austin: University of Texas Press, 1995. Texas film studies series.
Main Stack PN1992.8.F33.L45 1995
Contents via Google Books

Leibman, Nina C.
"Leave Mother Out: The Fifties Family in American Film and Television." Wide Angle, vol. 10 no. 4. 1988. pp: 24-41.
The portrayal of the family in US films and tv programmes of the 1950's, such as "Rebel without a cause" and "Giant", stresses the negative influence of the mother. [FIAF]

Leitch, Thomas M.
"It's the Cold War, Stupid: An Obvious History of the Political Hitchcock."Literature-Film Quarterly, 27 (1): 3-15 1999.

Lenihan, John H.
"English Classics for Cold War America: MGM's Kim (1950), Ivanhoe (1952), and Julius Caesar (1953)" Journal of Popular Film and Television, vol. 20 no. 3. 1992 Fall. pp: 42-51.

Lenihan, John H.
"English Classics for Cold War America: MGM's Kim (1950), Ivanhoe (1952), and Julius Caesar (1953)."Journal of Popular Film & Television, 20 (3): 42-51 1992 Fall.

Lenihan, John H.
"Hollywood laughs at the Cold War, 1947-1961." In: Hollywood as mirror : changing views of "outsiders" and "enemies" in American movies / edited by Robert Brent Toplin. Westport, Conn. : Greenwood Press, 1993.
Main PN1995.9.M56 H65 1993
Moffitt PN1995.9.M56 H65 1993

Lenihan, John H.
Showdown, confronting modern America in the western film / John H. Lenihan Lenihan, John H., 1941- Urbana : University of Illinois Press, c1979
Main (Gardner) Stacks PN1995.9.W4 .L38 1979
Pacific Film Archive PN1995.9.W4 .L38 1979
Contents via Google books

Lerer, Seth.
"Forbidden Planet And The Terrors Of Philology." Raritan 2000 19(3): 73-86.
"In the movie Forbidden Planet (1956), the central character of Dr. Morbius, an authority in philology, embodies a distinctively American reaction to the incursions of ?migr? literary study into the academic world and popular culture of the 1950's, which presaged a reshaping of literary and linguistic study. The article focuses on Leo Spitzer and Erich Auerbach as examples of the European emigr? scholars Dr. Morbius represents." [America: History and Life]

Lev, Peter
Transforming the screen, 1950-1959 / Peter Lev. New York : Charles Scribner's Sons, 2003. History of the American cinema ; v. 7
Main Stack PN1993.5.U6.H55 1990 v.7
The American film industry in the early 1950s -- Genres and production trends, 1950-1954 -- HUAC, the Blacklist, and the decline of social cinema / Brian Neve -- Censorship and self regulation -- Technology and spectacle -- Hollywood and television in the 1950s: the roots of diversification / Janet Wasko -- Hollywood international -- Science fiction films and Cold War anxiety / Victoria O'Donnell -- The film industry in the late 1950s -- Genres and production trends, 1955-1959 -- American documentary in the 1950s / Jack C. Ellis -- "Unquiet years": experimental cinema in the 1950s / Greg S. Fuller.

Lipschutz, Ronnie D.
Cold War fantasies: film, fiction, and foreign policy. Lanham, Md.: Rowman & Littlefield, c2001.
MAIN: PN1995.9.W3 L57 2001
Contents via Google books

Lucanio, Patrick.
Them or Us: Archetypal Interpretations of Fifties Alien Invasion Films Patrick Lucanio. Bloomington: Indiana University Press, c1987.
UCB Main PN1995.9.S26 L8 1987
UCB Moffitt PN1995.9.S26 L8 1987

MacDonald, J. Fred
"The Cold War as Entertainment in 'Fifties Television." Journal of Popular Film and Television 7:1 (1978) 3

MacDougall, Robert
"Red, Brown and Yellow Perils: Images of the American Enemy in the 1940s and 1950s." Journal of Popular Culture 32, no. 4 (1999 Spring): p. 59-75

MacDonald, J.F.
"The Cold War as entertainment in fifties television." Journal of Popular Film and Television Vol VII nr 1 (1978); p 3-31
Sees moral and political anti-communism and militarism as predominant themes of popular US tv programming; surveys various genres such as espionage, documentary, religious and dramatic tv shows. [FIAF]

MacDougall, Robert
"Red, Brown and Yellow Perils: Images of the American Enemy in the 1940s and 1950s." Journal of Popular Culture, 32 (4): 59-75 1999 Spring.

Macnab, Geoffrey
"Caught in the act."Sight & Sound Vol IV nr 4 (Apr 1994); p 61
On the acting styles used in British films of the 1950's.

Maguire, Lori
"The destruction of New York City: A recurrent nightmare of American Cold War cinema." Cold War History; Nov2009, Vol. 9 Issue 4, p513-524, 12p
UC users only

Maland, Charles J.
"Film Gris: Crime, Critique and Cold War Culture in 1951." Film Criticism v. 26 no. 3 (Spring 2002) p. 1-30
UC users only
"The writer examines film gris (gray films), a category of film classified in 1985 by scholar Thom Anderson. Anderson suggested that the most significant achievements of the filmmakers blacklisted in the late 1940s and early 1950s were released between the Hollywood Ten hearings of October 1947 and the resumption of investigations by the House on Un-American Activities in Hollywood in 1951. He identified directors who created a small group of films characterized by a combination of crime and social critique, which he labeled film gris. The writer considers the notion of film gris in relation to two films on the list, Joseph Losey's The Prowler and John Berry's He Ran All the Way (both 1951), focusing on contextual concerns, especially on the backgrounds and political engagements of key creative personnel and of the shifts in the film industry that made it possible, albeit hard, for them to make the films they wanted. He examines the films and the vision of American society they portray, what happened to them and their filmmakers after the films were released, and what the films suggest about the relationship between film gris and film noir." [Art Index]

Mannix, Patrick
The Rhetoric of Antinuclear Fiction: Persuasive Strategies in Novels and Films / Patrick Mannix. Lewisburg [Pa.]: Bucknell University Press; London; Cranbury, NJ: Associated University Presses, c1992.
UCB Main PS374.N82 M36 1992
UCB Moffitt PS374.N82 M36 1992

Marling, Karal Ann.
As seen on TV : the visual culture of everyday life in the 1950s / Karal Ann Marling. Cambridge, Mass. : Harvard University Press, 1994.
Main Stack E169.02.M3534 1994
Moffitt E169.02.M3534 1994
Contents via Google books

Martinez, Maria Jesus.
"Some Like It Hot: The Blurring of Gender Limits in a Film of the Fifties." BELLS: Barcelona English Language and Literature Studies. 9: 143-52. 1998

Marx, Samuel
"The Bomb Movie." In: The Movies: texts, receptions, exposures / edited by Laurence Goldstein and Ira Konigsberg. Ann Arbor: University of Michigan Press, c1996.
Main Stack PN1994.M78 1996
Moffitt PN1994.M78 1996

Matthews, Melvin E.
Hostile aliens, Hollywood and today's news : 1950s science fiction films and 9/11 New York : Algora Pub., c2007.
Location(s): MAIN: PN1995.9.S26 M356 2007; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip077/2006102140.html

May, Lary.
"The Birth of the White Consumer Democracy: Hollywood and the World War II Conversion Narrative." In:The big tomorrow : Hollywood and the politics of the American way / Lary May. University of Chicago Press, 2000.
Main PN1995.9.S6 M343 2000

May, Lary.
"Movie Star Politics: Hollywood and the Making of Cold War Americanism." In:
The big tomorrow : Hollywood and the politics of the American way / Lary May. University of Chicago Press, 2000.
Main PN1995.9.S6 M343 2000

McAdams, Frank
"After effects: the 1950s." In: The American war film : history and Hollywood / Frank McAdams. Westport, Conn. : Praeger, 2002.
Main (Gardner) Stacks PN1995.9.W3 M395 2002

McCrillis, Neal R.
"Atomic anxiety in Cold War Britain : science, sin and uncertainity in nuclear monster films." In: Screening scripture : intertextual connections between scripture and film / edited by George Aichele and Richard Walsh. Harrisburg, Pa. : Trinity Press International, c2002.
Main Stack PN1995.5.S35 2002

McGregor, Gaile.
"Domestic Bliss: A Revisionist History of the Fifties." American Studies, vol. 34 no. 1. 1993 Spring. pp: 5-33.

McKnight, David.
"Australian film and the cultural cold war." Media International Australia incorporating Culture and Policy, May 2004 i111 p118(13)
Author's Abstract: COPYRIGHT 2004 Australian Film, Television and Radio School "This article examines whether, and in what way, anti-communism was a factor in the slow development of an Australian film industry in the 1950s and early 1960s and in the kind of film culture developed in Australia, particularly through film festivals. In particular it examines the activities of the Australian Security Intelligence Organisation (ASIO) towards left and liberal filmmakers and film lovers. It briefly examines the effect of anti-communism on the struggle for Australian content by Actors' Equity in the early years of television."

McNiven, R.D.
"Middle-class American home of the Fifties: the use of architecture in Nicholas Ray's Bigger than life and Douglas Sirk's All that heaven allows." Cinema Journal v. 22 no. 4 (Summer 1983) p. 38-57
Discusses how architecture is used in two 1950's melodramas, "Bigger than life" and "All that heaven allows", to characterize the contemporary home and in turn function as social critiques. [FIAF]

McConnell, F.D.
"Song of innocence: the Creature from the black lagoon." Journal of Popular Film and Television Vol II nr 1 (Winter 1973); p 14-28
Uses "Creature from the black lagoon" as a point of departure for a discussion on the cultural implications of the 1950's horror films.

McCourt, James
"Douglas Sirk: Melo maestro."Film Comment Vol XI nr 6 (Nov-Dec 1975); p 18-21
Brief analyses of four Sirk masterpieces of the 1950's.

McCrillis, Neal R.
""Simply try for one hour to behave like gentlemen": British cinema during the early Cold War, 1945-1960." Film & History
Study of British Cold War culture which suggests that British films were less anti-communist and ideologically conservative than American films of the same period. [FIAF]

McGee, Mark Thomas
The Rock and roll movie encyclopedia of the 1950s / by Mark Thomas McGee. Jefferson, N.C. : McFarland & Co., c1990.
Main (Gardner) Stacks PN1995.9.M86 M4 1990

Medovoi, Leerom
"Identity Hits the Screen: Teenpics and the Boying of Rebellion." In: Rebels : youth and the Cold War origins of identity Durham : Duke University Press, 2005.
MAIN: E169.12 .M425 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005012087.html

Mellencamp, Patricia.
"Five Ages of Film Feminism." In: Kiss Me Deadly: Feminism and Cinema for the Moment. / edited by Laleen Jayamanne. pp: 18-76. Sydney: Power Publications, c1995.
Main Stack PN1995.9.W6.K57 1995

Metz, Walter.
"'Keep the Coffee Hot, Hugo': Nuclear Trauma in Lang's 'The Big Heat.'" Film Criticism v21, n3 (Spring, 1997):43 (23 pages)
"The writer argues that the violence in Fritz Lang's 1953 movie "The Big Heat" emerges from a cultural anxiety over nuclear proliferation that permeated early 1950s American culture, particularly the film noir. He begins with a comparison of the movie with its novel version by William P. McGivern, arguing that whereas the novel connects the nuclear to issues of race, the movie forges the relationship between atomic energy and gender. He explains that in the film, a crime syndicate plants a car bomb that kills the protagonist's wife; the filming of the explosion resembles an atomic blast and does not show the bomb's damage, thus connecting the car bombing to a cliche common to 1950s films featuring the detonation of a nuclear device. Moreover, he notes that the scarring of the female character Debbie by means of hot coffee thrown at her face by her boyfriend suggests the consequences of radiation poisoning." [Art Index]

Miller, Anthony.
"Julius Caesar in the Cold War: The Houseman-Mankiewicz Film." Literature-Film Quarterly. 28(2):95-100. 2000

Mitchell, James B.
"Cul-de-Sac Nightmares: Representations of Californian Suburbia in Science Fiction During the 1950s and '60s." Iowa Journal of Cultural Studies. 3: 115-27. 2003 Fall.

Monaghan, Terry
"Rock around the clock: The record, the film, and the last historic dance revolt." Popular Music History; Aug2008, Vol. 3 Issue 2, p123-148, 26p
UC users only

Morey, Anne.
"'The Judge Called Me an Accessory': Women's Prison Films, 1950-1962." Journal of Popular Film and Television, vol. 23 no. 2. 1995 Summer. pp: 80-87.
Morris, Gary
"Beyond the Beach: Social and Formal Aspects of AIP's "Beach Party" Movies." Journal of Popular Film and Television, 21:1 (1993:Spring) p.2
UC users only

Morris, Peter.
"Salt of the Earth." In: Celluloid Power: Social Film Criticism from the Birth of a Nation to Judgment at Nuremberg. / [edited] by David Platt. pp: 485-493.
Metuchen, N.J.: Scarecrow Press, 1992.
Main Stack PN1995.9.P6.C44 1992
Moffitt PN1995.9.P6.C44 1992

Moseley, Rachel.
"Respectability Sewn Up: Dressmaking and Film Star Style in the Fifties and Sixties." European Journal of Cultural Studies. 4(4):473-90. 2001 Nov

Mullins, Patrick
"Hollywood and the Beats: MGM does Kerouac's The subterraneans." Journal of Popular Film and Television;Vol.XXIX nr.1 (Spring 2001); p.32-41
Examines how the film "The subterraneans" contains some of the conflicting discourses faced by commercial filmmakers in the 1950's.

Murphy, Brenda.
Congressional theatre : dramatizing McCarthyism on stage, film, and television / Brenda Murphy. Cambridge, U.K. ; New York, NY : Cambridge University Press, 1999. Cambridge studies in American theatre and drama ; 11
Main Stack PS338.P6.M87 1999

Murphy, Brian
"Monster movies : they came from beneath the Fifties." In: Movies as artifacts : cultural criticism of popular film / edited by Michael T. Marsden, John G. Nachbar, and Sam L. Grogg, Jr Chicago : Nelson-Hall, c1982
Main Stack PN1993.5.U6.M67 1982
Moffitt PN1993.5.U6.M67 1982

Murphy, Brian
"Monster Movies: They Came from Beneath the Fifties." Journal of Popular Film 1:1 (1972:Winter) p.31
UC users only

Nadel, Alan
Containment culture : American narrative, postmodernism, and the atomic age / Alan Nadel. Durham, NC : Duke University Press, 1995. New Americanists.
Main Stack E169.12.N324 1995

Neve, Brian
"The 1950s: The Case of Elia Kazan and On the Waterfront." In: Cinema, politics and society in America / edited by Philip Davies and Brian Neve. pp: 97-118 Manchester, [Greater Manchester]: Manchester University Press, 1981
Main Stack PN1995.9.S6.C55; PN1995.9.S6.C5 1981b
Moffitt PN1995.9.S6.C5 1981 (another edition)

Neve, Brian
"Into the Fifties." In: Film and politics in America : a social tradition / Brian Neve. London; New York : Routledge, 1992.
Main PN1995.9.S6 N46 1992
Moffitt PN1995.9.S6 N46 1992

Newman, Vicky.
"Cinema, Women Teachers, and the 1950s and 1960s." Educational Studies. 32(4):416-38. 2001 Winter

Noakes, John A.
"Racializing subversion: The FBI and the depiction of race in early Cold War movies." Ethnic & Racial Studies; Jul2003, Vol. 26 Issue 4, p728-749, 22p
UC users only

Noonan, Bonnie
Women scientists in fifties science fiction films Jefferson, N.C. : McFarland & Co., c2005.
MAIN: PN1995.9.S26 N66 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0511/2005011461.html

Norden, Martin F.
"America And Its Fantasy Films: 1945-1951." Film & History 1982 12(1): 1-11.
Considers the fantasy films produced during 1945-51 symtomatic of US social conditions; focuses on the types and roles of characters in these films, discusses the social issues raised, and briefly compares these fantasy films with the science-fiction films of the 1950's.

Nuclear War Films
Edited by Jack G. Shaheen; foreword by Marshall Flaum. Carbondale: Southern Illinois University Press, c1978.
UCB Main PN1995.9.W3 .N8

O'Donnell, Victoria
"Science fiction films and Cold War anxiety." In: Transforming the screen, 1950-1959 / Peter Lev. New York : Charles Scribner's Sons, 2003. History of the American cinema ; v. 7
Main Stack PN1993.5.U6.H55 1990 v.7

Papke, David R.
"Law, Cinema, and Ideology: Hollywood Legal Films of the 1950s" UCLA Law Review, 48, 2000,
UC users only
The author focuses on the large number of striking American legal films from the late 1950s and early 1960s. He argues that these films glorified lawyers, courtroom trials, and the rule of law in general, thereby depicting a cinematic ideology.

Paul, William
"The aesthetics of emergence." Film History Vol V nr 3 (Sept 1993); p 321-355
A history of the expectations surrounding each promotion of the 3-D gimmick and the short-lived public response; focuses on its introduction in the early 1950's. [FIAF]

Pauly, Thomas H.
"The Cold War Western." Western Humanities Review 33:3 (1979:Summer) 257

Pauly, Thomas H.
"The Way to Salvation: The Hollywood Blockbuster of the 1950s." Prospects: an Annual Journal of American Cultural Studies. 5:467-487. 1980. New York, NY

Perlstein, Daniel.
"Imagined Authority: Blackboard Jungle And The Project Of Educational Liberalism."Paedagogica Historica [Belgium] 2000 36(1): 407-424.
"The 1955 movie Blackboard Jungle portrayed the efforts of high school teacher Richard Dadier to overcome his students' resistance to the regime of the school. At the same time, Blackboard Jungle inaugurated the use of rock and roll music in movies, thereby heralding the emergence of a distinct youth culture. Representations of youth and schooling were uniquely suited to capture the anxieties that arose out of American familial, economic, and political conflicts in the 1950's. By synthesizing matters of male and state authority in an ambivalent blend of rebellion and social control, Blackboard Jungle articulated the ambiguities of the liberal ideology that schooling and the state more broadly could simultaneously ensure individual freedom and contain social conflicts. Blackboard Jungle's gendered narrative was mirrored in academic research into the causes of juvenile delinquency, in differing career paths for men and women educators, and in attacks on progressive curricula. By combining an examination of the film's narrative and visual technique with an analysis of its reception, this article explores the liberal ideology that has shaped American schooling." [America: History and Life]

Perrine, Tony A.
Film and the Nuclear Age: Representing Cultural Anxiety / Toni A. Perrine. New York: Garland, 1998. Garland studies in American popular history and culture
UCB Main PN1995.9.W3.P49 1998

Poe, G. Tom.
"Secrets, Lies And Cold War Politics: "Making Sense" of Otto Preminger's Advise and Consent." Film History 1998 10(3): 332-345.
"Many Cold War critics of director Otto Preminger's 1962 adaptation of Allen Drury's right-wing political novel Advise and Consent (1958) complained that the film deviated too far from the novel in its liberal political and slant excessive portrayal of homosexuals." [America History and Life]

Porter, Vincent
"The hegemonic turn: film comedies in 1950s Britain." Journal of Popular British Cinema; nr.4 (2001); p.81-94
Analysis of 1950's British comedies, incl. 'Carry on' films which concludes that comedy was an ideal genre for resolving changing social and sexual attitudes in postwar Britain.

Porton, Richard
"American dreams, suburban nightmares." Cineaste Vol XX nr 1 (1993); p 12-15
On representations of the US suburb and 'suburban values' in films made from the 1950's to the present day.

Pronay, N.
"British Film Sources For The Cold-War - The Disappearance Of The Cinema-Going Public." Historical Journal Of Film Radio And Television, 1993, V13 N1:7-17.

Pratt, Ray.
Projecting paranoia : conspiratorial visions in American film / Ray Pratt. Lawrence : University Press of Kansas, c2001. Culture America.
Main Stack PN1995.9.P6.P72 2001
For decades American cinema has mirrored and promoted the postmodern anxieties and paranoid perceptions embedded in our society. Tapping into the moviegoing audience's own projected fears, many Hollywood films seem to confirm our belief that there are indeed secret sinister forces at work and that our lives are at risk because of them. Pratt revisits blockbusters and cult favorites alike and shows how their images of conspiracy have been fostered by the public's increasing distrust of large organizations, producing in turn a cinematic "narrative of resistance" that challenges the status quo. He offers Seven Days in May and Dr. Strangelove as signposts of Cold War hysteria; Chinatown, The Conversation, and Missing as clear reflections of our distrust of political and corporate elites in the wake of Vietnam and Watergate; and Blue Velvet and The Stepfather as dark countermyths to the "family values" touted by Ronald Reagan in the 1980s. He also considers gender paranoia in films like Klute, Fatal Attraction, and Silence of the Lambs and reminds us that sometimes, as in Serpico, our guardian police forces need a bit of guarding themselves."

Pulleine, T.
"Hollywood's baby brother? British films of the Fifties." Films & Filmingno. 339 (December 1982) p. 19-22+

Quart, Leonard.
American film and society since 1945 / Leonard Quart and Albert Auster. Westport, Conn. : Praeger, 2002.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.S6 Q37 2002
Pacific Film Archive PN1995.9.S6 Q37 2002
UCB Main PN1993.5.U6 Q3 1984 (earlier edition)

Quart, Leonard.
American Film and Society Since 1945 / Leonard Quart and Albert Auster. London: Macmillan, 1984. Series title: Contemporary United States (London, England)
UCB Main PN1993.5.U6 Q3 1984

Quart, Leonard.
"America's new wave cinema of the fifties." Cineaste Summer 1998 v23 i3 p56(2)
UC users only
"Morris Engel was an independent filmmaker quite ahead of his time. As the video release of three of his films show, Engel was one of the more accomplished pioneers of the hand-held 35mm slice-of-life films that characterized independent American cinema in the 1950s. The three films released are the award-winning 'Little Fugitive' which was shown at the Venice Film Festival in 1953 and the lesser known 'Lovers and Lollipops' (1955) and 'Weddings and Babies'(1958)." [Expanded Academic Index]

Ramsden, John.
"Refocusing 'The People's War': British War Films of the 1950s." (includes appendix on the war film boom of the 1950s) Journal of Contemporary History v33, n1 (Jan, 1998):35 (32 pages).
UC users only

Rattigan, Neil
"The Last Gasp of the Middle Class: British War Films of the 1950s." In: Re-viewing British cinema, 1900-1992 : essays and interviews / edited by Wheeler Winston Dixon. pp: 143-53 Albany : State University of New York Press, c1994.
Main Stack PN1993.5.G7.R4 1994

Recasting America: culture and politics in the age of cold war
Edited by Lary May. Chicago: University of Chicago Press, 1989.
UCB Main E169.12 .R431 1989
UCB Moffitt E169.12 .R43 1989

Recchia, Edward
"Film Noir and the Western. The Centennial Review vol. 40 no. 3. 1996 Fall. pp: 601-14.

Redding, Arthur F.
Turncoats, traitors, and fellow travelers : culture and politics of the early Cold War Jackson : University Press of Mississippi, c2008.
MAIN: PS228.C58 R43 2008

Roberts, Garyn G.
"Revelation, Humanity, and a Warning: Four Motifs of 1950s Science Fiction Invasion Films." Plot Conventions in American Popular Film. In: Beyond the Stars: Studies in American Popular Film 2 / edited by Paul Loukides and Linda K. Fuller. pp: 130-42. Bowling Green, Ohio: Bowling Green University Popular Press, c1990
Main Stack PN1995.9.C36.B49 1990;
Moffitt PN1995.9.C36.B49 1990

Roberts, Randy
John Wayne : American / Randy Roberts, James S. Olson. New York : The Free Press, c1995.
Main Stack PN2287.W454.R63 1995
Moffitt PN2287.W454.R63 1995

Rodowick, David N.
"Madness, authority and ideology : the domestic melodrama of the 1950s." In: Home is where the heart is : studies in melodrama and the woman's film / edited by Christine Gledhill. London : British Film Institute, 1987.
Main Stack PN1995.9.M4.H6
Moffitt PN1995.9.M4.H6

Roffman, Peter
The Hollywood Social Problem Film: Madness, Despair, and Politics From the Depression to the Fifties / Peter Roffman and Jim Purdy. Bloomington Indiana University Press, 1981.
UCB Main PN1995 .R63
UCB Moffitt PN1995 .R63

Rogin, Michael.
"Kiss Me Deadly: Communism, Motherhood, and Cold War Movies."Representations, vol. 6. 1984 Spring. pp: 1-36.
UC users only

Rutsky, R.L.
"Surfing the other: ideology on the beach."Film Quarterly Vol LII nr 4 (Summer 1999); p 12-23
Analysis of the teen-oriented beach movies of the late 1950s and early 1960s, emphasizing the attraction of nonconformity and non-Western cultures within these ostensibly conformist films. [FIAF]

Sargeant, Jack.
Naked lens: [beat cinema] London: Creation Books, 1997.
UCB Bancroft PN1995.9 .B43 1997
UCB Main PN1995.9 .B43 1997

Savage King, Chris
"Two-step to heaven." Modern Review Vol I nr 2 (Winter 1991-92); p 15-16
Unfavourably compares 1950's musicals with those of the 1930's; celebrates the independent screen persona of Ginger Rogers.

Sayre, Nora.
Running Time: Films of the Cold War / Nora Sayre. New York: Dial Press, c1982.
UCB Main PN1993.5.U6 S315 1982
UCB Moffitt PN1993.5.U6 S315 1982

Sayre, Nora.
"Watch the Skies." Grand Street, vol. 1 no. 2. 1982 Winter. pp: 51-58.

Scheiner, Georganne.
"Look at Me, I'm Sandra Dee: Beyond a White, Teen Icon." Frontiers: Journal of Women Studies. 22(2):87-106. 2001
UC users only

Schoenwald, Jonathan M.
"Rewriting revolution: the origins, production and reception of Viva Zapata!" Film History Vol VIII nr 2 (1996); p 109-130
Documents the history of John Steinbeck's and Elia Kazan's "Viva Zapata!" in terms of the political problems related to telling the story of a revolutionary hero in 1950's America. [FIAF]

Seed, David.
American science fiction and the Cold War: literature and film / David Seed. Chicago: Fitzroy Dearborn, c1999.
Main Stack PS374.S35.S44 1999

Shain, Russell E.
"Filmography: "Cold War Films, 1948 - 1962: An Annotated Filmography" Journal of Popular Film 3:4 (1974:Fall) 365

Shain, Russell E.
"Hollywood's Cold War."Journal of Popular Film 3:4 (1974:Fall) 334

Shapiro, Jerome F.
"Atomic Bomb Cinema: Illness, Suffering, and the Apocalyptic Narrative." Literature and Medicine 17.1 (1998) 126-148
Shapiro traces the evolution of Atomic Bomb Cinema in U.S. and Japanese films from the 1950s and '60s. Utilizing the theories of Erik Erikson, John Collins, and Eric Cassell, this essay interprets Atomic Bomb Cinema through the lenses of crisis, apocalypse, and suffering. After contextualizing the films in relation to The Time Machine, the essay analyzes four films, On the Beach, The Incredible Shrinking Man, Mosura tai Gojira, and Ikimono no Kiroku.

Shapiro, Benjamin.
"Universal truths: cultural myths and generic adaptation in 1950s science fiction films."Journal of Popular Film and Television v18, n3 (Fall, 1990):103 (9 pages).
During the 1950's, the Hollywood science fiction film helped resolve the contradiction in American society between the desirability of change and the retention of existing values and beliefs.

Shaw, Tony.
"British Feature Films and the Early Cold War." In: Cold-War propaganda in the 1950s / edited by Gary D. Rawnsley. Houndmills, Basingstoke, Hampshire, UK : Macmillan ; New York : St. Martin's Press, 1999.
Main D843 .C57736 1999

Shaw, Tony.
Hollywood's Cold War Amherst : University of Massachusetts Press, c2007.
UCB Main PN1993.5.U6 S315 1982
Table of contents http://www.loc.gov/catdir/toc/ecip0716/2007017494.html

Shaw, Tony.
"Martyrs, Miracles, And Martians: Religion And Cold War Cinematic Propaganda In The 1950s." Journal of Cold War Studies 2002 4(2): 3-22.
UC users only
" Examines Cold War film propaganda in the 1950's, when the cinema was enjoying its last period as the dominant visual mass entertainment form in both the West and the East. This article concentrates on the role that religion played as a theme of propaganda, primarily in British and American movies, but also in some of the Soviet films released during the decade. The article explores the relationship between film output and state propagandists to show how religious themes were incorporated into films dealing with Cold War issues and considers how audiences received the messages contained within these films. The article therefore builds on scholarship of the 1990's that highlights the importance of ideas and culture during the Cold War by looking at the adoption and adaptation of religion as a tool of propaganda." [America History and Life]

Sheen, Erica
"Un-American: Dmytryk, Rossellini and Christ in Concrete." Film Studies; Winter2005, Vol. 7 Issue 0, p32-42, 42p
UC users only

Sickels, Robert
"All East on the Western Frontier: John Ford's My Darling Clementine." Film & History Vol.XXXI nr.1 (2001); p.13-21
"Argues that John Ford's film "My darling Clementine" is an example of the social attitudes taken in the early Cold War era, in which urban Eastern values win out over rural Western values." [FIAF Index to Film Periodicals]

Sikov, Ed.
Laughing hysterically : American screen comedy of the 1950s / Ed Sikov. New York : Columbia University Press, c1994. Film and culture.
Main Stack PN1995.9.C55.S49 1994
Contents via Google books

Simmons, Jerold.
"The Censoring of Rebel Without a Cause." Journal of Popular Film & Television. 23(2):57-63. 1995 Summer UCB users only

Simmons, Jerold.
"A damned nuisance. The Production Code and the Profanity Amendment of 1954."Journal of Popular Film and Television Vol XXV nr 2 (Summer 1997); p 76-82
Traces the history of Hollywood's Production Code during the 1950's, and how its waning relevance led to its demise in the late 1960's.

Singer, Marc P.
"Fear Of The Public Sphere: The Boxing Film in Cold War America (1947-1957)." Film & History 2001 31(1): 22-27.
Hollywood boxing films such as Body and Soul (1947) and The Set-Up (1949) provided an arena for playing out the complex tensions between individuality and conformity that characterized the early years of the Cold War.

Skinner, James M.
"Cliche and Convention in Hollywood's Cold War Anti-Communist Films." North Dakota Quarterly 1978 46(3): 35-40.
Films during 1947-52 promoted anti-Communism because of film-makers' political beliefs and as a reaction to scrutiny from the House Committee on Un-American Activities.

Sklar, Robert
"Hollywood in the 1950s." In: A world history of film / Robert Sklar. New York : Harry N. Abrams, 2002.
Gardner) Stacks PN1993.5.A1 S555 2002

Sklar, Robert
"'The lost audience': 1950s spectatorship and historical reception studies." In: Identifying Hollywood's audiences : cultural identity and the movies / edited by Melvyn Stokes and Richard Maltby. London : British Film Institute, 1999.
Main Stack PN1993.5.U65.I34 1999

Smith, Dina
"Lost Trailer Utopias: The Long, Long Trailer (1954) and Fifties America." Utopian Studies: Journal of the Society for Utopian Studies, vol. 14, no. 1, pp. 112-31, 2003

Smith, Judith E.
"The Marrying Kind: Working-Class Courtship and Marriage in 1950s Hollywood." In: Multiple Voices in Feminist Film Criticism / Diane Carson, Linda Dittmar, and Janice R. Welsch, editors. pp: 226-42. Minneapolis: University of Minnesota Press, c1994.
Main Stack PN1995.9.W6.M82 1994
Moffitt PN1995.9.W6.M82 1994

Smith, Judith E.
Visions of belonging : family stories, popular culture, and postwar democracy, 1940-1960 New York : Columbia University Press, c2004.
MAIN: E169 .S655 2004
PFA : E169 .S655 2004

Smoodin, Eric.
"Watching the Skies: Hollywood, the 1950s, and the Soviet Threat." Journal of American Culture. 11(2):35-40. 1988 Summer
"Analyzes two 1950's films, The Thing from Another World (1951) and Jet Pilot (1957), which reflect the powerful anti-Communism of the McCarthy era and reaffirm the sanctity of traditional American values. In opposite ways, both films stress the dangerous pervasiveness of Communism and the necessity of vigilance against the widely perceived Soviet threat to the United States during the Cold War." [America: History and Life]

Sobchack, Vivian Carol.
The Limits of Infinity: The American Science Fiction Film, 1950-75 / Vivian Carol Sobchack. South Brunswicks, N.J.: A. S. Barnes, c1980.
UCB Main PN1995.9.S26 .S57 1980

Sodowsky, Alice; Roland Sodowsky; Stephen Witte
"Epic world of American Graffiti." In: Movies as artifacts : cultural criticism of popular film / edited by Michael T. Marsden, John G. Nachbar, and Sam L. Grogg, Jr Chicago : Nelson-Hall, c1982
Main Stack PN1993.5.U6.M67 1982
Moffitt PN1993.5.U6.M67 1982

Stafford, Roy
"What's showing at the Gaumont?": rethinking the study of British cinema in the 1950s." Journal of Popular British Cinema nr 4 (2001); p 95-111
Examination of distribution and exhibition practices in the north of England in the early 1950's. A detailed analysis discovers a more varied and complex exhibition culture than is normally associated with 1950's British cinema. [FIAF]

Stalinism and Soviet cinema
Edited by Richard Taylor and Derek Spring. London ; New York : Routledge, 1993.
Main PN1993.5.R9 S73 1993

Stephens, Michelle
"The First Negro Matinee Idol: Harry Belafonte and American Culture in the 1950s." In: Left of the color line : race, radicalism, and twentieth-century literature of the United States / edited by Bill V. Mullen and James Smethurst. Chapel Hill : University of North Carolina Press, c2003.
Main Stack PS228.R32.L44 2003
Compar Ethn PS228.R32.L44 2003

Sterritt, David.
Mad to be saved: the Beats, the '50s, and film / David Sterritt. Carbondale: Southern Illinois University Press, c1998.
UCB Main PS228.B6 S755 1998
UCB Moffitt PS228.B6 S755 1998
Contents via Google books

Stern, M.
"Patterns of power and potency repression and violence: an introduction to the study of Douglas Sirk's films of the 1950s." Velvet Light Trap nr 16 (Fall 1976); p 15-21
The themes of sexual potency in some of the films of D.S.

Sterritt, David.
Mad to be saved : the Beats, the '50s, and film Carbondale : Southern Illinois University Press, c1998.
MAIN: PS228.B6 S755 1998
MOFF: PS228.B6 S755 1998
PFA : PN1995.3 .S73 1998

Strada, Michael J.
"The Cinematic Bogy Man Comes Home: American Popular Perceptions of External Threat." Midwest Quarterly, vol. 28 no. 2. 1987 Winter. pp: 248-270.

Strada, Michael J.
"Kaleidoscopic Nuclear Images of the Fifties", Journal of Popular Culture, 20:3 (1986:Winter) p.179
UC users only

Stratton, Jon
"Not really white - again: performing Jewish difference in Hollywood films since the 1980s." Screen; Vol.XLII nr.2 (Summer 2001); p.142-166
An analysis of how films of the 1950's and 60's represented Jews as assimilated into white America, followed by an examination of a transformation in "Yentl", "Zelig", and "Desperately seeking Susan".

Straughn, Victoria.
"Hollywood "Takes" On Domestic Subversion: The Role Of Women In Cold War America." Magazine of History 2003 17(2): 31-36.
Contains a lesson plan that discusses how Hollywood affected gender and domesticity during the Cold War through a review of the 1945 film Mildred Pierce.

Summerfield, Penny.
"Public Memory or Public Amnesia? British Women of the Second World War in Popular Films of the 1950s and 1960s." Journal of British Studies, Oct2009, Vol. 48 Issue 4, p935-957, 23p
UC users only

Susman, Warren. Griffin, Edward
"Did Success Spoil the United States? Dual Representations in Postwar America." In: Recasting America : culture and politics in the age of cold war / edited by Lary May. Chicago : University of Chicago Press, 1989.
Main Stack E169.12.R431 1989
Moffitt E169.12.R43 1989

Taylor, Ella.
Prime-time Families: Television Culture in Postwar America / Ella Taylor. Berkeley: University of California Press, c1989.
UCB Main PN1992.8.F33 T391 1989
UCB Moffitt PN1992.8.F33 T39 1989

Throne, Marilyn
"Love in the Afternoon: A Cinematic Exposure of a 1950s Myth." Literature/Film Quarterly 16, no. 1 (1988): p. 65-73

Thumim, Janet
"'A live commercial for icing sugar'. Researching the historical audience: gender and broadcast television in the 1950s."Screen Vol XXXVI nr 1 (Spring 1995); p 48-55
A discussion of 1950's tv's contribution to the cultural construction of gender.

Tibbetts, John C.
"After the Fall: Revisioning the Cold --a report on the XVIIth AMHIST Conference, 25-31 July, Salisbury, MD." Historical Journal of Film, Radio, and Television 18:1, 1998, pp: 111-122

Torry, Robert.
"Apocalypse Then: Benefits of the Bomb in Fifties Science Fiction Films. Cinema Journal v. 31 (Fall '91) p. 7-21. UC users only
Visions of the apocalypse in science-fiction films of the 1950's, esp. "When worlds collide", "The day the earth stood still" and "War of the worlds".

Turovskaya, Maya
"Soviet Films of the Cold War." In: Stalinism and Soviet cinema / edited by Richard Taylor and Derek Spring. London ; New York : Routledge, 1993. Soviet cinema.
Main Stack PN1993.5.R9.S73 1993

Vieira, Mark A.
"Don't Step on It: Killer Bugs, Babes, and Beasts in 1950's Drive-In Cinema." Bright Lights Film Journal. 45: (no pagination). 2004 Aug.

Vieth, Errol
Screening science: contexts, texts, and science in fifties science fiction film Lanham, Md.: Scarecrow Press, 2001.
MAIN: PN1995.9 .V54 2001

Vizzini, Bryan E.
"Cold War Fears, Cold War Passions: Conservatives And Liberals Square Off in 1950s Science Fiction." Quarterly Review of Film & Video, Jan2009, Vol. 26 Issue 1, p28-39, 12p
UC users only

DISSERTATION
Walrad, Jennifer Jill.
Visions of Masculinity in 1950s Science Fiction Film: How I Learned to Stop Worrying (about Mom) and Love the Bomb / by Jennifer Jill Walrad. 1991.
UCB Main 308t 1991 62
NRLF AS36.C3 A135 1991 62

Warren, Bill
Keep Watching the Skies!: American Science Fiction Movies of the Fifties / by Bill Warren; research associate, Bill Thomas. Jefferson, N.C.: McFarland, 1982-1986.
UCB Main PN1995.9.S26 .W37 1982 V.1 (1982)

Waugh, Thomas.
"The Films They Never Showed: The Flaherty-Seminar And The Cold-War." Wide Angle, vol. 17 no. 1-4. 1995. pp: 217-26.

Wells, Paul.
"The Invisible Man: Shrinking Masculinity in the 1950s Science Fiction B-Movie." In: You Tarzan: Masculinity, Movies and Men. New York / edited by Pat Kirkham and Janet Thumim. pp: 181-99. New York: St. Martin's Press, 1993.
Main Stack PN1995.9.M46.Y68 1993
Moffitt PN1995.9.M46.Y68 1993

Whitehouse, Charles
"Hot Rod Rumble."Sight & Sound, 13 (6): 22-24 2003 June.

Whitfield, Stephen J.
"Sex and the single decade. American Literary History, Winter 2000 v12 i4 p771(9)
UC users only
"This article discusses sexuality and gender roles in the 1950's. The author explores the homogeneous culture of the suburban middle class, analyzing the literature and film of the time, as well as the Cold War, and its affect on the concept sex and gender roles." [Expanded Academic Index]

Whitfield, Stephen J.
"Reeling: The Politics of Film." In: The culture of the Cold War / Stephen J. Whitfield. Baltimore : Johns Hopkins University Press, c1996.
Main (Gardner) Stacks E169.12 .W47 1996
Moffitt E169.12 .W47 1996

Whitaker, J.
"Hollywood transformed." Jump Cut nr 24-25 (Mar 1981); p 33-35
A group of lesbians discuss the sexual ideology of the 1950's and 1960's as reflected in the mass media.

Wierzbicki, James
"Wierd vibrations: how the theremin gave musical voice to Hollywood's extraterrestrial "others"."Journal of Popular Film and Television Vol XXX nr 3 (Fall 2002); p 125-135
Discusses the unique role that the theremin, an electronic instrument, played as an "unearthly" sound and the voice of alien entities in 1950's science-fiction films. [FIAF]

Wilinsky, Barbara
"'A thinly disguised art veneer covering a filthy sex picture': discourses on art houses in the 1950s." Film History Vol VIII nr 2 (1996); p 143-158
Reviews the debates surrounding the rise of foreign film exhibition in art houses in the United States in the 1950's.

"Women in Prison and Women in Dressing Gowns: Rediscovering the 1950s Films of J. Lee Thompson." Journal of Gender Studies, 11 (1): 5-15 2002 Mar.

UC users only

Williamson, Catherine.
"Swimming Pools, Movie Stars: The Celebrity Body in the Post-War Market Place."Camera Obscura: A Journal of Feminism, Culture, and Media Studies. 38: 5-28. 1996 May

Wills, Garry
John Wayne's America : the politics of celebrity / Garry Wills. New York : Simon & Schuster, c1997.
Main Stack PN2287.W454.W56 1997
Moffitt PN2287.W454.W56 1997

Wilson, Elizabeth
"Audrey Hepburn: Fashion, Film and the 50s." In: Women and film : a Sight and sound reader / edited by Pam Cook and Philip Dodd. pp: 36-40 Philadelphia : Temple University Press, 1993. Culture and the moving image.
Main Stack PN1995.9.W6.W63 1993
Moffitt PN1995.9.W6.W63 1993

Wolfe, Gary K.
"Dr. Strangelove, Red Alert, And Patterns Of Paranoia In The 1950's." Journal of Popular Film 1976 5(1): 57-67.
A look at paranoia in certain films and in culture in general. "Invasion of the body snatchers" shows 1940's fear of secret identities, while "Dr. Strangelove: or, How I learned to stop worrying and love the bomb" reflects the 1950's fear of the bomb. [FIAF]

Young, Paul
"(Not) the Last Noir Essay: Film Noir and the Crisis of Postwar Interpretation." Minnesota Review, 55-57: 203-21 2002.

Zimmermann, P.J.
"Hollywood, home movies, and common sense: amateur films as aesthetic dissemination and social control, 1950-1962." Cinema Journal Vol XXVII nr 4 (Summer 1988); p 23-44
Study of amateur filmmaking in the USA focuses on its redefinition in popular magazines of the 1950's as 'home movies', private leisure-time activity for the nuclear family. [FIAF]

II. The Hollywood Blacklist

Elia Kazan bibliography
Documentaries about the blacklist

Abrams, Brett L.
"The First Hollywood Blacklist: The Major Studios Deal With The Conference Of Studio Unions, 1941-47." Southern California Quarterly 1995 77(3): 215-253.
"Traces the struggle between the conservative International Alliance of Theatrical and Stage Employees (IATSE) and the liberal Conference of Studio Unions (CSU) for control of the craftsmen employed by the motion picture studios in Los Angeles between 1941 and 1947. The studios preferred recognition of IATSE locals, whose leaders accused the CSU of supporting communism and violence. The strikes of 1945 and 1946 brought local government, the studios, and the IATSE into a coalition against the CSU. By 1947 the CSU had lost the battle, its leaders branded as Communists and many workers siding with the IATSE just to preserve their jobs and status." [from ABC-CLIO America: History & Life]

American inquisition, 1945-1960 [sound recording]
Los Angeles, Calif. : Pacifica Tape Library, [1983?]
A chat between Leste Cole and Cedric Belfrage about their antifascistic activities that led to their blacklisting and deportation.
Media Center SOUND/C 402

"The Anti-Communist Crusade: Hollywood and HUAC."
In: The Cold War : a history through documents / compiled and edited by Edward H. Judge, John W. Langdon. Upper Saddle River, N.J. : Prentice Hall, 1999 [i.e. 1998]
Moffitt D839.3.C57 1998

Baar, K. Kevyne
""What Has My Union Done For Me?"." Film History; 2008, Vol. 20 Issue 4, p437-455, 19p
UC users only
The different methods acting unions chose to face and fight the onslaught brought on by the blacklisting of their members in the 1950s are the focus of this article.

Barranger, Milly S.
Unfriendly witnesses : gender, theater, and film in the McCarthy era Carbondale : Southern Illinois University Press, c2008.
MAIN: PN1590.B5 B33 2008

Barzman, Norma.
The red and the blacklist : the intimate memoir of a Hollywood expatriate. New York : Thunder's Mouth Press/Nation Books, c2003.
MAIN: PS3503.A754 Z476 2003
Contents via Google books

Benson, Thomas W.
"Looking for the public in the popular: the Hollywood blacklist and the rhetoric of collective memory." In: The terministic screen : rhetorical perspectives on film / edited by David Blakesley. Carbondale : Southern Illinois University Press, c2003.
Main Stack PN1994.T47 2003

Benson, Thomas W.; Gronbeck, Bruce E.
"Thinking through Film: Hollywood Remembers the Blacklist." In: Rhetoric and community: studies in unity and fragmentation / edited by J. Michael Hogan. pp: 217-64 Columbia, S.C.: University of South Carolina Press, c1998. Studies in rhetoric/communication.
Main Stack P301.5.S63.R48 1998
Also in:
Rhetoric and community : studies in unity and fragmentation / edited by J. Michael Hogan. Columbia, S.C. : University of South Carolina Press, c2008.
Main (Gardner) Stacks P301.5.S63 R48 2008

Bentley, Eric
Are You Now or Have You Ever Been; The Investigation of Show Business by the Un-American Activities Committee, 1947-1958 [by] Eric Bentley. New York, Harper & Row [1972]. Series title: Harper colophon books, CN 1006.
UCB Grad Svcs XMAC.B477.A73 Modern Authors Collection
UCB Main PN1590.B5 B4 1972

Bernstein, Walter.
Inside Out: A Memoir of the Blacklist / Walter Bernstein. [New York]: Da Capo Press, 2000.
UCB Main PN1998.3.B477 A3 2000

Bernstein, Walter.
Inside Out: A Memoir of the Blacklist / Walter Bernstein. 1st ed. New York: A.A. Knopf, 1996.
UCB Main PN1998.3.B477 A3 1996
UCB Moffitt PN1998.3.B477 A3 1996

Bernstein, Walter.
"Remembering the Blacklist." (excerpt from scriptwriter's book about being blacklisted in Hollywood during the 1940s and 1950s, 'Inside Out: A Memoir of the Blacklist') New York Times v145, sec2 (Sun, Oct 27, 1996):H18(N), H18(L), col 5, 20 col in.

Bessie, Alvah Cecil
Alvah Cecil Bessie papers.
UNARRANGED COLLECTION. UNAVAILABLE FOR USE: Inquiries concerning these materials should be directed, in writing, to the Head of the Manuscripts Division. COLLECTION STORED OFF-SITE: Advance notice required for use.
Bancroft BANC MSS 79/117 z Non-circulating; may be used only in The Bancroft Library. Shelved at NRLF: CARTON 1-CARTON 3Bessie, Alvah Cecil, 1904-

Bessie, Alvah Cecil
Inquisition in Eden [by] Alvah Bessie. New York, Macmillan [1965]
Bancroft F860.B366A3.1965 Non-circulating; may be used only in The Bancroft Library.

Bessie, Alvah Cecil
The un-Americans. [1st. ed.] New York, Cameron Associates, 1957.
Bancroft PS3503.E9.U6 1957 Non-circulating; may be used only in The Bancroft Library. NRLF #: W 33 310 (Restricted Circ)
Main Stack PS3503.Be778.U6

Billingsley, Lloyd.
Hollywood party : how communism seduced the American film industry in the 1930s and 1940s Rocklin, CA : Forum, c1998.
MAIN: PN1998.2 .B53 1998;
BANC: PN1998.2 .B53 1998

Biskind, Peter.
"The Past is Prologue: The Blacklist in Hollywood." Radical America, 1981, Vol. 15 Issue 3, p59-65, 7p

"Blacklist: memories of a word that marks an era." (excerpts from symposium'Remembering the Blacklist' at New York Public Library for the Performing Arts at Lincoln Center, New York City, on investigations of... New York Times v143, sec2 (Sun, July 31, 1994):H3(N), H3(L), col 1, 47 col in.

Boisson, Steve.
"The Movie Hollywood Could Not Stop." American History 2002 36(6): 44-50.
"During the Red Scare of the 1950's, director Herbert Biberman and producer Paul Jarrico, two avowed Communists, encountered numerous difficulties in creating The Salt of the Earth (1954), a film about striking miners that exposed the discrimination that Mexican Americans faced in Grant County, New Mexico." [America History and Life]

Bosworth, Patricia.
"Giving credit where credit is long overdue." (screenwriters once blacklisted by House Un-American Activities Committee see their screencredits restored on 24 films) New York Times v146, sec2 (Sun, April 20, 1997):H13(N), H13(L), col 1, 18 col in.

Bowman, James.
"Loyalty Tests." (Anti-Communist hero Elia Kazan)American Spectator v32, n3 (March, 1999):68 (2 pages).
Anti-Communist hero Elia Kazan believes that being ideologically correct is more important than being loyal. Kazan's belief has been adopted by some Hollywood movies such as the film 'A Civil Action.'.

Biskind, Peter.
"The Past Is Prologue: The Blacklist In Hollywood." Radical America 1981 15(3): 59-65.
"Commentary on the recent literature on the House Committee on Un-American Activities and the blacklist of the Hollywood 10, focusing on Victor Navasky's Naming Names (1980). The key strategy was as evident in the movie industry of the 1950's as it was during the Vietnam War: have the good dissidents turn against the bad, uncooperative ones. This betrayal would bind them more securely to the center of the political spectrum." [from ABC-CLIO America: History & Life]

"The blacklist was a time of evil," address made on receiving the Laurel award. Time of the toad; pamphlet sold to raise funds for the legal defense o the Hollywood ten." Film Culture no. 50-51 (Fall-Winter 1970) p. 29-41

Boisson, Steve.
"The Movie Hollywood Could Not Stop." American History 2002 36(6): 44-50.
"During the Red Scare of the 1950's, director Herbert Biberman and producer Paul Jarrico, two avowed Communists, encountered numerous difficulties in creating The Salt of the Earth (1954), a film about striking miners that exposed the discrimination that Mexican Americans faced in Grant County, New Mexico." [America: History and Life]

Bosworth, Patricia
"Giving credit where credit is long overdue." (screenwriters once blacklisted by House Un-American Activities Committee see their screen credits restored on 24 films) The New York Times April 20, 1997 v146 s2 pH13(N) pH13(L) col 1 (18 col in)

Braudy, L.
"Grime on the glitter: Hollywood and McCarthyism." In: In: Native informant : essays on film, fiction, and popular culture New York : Oxford University Press, 1991.
MAIN: PN1995 .B719 1991

ARCHIVE/MANUSCRIPT
Bright, John
Hollywood Blacklist: John Bright: oral history transcript / interviewed University of California, Los Angeles. 1991.
UCB Bancroft BANC MSS 92/100 c

Bright, John
"In 1929 John Bright breezed into Hollywood. He stayed to make movies (like "The Public Enemy") and trouble, from the Screen Writers Guild to the Blacklist. He relates it all, tangily, to our Lee Server." Film Comment 22:1 (1986:Jan./Feb.) 22

Brodie, John.
"Rebels Get Cause in Post-list Pix." (includes related article on re-crediting other films actually written by those blacklisted)(special section - 50th anniversary of the beginning of the...Variety v364, n6 (Sept 9, 1996):123.
Blacklisted screenwriters produced some of the most enduring films celebrating defiance and freedom of speech, both during and after Kirk Douglas broke the list by crediting Dalton Trumbo for 'Spartacus,' in 1960. Other films include 'Fail-Safe,' 'MASH,' and 'Midnight Cowboy.'

Buhle, Paul.
Blacklisted : the film lover's guide to the Hollywood blacklist New York : Palgrave Macmillan, 2003.
PFA : PN1993.5.U6 B84 2003

Buhle, Paul
Hide in plain sight : the Hollywood blacklistees in film and television, 1950-2002 New York : Palgrave Macmillan, 2003.
Full-text available online [UCB users only]
MAIN: PN1590.B5 B84 2003
MOFF: PN1590.B5 B84 2003

Buhle, Paul.
"The Hollywood Blacklist and the Jew: An Exploration of Popular Culture." Tikkun 1995 vol 10 no. 5 pp: pp. 35 September 01
UC Berkeley users only
"Postwar Hollywood has been unkind to Jews when, despite a good showing of films made or starred in by Jews, a number of technicians, directors and writers were blacklisted. This came in the wake of McCarthyism whose one subtext thinly veiled an anti-Semitic stance." [Expanded Academic Index]

Buhle, Paul.
"The Hollywood Left: Aesthetics and Politics." New Left Review, Vol. a, 1995

Buhle, Paul
A very dangerous citizen: Abraham Lincoln Polonsky and the Hollywood left Berkeley: University of California Press, c2001.
MAIN: PS3531.O377 Z59 2001
BANC: PS3531.O377 Z59 2001; Non-circulating; may be used only in The Bancroft Library

Burton, Michael C.
John Henry Faulk, A Biography: The Making of a Liberated Mind / by Michael C. Burton. 1st ed. Austin, Tex.: Eakin Press, c1993.
Main Stack PS3556.A92.Z59 1993

Butler, Michael
"Shock Waves." Cinema Journal, vol. 44, no. 4, pp. 79-85, Summer 2005
UC users only

Butler, T.
"Polonsky and Kazan." [HUAC and the violation of personality]. Sight & Sound v. 57 (Autumn 1988) p. 262-7

Carr, Gary L.
The Left Side of Paradise: The Screenwriting of John Howard Lawson / by Gary Carr. Ann Arbor, Mich.: UMI Research Press, c1984. Series title: Studies in cinema; no. 26.
UCB Main PN1998.A3 L3763 1984

Caute, David.
The great fear : the anti-Communist purge under Truman and Eisenhower New York : Simon and Schuster, c1978
MAIN: E743.5 .C35; MOFF: E743.5 .C35; IIRL: E743.5 .C35; Storage Info: B 4 414 758

Ceplair, Larry.
"The base and superstructure debate in the Hollywood Communist Party." Science & Society; 72, no. 3 (Jul, 2008): 319-48, 30 p
UC users only
"The base and superstructure concept developed by Marx and Engels has attracted many interpreters over the years. Most of these have focused on what it reveals about the state. But there is also a stream of writers, from Plekhanov to Eagleton, who have been fascinated with its aesthetic dimensions. Only a handful have tried to apply it to creative workers in cultural industries. The most notable attempt was made by a small group of blacklisted Hollywood screenwriters, in the early 1950s. Their debate capped a century of discourse regarding the cultural ramifications of the base-superstructure concept, from its inception by Marx and Engels, through its transmutation by the Russian Marxists, to its use by Marxists and Communists in the United States." [EBSCO]

Ceplair, Larry.
"Blacklist? Never heard of it" [Views of R. Reagan on Hollywood blacklist]. The Nation v. 232 (January 31 1981) p. 109-10

Ceplair, Larry.
"The Communist Party in Hollywood." Cineaste, Winter79/80, Vol. 10 Issue 1, p2-13, 12p
UC users only
An excerpt from the book "The Inquisition in Hollywood: Politics in the Film Community, 1930-1960," by Larry Ceplair and Steven Englund is presented.

Ceplair, Larry.
"The film industry's battle against left-wing influences, from the Russian Revolution to the Blacklist." Film History; 2008, Vol. 20 Issue 4, p399-411, 13p,
UC users only

Ceplair, Larry.
The Inquisition in Hollywood: Politics in the Film Community, 1930-1960 / Larry Ceplair & Steven Englund. Berkeley: University of California Press, c1983.
fMain Stack PN1993.5.U6.C4 1983
MAIN: PN1993.5.U6 C4 2003
Moffitt PN1993.5.U6.C4 1983 [earlier edition]
Bancroft F867.M6.C4 [earlier edition]
Table of Contents from Google books

Ceplair, Larry.
"Isobel Lennart and the Dynamics of Informing in Hollywood." Historical Journal of Film, Radio and Television, 1465-3451, Volume 27, Issue 4, 2007, Pages 513 - 529
UC users only
"The author reflects on the informer sub-culture in the Hollywood motion picture industry, which began to emerge in 1950. In the spring of 1951, the committee on un-American activities announced a set of hearings on "Communist Infiltration of the Motion-Picture Industry." After the hearings, a blacklist of ten uncooperative witnesses and a graylist of those who continued to defend them was compiled. A sub-industry had been formed, consisting of three firms. They were responsible for publicizing the names and subversive associations of hundreds of motion picture employees. The Motion Picture Association of America announced that uncooperative witnesses would have difficulty gaining employment in the movie industry in the future." [EBSCO]

Ceplair, Larry.
The Marxist and the movies : a biography of Paul Jarrico Lexington : University Press of Kentucky, c2007.
MAIN: PS3519.A89 Z63 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0718/2007019777.html

Ceplair, Larry.
"Reporting The Blacklist: Anti-Communist Challenges To Elizabeth Poe Kerby." Historical Journal of Film, Radio & Television, Jun2008, Vol. 28 Issue 2, p135-151, 17p
UC users only

Chambers, Jonathan.
"How Hollywood Led John Howard Lawson To Embrace Communism and How He Turned Hollywood Red." Theatre History Studies, 1997, Vol. 17, p15-32, 18p
UC users only

""Circus of fear"; the background of the Hollywood blacklist--an edited transcript of a taped interview." Film Culture no. 50-51 (Fall-Winter 1970) p. 22-5

Cogley, John.
Report on Blacklisting. [New York]: Fund for the Republic, 1956.
Main Stack PN1993.65.U6 C63; v. 1-2 ([1956])

Cohen, Joan.
"The Culture Of The Blacklist." Mankind 1978 6(3): 16-20.
"For over 15 years, scores of Hollywood performers, writers, producers, and directors were forbidden from working in their craft owing to their real or alleged previous contacts with left-wing ideologies. Their condition resulted in many personal tragedies, including broken friendships and marriages and the destruction of careers. Only in recent years have some of those victimized been able to return to their professions. Many of those "blacklisted" emigrated to Europe or Mexico where they either participated in native entertainment enterprises or continued to write for the Hollywood market under assumed names. Excerpts from the correspondence of screen writer Dalton Trumbo illustrate the problems inherent in the latter. Others remained in the United States and either retired or assumed other occupations." [from ABC-CLIO America: History & Life]

Cohen, Karl F.
Forbidden animation: censored cartoons and blacklisted animators in America Jefferson, N.C.: McFarland & Co., c1997.
MAIN: NC1766.5.C45 C64 1997

Cohen, Karl
"Toontown's reds: HUAC's investigation of alleged communists in the animation industry." Film History Vol V nr 2 (June 1993); p 190-203
Report on the hunt for Communist infiltrators in the US animation industry of the 1950's; incl. the full testimony of Bernyce Polifka Fleury.

Cole, Lester
Hollywood Red: The Autobiography of Lester Cole. Palo Alto, Calif.: Ramparts Press, c1981.
UCB Bancroft F860 .A3C63
UCB Main PN1998.A3A12 C64

Cook, Jim and Canham, Kingsley
"Interview with Abraham Polonsky." Screen 1970 11: 57-73
UC users only

Cook, Jim
"Un-American Activities." Screen 1970 11: 57-73
UC users only

Cox, Dan
"'Commie Carnival' revisited: despite Red Scare scars, H'wood lures blacklist kids." (Hollywood)(special section - 50th anniversary of the beginning of the anti-communist blacklist/Red Scare persecutions in the US entertainment industry)(Cover Story) Variety Sept 9, 1996 v364 n6 p1(2)
A decade or more of unemployment was suffered not only by blacklisted entertainers and writers, but by their families as well. The children of Dalton Trumbo, John Howard Lawson, Elia Kazan, and Michael Wilson comment on the continuing impacts of the blacklist.

A Crime to fit the punishment [videorecording]
In 1956, during the height of the Cold War and despite severe pressure from McCarthy ravaged Hollywood and the U.S. government, blacklisted filmmakers joined together to create the controversial pro-union semi-documentary Salt of the earth. This film investigates the background and political atmosphere surrounding the film's production through interviews with the film producer Paul Jarrico and actors, newsreels from the '50s, and clips from the film. 46 min. Video/C 9289

"Decades later, naming names still matters; Arthur Laurents talks with Frank Rich about his play 'Jolson Sings Again' and revisits the blacklist." New York Times, sec2 (Sun, March 14, 1999):AR7(L), col 1, 25 col in.

Dick, Bernard F.
Radical Innocence: A Critical Study of the Hollywood Ten / Bernard F. Dick. Lexington, Ky.: University Press of Kentucky, c1989.
UCB Main PN1998.2 .D51 1989
UCB Moffitt PN1998.2 .D5 1989
Contents via Google Books

Dmohowski, Joseph
"The Friendly Persuasion (1956) screenplay controversy. Michael Wilson, Jessamyn West, and the Hollywood blacklist." (Critical Essay)Historical Journal of Film, Radio and Television Oct 2002 v22 i4 p491(24)

Dmytryk, Edward.
Odd Man Out: A Memoir of the Hollywood Ten / Edward Dmytryk. Carbondale, IL: Southern Illinois University Press, c1996.
UCB Moffitt PN1998.3.D6 A3 1996

"Dossier: An Interview with Cy Endfield." Film Studies; Winter2005, Vol. 7 Issue 0, p116-127, 132p
Presents an interview with Cy Endfield, a film director. Political aspects of his life and career; Information on his left-wing affiliations; Background on his decision in the early fifties to avoid testifying to the House Committee on UN-American Activities by leaving the U.S. for Great Britain in 1951.

Drake, Chris.
You gotta stand up : the life and high times of John Henry Faulk Newcastle : Cambridge Scholars Publishing, 2007.
MAIN: PS3556.A92 D73 2007

Dunne, Philip
Take Two: A Life in Movies and Politics / Philip Dunne New York: McGraw-Hill, published in association with San Francisco Book Co., c1980
Main Stack PN1998.A3.D85

Eckstein, Arthur.
"The Hollywood Ten in History and Memory." Film History, v. 16, 2004. pp: 424-436.

Eliscu, David
"What Was It Like to Have a Blacklisted Father?" Cinema Journal - 44, Number 4, Summer 2005, pp. 85-89 -
UC users only

Eliscu, Edward
With or without a song: a memoir Lanham, Md.: Scarecrow Press, 2001.
MAIN: PS3509.L432 W58 2001

English, Richard
"What Makes a Hollywood Communist?" (cover story) Saturday Evening Post; 5/19/1951, Vol. 223 Issue 47, p30-150, 6p

Everitt, David
A shadow of red : communism and the blacklist in radio and television Chicago : Ivan R. Dee, c2007.
MAIN: PN1990.6.U5 E84 2007; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip071/2006031926.html

Farah, Joseph.
"The Real Blacklist: True or False: The Fifties was a Period of Blacklisting and Fear in the American Movie Industry." National Review v41, n20 (Oct 27, 1989):42 (2 pages).

Fariello, Griffin.
"Five minutes to midnight -- The Hollywood blacklist." In: Red scare : memories of the American Inquisition : an oral history / Griffin Fariello. New York : Norton, c1995.
Main Stack E743.5.F34 1995
Moffitt E743.5.F34 1995

Faulk, John Henry.
Fear on trial Austin, Tex. : University of Texas Press, 1983.
MAIN: KF228.F38 F3 1983
MAIN: KF228.F38 .T4 1976 [earlier edition]

Federal Bureau of Investigation Confidential Files. Communist Activity in the Entertainment Industry. FBI surveillance Files on Hollywood, 1942-1958 / edited by Daniel J. Leab. Bethesda, MD: University Publications of America, c1991. 14 microfilm reels; 35 mm.

Notes: Accompanied by a printed reel guide compiled by Robert E. Lester entitled: A guide to the microfilm edition of Federal Bureau of Investigation confidential files. Communist activity in the entertainment industry. Microfilm container labels read: Communist activity in the entertainment industry.
News/Micro MICROFILM.71263 Shelved: For guide see: A guide to the microfilm edition of Federal Bureau of Investigation confidential files. Communist activity in the PN1993.5.U65 1991 GSSI Library has: reel 1-14 (c1991) Guide to this collection: PN1993.5 .U65 1991 Govt/Soc Sci

Foley, Karen Sue.
The Political Blacklist in the Broadcast Industry: The Decade of the 1950s / Karen Sue Foley. New York: Arno Press, 1979, c1972. Dissertations in broadcasting
Main Stack HE8689.8.F64 1979

Foreman, Amanda; Foreman, Jonathan.
"Our Dad Was No Commie." (director Elia Kazan's winning of the 1999 Oscar Lifetime Achievement award)(filmmaker Carl Foreman) New Statesman (1996) v129, n4429 (March 26, 1999):20 (2 pages).
Kazan's 1999 honorary Oscar award has raised the hackles of the families of those he 'named' before the House Un-American Activities Committee during the McCarthy witchhunt of 1954. Blacklisted and banned from making movies, former filmmaker Carl Foreman was among those he identified as former Communists, which ruined his career for good.

Foreman, Jonathan.
"Witch-hunt." (Carl Foreman's experience of McCarthyism and the Hollywood blacklist)Index on Censorship v24, n6 (Nov-Dec, 1995):96 (4 pages).
"Jonathan Foreman discusses the insecurity and bitterness that his father, Carl, felt after being blacklisted during the Hollywood Inquisition inspired by McCarthyism. Carl Foreman found refuge in Britain and raised his children there. The McCarthy witch-hunt stripped innocent people of their honor and families. Carl Foreman did not join his colleagues in naming others in order to save themselves." [Magazine Index]

Fox, Darryl.
"Crossfire and HUAC
"Surviving the Slings and Arrows of the Committee." Film History, 1989, Vol. 3 Issue 1, p29-37, 9p
UC users only

Freedland, Michael
Hollywood on trial: McCarthyism's war against the movies London : Robson Books, 2007.
MAIN: PN1993.5.U65 F73 2007

Friedman, Lester D.
"A Very Narrow Path: The Politics of Edward Dmytryk." Literature/Film Quarterly, vol. 12, no. 4, pp. 214-224, 1984 [J
UC users only

Fulford, Robert.
"American Demons of the 1950s."Queen's Quarterly, vol. 102 no. 3. 1995 Fall. pp: 525-45.

Fuller, Linda K.
"The Ideology of the 'Red Scare' Movement: McCarthyism in the Movies." In: Beyond the Stars 5: Themes and Ideologies in American Popular Film. / edited by Paul Loukides and Linda K. Fuller. pp: 229-47. Bowling Green, Ohio: Bowling Green University Popular Press, c1990
Main Stack PN1995.9.C36.B49 1990
Moffitt PN1995.9.C36.B49 1990

Gabler, Neal.
"Why the drama never ends." (honorary Academy Award for Elia Kazan, who once named names of Communist members to the House)(Column) Los Angeles Times (Sun, March 21, 1999):M1, col 1, 31 col in.

Georgakas, Dan.
"The Hollywood Blacklist." In: Encyclopedia of the American left / edited by Mari Jo Buhle, Paul Buhle, and Dan Georgakas. 2nd ed. New York : Oxford University Press, 1998.
Full text of this article is available at: http://www.writing.upenn.edu/~afilreis/50s/blacklist.html
Doe Refe HX86.E58 1998
Moffitt Refe HX86.E58 1998

Georgakas, Dan.
"The Hollywood Reds: 50 Years Later." American Communist History Volume 2, Number 1 / June 2003 Pages: 63 - 76
UC users only

Gerard, Jeremy; Brodie, John.
"H'wood Blacklistees Fought Same Battles in Gotham." (special section - 50th anniversary of the beginning of the anti-communist blacklist/Red Scare persecutions in the US entertainment industry)(Cover Story)Variety v364, n6 (Sept 9, 1996):125 (2 pages).
The New York theater/TV/radio version of the blacklist was less onerous, but still ruined or disrupted the careers of many, including John Henry Faulk, Joe Papp, Abraham Lincoln Polonsky, Walter Bernstein. The House Un-American Activities Committee focused mainly on film, but the theater

Giglio, Ernest D.
"HUAC and the Blacklist: The Red Scare Comes to Hollywood." In: Here's looking at you : Hollywood, film & politics New York : P. Lang, c2005.
MAIN: PN1995.9.P6 G56 2005
Table of contents http://www.loc.gov/catdir/toc/ecip051/2004022839.html

Goldstein, Patrick.
"Film director Elia Kazan to receive Oscar, foregiveness." Los Angeles Times (Fri, Jan 15, 1999):A1, col 2, 41 col in.

Goldstein, Patrick.
"A fateful decision, damaging fallout." (decision to give lifetime achievement award to director and 'red scare' informant Elia Kazan at 1999 Academy Awards) Los Angeles Times (Tue, March 16, 1999):F1, col 1, 38 col in.

Goldstein, Patrick.
"He's been there, survived that." (filmmaker and screenwriter Abraham Polonsky)(Interview) Los Angeles Times (Wed, Jan 20, 1999):F1, col 5, 38 col in.

Goldstein, Patrick.
"Many refuse to clap as Kazan receives Oscar."Los Angeles Times (Mon, March 22, 1999):A1, col 4, 27 col in.

Goldstein, Patrick.
"When Writers Really Were Nobodies; Hollywood's blacklist forced many to pen scripts anonymously, until the '57 Oscars began to turn the tide." (Calendar)(Top Story)(Column)Los Angeles Times (March 13, 2001):F-1.

Goodson, Mark
"If I'd stood up earlier....'" (television blacklisting) The New York Times Magazine Jan 13, 1991 v140 p22 col 1 (65 col in)

Gordon, Bernard
The Gordon file : a screenwriter recalls twenty years of FBI surveillance Austin : University of Texas Press, 2004.
Full text available online (UCB users only)
MAIN PS3557.O65425 Z44 2004
PFA : PS3557.O65425 Z44 2004

Gordon, Bernard
Hollywood exile, or, How I learned to love the blacklist: a memoir Austin: University of Texas Press, 1999.
MAIN: PN1998.3.G662 A3 1999
Contents via Google Books

ARCHIVE/MANUSCRIPT
Gordon, Donald
Hollywood Blacklist: Donald Gordon: oral history transcript / interviewed by Larry Ceplair; completed under the auspices of the Oral History Program, University of California, Los Angeles. 1991.
UCB Bancroft BANC MSS 92/114 c

Gorney, Daniel
"Commie, Kiddie-Porn Days Gone By." Cinema Journal, vol. 44, no. 4, pp. 90-96, Summer 2005
UC users only

Guy, S.
"'High Treason' (1951) - Britains Cold-War Fifth-Column (Film Directed By Roy Boulting)."Historical Journal Of Film Radio And Television, 1993, V13 N1:35-47.

Hall, Jeanne
"The benefits of hindsight: revisions of HUAC and the film and television industries in The front and Guilty by suspicion." Film Quarterly v. 54 no. 2 (Winter 2000/2001) p. 15-26
"Martin Ritt's The Front and Irwin Winkler's Guilty By Suspicion are two of the most notable exceptions to the rare screen treatments of stories of Hollywood and the blacklist. Both are set in the early 1950s, and the dramatic climax of each film involves the hero being asked to inform on others. The Front stars Woody Allen as a lunch-counter cashier and small-time bookie who pretends to be the author of television scripts written by blacklisted writers until he is called before the House Committee on Un-American Activities (HUAC). Guilty by Suspicion stars Robert De Niro as director David Merrill, whose successful career is interrupted when he is named as a Communist and blacklisted by the studios. Both films feature nonpolitical heros who refuse to cooperate with the HUAC in the climactic final scenes." [Art Index]

Hall, Jeanne
"The benefits of hindsight: revisions of HUAC and the film and television industries in The front and Guilty by suspicion." [cover story]. Film Quarterly v. 54 no. 2 (Winter 2000/2001) p. 15-26

Hamilton, Denise.
"Keeper of the Flame: A Blacklist Survivor; Norma Barzman at 80, has cast off a retiring manner for an activist's role in portraying a troubled era." (Southern California Living) Los Angeles Times (Oct 3, 2000):E-1.

Hanson, Peter
Dalton Trumbo, Hollywood rebel : a critical survey and filmography / by Peter Hanson. Jefferson, N.C. : McFarland, c2001.
Main Stack PS3539.R928.Z69 2001
Table of contents from Google books

Haynes, John Earl
"A Bibliography of Communism, Film, Radio and Television." Film History. 2004. Vol. 16, Iss. 4; p. 396 (28 pages)
UC users only
"The article recounts how author Lillian Hellman developed her well-known stand against the U.S. House of Representatives Committee on Un-American Activities investigating her. A draft written by Hellman and sent to her lawyer Joseph Rauh, proves that Hellman was a member of the Communist Party of the USA (CPUSA) from 1938 to 1940 and negates her public stance that she had never been a Communist. In both her draft and final statements, she wrote that she has nothing to hide but ended up concealing her Communist past." [EBSCO]

Haynes, John Earl
"Hellman and the Hollywood inquisition." Film History, 1998, Vol. 10 Issue 3, p408-414, 7p
UC users only

Heckman, Heather
"Gray or Black: Howard Koch and the Elusive Architecture of the Hollywood 'Lists'." Mediascape, 11/17/08

Hitchens, G.
"Hollywood blacklisting." Film Culture no. 50-51 (Fall-Winter 1970) p. 5, 12-14, 16-21, 25-7, 50-3, 63-5, 74-7

Hitchens, G.
""The Hollywood ten"; complete sound-tract of the 16mm short. Notes on a blacklisted film: "Salt of the earth.". Film Culture no. 50-51 (Fall-Winter 1970) p. 69, 79-81

Hoberman, J.
"A Snitch in Time: Elia Kazan is Getting an Oscar for Lifetime Achievement, But His Career Performance Was Informing on Old Comrades." The Village Voice 44:11 [23 March 1999] p.36-38, 41-42

Hoberman, J.
"When HUAC came to Hollywood." In: An army of phantoms : American movies and the making of the Cold War / J. Hoberman. New York : The New Press : Distributed by Perseus Distribution, 2011.
Moffitt PN1995.9.P6 H62 2011 AVAILABLE
Pacific Film Archive PN1995.9.P6 H62 2011

Hollingsworth, Mark
Blacklist: The Inside Story of Political Vetting / Mark Hollingsworth and Richard Norton-Taylor. London: Hogarth Press, 1988. Series title: Current affairs.
UCB Main HD4902.5 .H641 1988

"Hollywood blacklisting. Defiance in "The defiant ones." Blacklisting document: annual report of the Committee on un-American activities for 1952; introduction. Notes on a blacklisted film: "Salt of the earth."" Film Culture no. 50-51 (Fall-Winter 1970) p. 1, 63-5, 77-81

Hollywood on Trial[videorecording]
Details the hysteria and paranoia of the blacklist era through presentation of key events leading up to the Cold War, actual extensive footage of the Hollywood Ten and the 1947 House Committee on Un-American Activities hearings on Communist infiltration into the movie industry, and present day interviews with formerly blacklisted actors, writers, producers, directors and members of the Un-American Activities Committee.
Media Resources Center Video/C 5751

Horne, Gerald.
The final victim of the blacklist : John Howard Lawson, dean of the Hollywood Ten Berkeley : University of California Press, c2006.
Full text available online (UCB users only)
Main PS3523.A954 Z69 2006

Horowitz, Harold W.
"Loyalty Tests for Employment in the Motion Picture Industry." Stanford Law Review Vol. 6, No. 3 (May, 1954), pp. 438-472
UC users only

"How the blacklist worked in Hollywood; transcription of a tape-recording. New book on Abraham Polonsky. Filmography of Abraham Polonsky." Film Culture no. 50-51 (Fall-Winter 1970) p. 41-50

Hollywood on trial[Video]
Produced by James Gutman, directed by David Helpern. [videorecording] [Oak Park, IL] : MPI Home Video, c1989.
Media Center VIDEO/C 5751

Humphries, Reynold.
Hollywood's blacklists : a political and cultural history / Reynold Humphries. Edinburgh : Edinburgh University Press, 2008
Main (Gardner) Stacks PN1590.B5 H86 2008
Moffitt PN1590.B5 H86 2008

Hunter, Tim
"The Senate Small Business Committee Pizza Parlor." Cinema Journal, vol. 44, no. 4, pp. 112-14, Summer 2005
UC users only

Investigation of so-called "blacklisting" in entertainment industry--report of the Fund for the Republic, inc. Hearings, Eighty-fourth Congress, second session. United States. Congress. House. Committee on Un-American Activities. Washington, U. S. Govt. Print. Off., 1956.
MAIN: J61 .U5 84th v.6; Main Circulation Desk

Ivins, Molly.
"Johnny's Fight." (John Henry Faulk) (obituary) Mother Jones v15, n5 (July-August, 1990):8 (2 pages).

Jarrico, Bill
"The Blacklist through New Eyes." Cinema Journal - 44, Number 4, Summer 2005, pp. 104-111
UC users only
UC users only

ARCHIVE/MANUSCRIPT
Jarrico, Paul. Interviewee
Hollywood Blacklist: Paul Jarrico: oral history transcript / interviewed by Larry Ceplair; completed under the auspices of the Oral History Program, University of California, Los Angeles. 1991.
UCB Bancroft BANC MSS 92/104 c

Johnson, Ted.
"Little Union Unity on Subject of Commies." (special section - 50th anniversary of the beginning of the anti-communist blacklist/Red Scare persecutions in the US entertainment industry)(Cover Story)Variety v364, n6 (Sept 9, 1996):124.
Even icons such as Walt Disney and Ronald Reagan are still recalled with bitterness on the part of entertainment industry union members bitter with their cooperation with the blacklist. Many unions, they say, only half-heartedly defended their accused members during the era.

Johnny Got his Gun: Dalton Trumbo Interviewed by Larry Bensky. North Hollywood, CA : Pacifica Radio Archives, [200-?]
SOUND/D 230

Kahn, Gordon.
Hollywood on Trial; The Story of the 10 Who Were Indicted. Foreword by Thomas Mann. New York, Boni & Gaer [1948].
UCB Bancroft F867.M6 K3
UCB Main PN1993.5.U6 K3 1948

Kempton, Murray.
"Part of Our Time, Too." (Dalton Trumbo on communism and blacklisting)Nation v268, n13 (April 5, 1999):60.
Dalton Trumbo was one of the highest paid screenwriters of his time. Though he was blacklisted during the McCarthy era he won an Academy Award under a pseudonym. Political affiliations caused Trombo some difficulties and his analysis of blacklisting and writing is presented in the form of a letter to Murray Kempton.

Klady, Leonard.
"Pinko Stinko, 50 Years Later." (special section - 50th anniversary of the beginning of the anti-communist blacklist/Red Scare persecutions in the US entertainment industry)('Commie Carnival' Revisited)(Cover Story)Variety v364, n6 (Sept 9, 1996):1 (2 pages).
The blacklist has continuing echoes in modern Hollywood. The Writers Guild continues to re-certify authorship of films written using others as 'fronts' or under pseudonyms. The Motion Picture Academy still refuses to give Elia Kazan a Lifetime Achievement award for his cooperation with Congress.

Koehler, Robert.
"Kazan's HUAC testimony a permanent black mark." (Filmmaker Elia Kazan and Academy participation in blacklisting)(Brief Article)Variety v374, n2 (March 1, 1999):48 (1 page).

Kramer, Hilton.
"'The Blacklist & the Cold War' Revisited." New Criterion, vol. 16 no. 3. 1997 Nov. pp: 11-16.
" On the occasion of the 50th anniversary of the hearings into the Communist influence in Hollywood by the House Committee on Un-American Activities in Washington, the writer discusses "The Blacklist & the Cold War," an article he wrote for The New York Times in 1976. The article examines the Hollywood blacklist in relation to Woody Allen's film The Front, David Helpern's documentary Hollywood on Trial, and Lillian Hellman's book Scoundrel Time. These works, he claims, present the issue of blacklisting as a simple matter of good guys versus bad guys, whereby all the virtue is accorded to those who denied the government the right to investigate what it thought to be threats to its security." [Art Index]

Kramer, Hilton.
"The blacklist revisited." In: The twilight of the intellectuals : culture and politics in the era of the Cold War / Hilton Kramer. p. 70-80. Chicago : I.R. Dee, 1999.
Main Stack E743.K69 1999

Kramer, Hilton.
"The blacklist revisited." The New Criterion, 16 (3): 11-16 1997 Nov.

Kramer, Julie.
"The life of the party." (Roz Roose) New Yorker v70, n48 (Feb 6, 1995):58 (15 pages).
"Artist, hostess and Communist sympathizer Roz Roose was known for converting the New York arts community to her radical thinking from the 1930s to the McCarthy era. She hosted weekly parties in her Central Park West home, which became known as 'the building,' until she moved them to Provincetown, MA." [Magazine Index]

Lardner, Kate.
Shut up he explained : the memoir of a blacklisted kid Ballantine Books, 2004.
MAIN: PS3612.A647 Z474 2004

Lardner, Ring
I'd hate myself in the morning : a memoir / Ring Lardner, Jr. New York : Thunder's Mouth Press/Nation Books ; [Emeryville, Calif.] : Distributed by Publishers Group West, c2000.
Main Stack PS3562.A72.Z469 2000

Lardner, Ring, et al.
"The beginning: the Hollywood Ten." In: It did happen here : recollections of political repression in America. Berkeley : University of California Press, c1989.
Full-text available online (UCB users only)
MAIN: JC599.U5 I81 1989
MOFF: JC599.U5 I8 1989

Lardner, Ring
An interview with Ring Lardner, Jr. the blacklist years Published: Los Angeles, Calif.: Pacifica Tape Library, [1983?]
Media Center: SOUND/C 403

Lawson, John Howard
Film in the battle of ideas / John Howard Lawson. New York : Garland, 1985. Cinema classics.
Main Stack PN1993.5.U6.L3 1984

Leab, Daniel J.
"The Hollywood Feature Film As Cold Warrior." OAH Newsletter 1985 13(2): 13-15.
"While relatively few Hollywood feature films from the late 1940's to the early 1960's dealt with communism, those that did fell into simplistic and formulaic genres (western, science fiction, and spy melodrama) that reflected the Cold War mentality of some moviemakers, though they were not successful at the box office." [America History and Life]

Leab, Daniel J.
"How Red Was My Valley: Hollywood, the Cold War Film, and I Married a Communist." Journal of Contemporary History, Vol. 19, No. 1, Historians and Movies: The State of the Art: Part 2. (Jan., 1984), pp. 59-88.
UC users only

Leab, Daniel J.
"'I Was a Communist for the FBI' - A Classic Cold War Film and the Shadowy Figure Who Inspired It." History Today, 1996 Dec., V46 N12:42-47.

Legacy of the Hollywood blacklist[Video]
Los Angeles, CA: Direct Cinema Limited, 1987.
Media Center VIDEO/C 2149

Levitt, Alfred Lewis.
Hollywood blackist oral history transcript, Alfred Lewis Levitt Published: [Los Angeles] : Oral History Program, University of California, Los Angeles, c1991. Format: Manuscript
BANC: BANC MSS 2002/155 c;

Levitt, Helen.
Hollywood blacklist oral history transcript, Helen Slote Levitt. Oral History Program, University of California, Los Angeles, c1991.
BANC: BANC MSS 2002/154 c; Non-circulating; may be used only in The Bancroft Library.

Lewis, Jon
"How the Blacklist Saved Hollywood." In: Hollywood v. hard core : how the struggle over censorship saved the modern film industry / Jon Lewis. New York : New York University, c2000.
Main Stack PN1995.62.L47 2000
Moffitt PN1995.62.L47 2000

Lewis, Jon
"'We Do Not Ask You to Condone This': How the Blacklist SavedHollywood." Cinema Journal 39, no. 2 (2000 Winter): p. 3-30
UC users only
"An examination of how the Hollywood blacklist evolved out of andaffected economic conditions. Contending that the blacklist savedHollywood, the writer focuses on the ways in which collusive strategiesput in place to control the film industry workforce in 1947 enabled thestudios to regain control over the entertainment marketplace after WorldWar II. He discusses how the U.S. House Committee on Un-AmericanActivities, by giving the studios lists of unionized workers who could be fired without cause, helped the studios better manage the uncertain labor situation and cut expenses and payrolls. Stating that the blacklist encouraged studio owners to develop and adopt a corporate model, he considers how it enabled the Motion Picture Association of America to replace the contract system with one far better suited for business in postindustrial, postwar America and much more suitable ethnically and politically for dealing with the federal government in the 1940s and 1950s." [Art Index]

Litvak, Joseph.
The un-Americans : Jews, the blacklist, and stoolpigeon culture / Joseph Litvak. Durham : Duke University Press, 2009.
Main (Gardner) Stacks
Contents: Sycoanalysis : an introduction -- Jew envy -- Petrified laughter : Jews in pictures, 1947 -- Collaborators : Schulberg, Kazan, and A face in the crowd -- Comicosmopolitanism : behind television -- Bringing down the house : the blacklist musical -- Coda : cosmopolitan states.

Lorence, James J.
The suppression of Salt of the earth : how Hollywood, big labor, and politicians blacklisted a movie in Cold War America / James J. Lorence. 1st ed. Albuquerque : University of New Mexico Press, c1999. Lorence, James J.
Main PN1997.S14 L67 1999

Maltz, Albert
The citizen writer in retrospect : oral history interview / Albert Maltz ; interviewed by Joel Gardner, [1975, 1976, 1978, 1979][Los Angeles] : Oral History Program, University of California, Los Angeles, c1983. Audiotape and videotape recordings also may be accessed in the UCLA Dept. of Special Collections by special arrangement. Volume includes index.
Bancroft BANC MSS 84/86 c Non-circulating; may be used only in The Bancroft Library.

Marty, Martin E.
"Elia Kazan: can 'naming names' be the one unforgivable sin?" (Column) Los Angeles Times v116 (Mon, Jan 27, 1997):M1, col 1, 30 col in.

May, Lary.
"Movie Star Politics: The Screen Actors' Guild, Cultural Conversion, and the Hollywood Red Scare." In: Recasting America: Culture and Politics in the Age of Cold War. / edited by Lary May. pp: 125-153. Chicago: University of Chicago Press, 1989.
Main Stack E169.12.R431 1989
Moffitt E169.12.R43 1989

McGilligan, Patrick.
"I'll always be an American." [excerpt from Tender comrades; interview with J. Dassin]. Film Comment v. 32 (November/December 1996) p. 34-48

McGilligan, Patrick.
Tender Comrades: A Backstory of the Hollywood Blacklist / Patrick McGilligan and Paul Buhle; photographs by Alison Morley and William B. Winburn. 1st ed. New York: St. Martin's Press, 1997.
UCB Law Lib KF4298 .M33 1997
UCB Main PN1590.B5 M35 1997
UCB Moffitt PN1590.B5 M35 1997

McGilligan, Patrick.
"A true-blue red in Hollywood: an interview with Paul Jarrico."Cineaste v. 23 no. 2 (1997) p. 32-9
UC users only
"In an interview, screenwriter Paul Jarrico, one of the most-named Hollywood communists during the HUAC sessions, discusses his career. Topics addressed include Communist Party writers' branch meetings in Hollywood in the 1930s, the role of women in the Party, the enduring militant strike film Salt of the Earth (1953), the Communist Party's treatment of writers, and his blacklisting." [Art Index]

McGilligan, Patrick.
"Ritt large; interview with M. Ritt." Film Comment v. 22 (January/February 1986) p. 38-9+
"Part of a cover story on the new cold war in film. In an interview, actor-turned-director Martin Ritt discusses his career. Ritt is a rarity in Hollywood because he insists on making only movies that he cares about. His films, which include Hud, Sounder, Norma Rae, and The Front, frequently focus on racial and labor problems. During the McCarthy era, Ritt was blacklisted for alleged Communist activities and was forced to teach at the Actors Studio. He decries Hollywood's current preoccupation with making profitable but valueless films and believes that true artists will eventually return to humanistic themes." [Art Index]

McClelland, Doug.
Blackface to blacklist: Al Jolson, Larry Parks, and "The Jolson story" Metuchen, N.J.: Scarecrow Press, 1987.
MAIN: PN1997.J5583 M331 198

Meroney, John.
"Kazan's honor." (Elia Kazan and the blacklisting entertainment industry personalities)(Column)Washington Post (Sat, March 20, 1999):A19, col 5, 19 col in.

Mills, Michael.
"Blacklist: A Different Look at the HUAC Hearings" (from: Modern Times web site)

Moser, John E.
""Gigantic Engines Of Propaganda": The 1941 Senate Investigation of Hollywood." The Historian 63.4 (Summer 2001): 731.
UC users only

Murphey, Dwight D.
"The 'Hollywood Blacklist" in Historical Context." The Journal of Social, Political and Economic Studies v. 18 (Fall '93) p. 327-49
"American film industrialists agreed not to recruit communists and procommunists in 1947 following the case in the House Committee on American Activities dealing with communism in the industry. Intellectuals, however, have become procommunist and have the support of the media. Although there is no mention of it in literature, films of the 1930s and 40s were dominated by communist thought. Communists in the 1990s have highlighted this to promote its ideology." [Expanded Academic Index]

Navasky, Victor S.
"Blacklisting reality." (federal government blacklisting of Hollywood in the 1950s no longer exists, but the mentality that created it persists in the 1990s)(Brief Article)(Editorial)Nation v265, n16 (Nov 17, 1997):5 (1 page).

Navasky, Victor S.
Naming Names / Victor S. Navasky. New York: Viking Press, 1980.
Main Stack PN1993.5.N6 N4 1980
Moffitt PN1993.5.U6 N4 1991

Navasky, Victor S.
"The Oscar No One Will Win." (honorary Academy Award for the controversial Elia Kazan)(Brief Article)Newsweek v133, n12 (March 22, 1999):72 (1 page).

Neale, Steve.
"Swashbucklers and Sitcoms, Cowboys and Crime, Nurses, Just Men and Defenders: Blacklisted Writers and TV in the 1950s and 1960s." Film Studies, Winter2005, Vol. 7 Issue 0, p83-103, 103p
UC users only

Nesselson, Lisa.
"Survival Instincts." (blacklistee Jon Berry)Variety v367, n6 (June 9, 1997):7 (2 pages).
Jon Berry, one of America's blacklisted artists during the McCarthy era, has found good fortune in France. Berry, who was born in Brooklyn, has worked as a stage performer, dubbing artist and scripter but also as a stage director and artist coach.

Neve, Brian.
"Elia Kazan's first testimony to the house committee on Un-American activities, executive session, 14 January 1952." Historical Journal of Film, Radio and Television Volume 25, Number 2 / June 2005. pp: 251 - 272

Neve, Brian.
"The Hollywood Left: Robert Rossen and Postwar Hollywood." Film Studies, Issue 7, Winter 2005
UC users only

Neve, Brian.
"On the Waterfront." (Film in Context) History Today v45, n6 (June, 1995):19 (6 pages).
" Elia Kazan's 1954 film about the struggle between corrupt unionists and longshoremen informants, 'On the Waterfront,' has been seen by some writers as a naked apology for Kazan and screenwriter Budd Schulberg's informing on communists during the McCarthy period. The film was more than this." [Magazine Index]

Neve, Brian.
"HUAC, the blacklist, and the decline of social cinema." In: Transforming the screen, 1950-1959 / Peter Lev. Berkeley, Calif. : University of California Press, [2006]
Main (Gardner) Stacks PN1993.5.U6 H55 1990 v.7
Media Resources Center PN1993.5.U6 H55 1990 v.7
Pacific Film Archive PN1993.5.U6 H6 vol.7

Nielsen, Michael Charles.
Hollywood's Other Blacklist: Union Struggles in the Studio System / Mike Nielsen and Gene Mailes. London: British Film Institute, 1995.
UCB Main PN1993.5.U6 N54 1995

Noakes, John A.
"Official Frames in Social Movement Theory: The FBI, HUAC, and the Communist Threat in Hollywood." Sociological Quarterly, Fall2000, Vol. 41 Issue 4, p657-680, 24p
UC users only

O'Connor, Anne-Marie.
"Blacklisted screenwriter Tarloff dies." (Frank Tarloff)(Obituary) Los Angeles Times (Mon, June 28, 1999):B1, col 1, 25 col in.

Oliver, Myrna.
"Hollywood blacklist's Abraham Polonsky dies." (Obituary) Los Angeles Times (Thu, Oct 28, 1999):B1, col 6, 25 col in.

Ordinary Americans the Red scare [Video]
Alexandria, VA: Close Up Foundation, c1999.
Media Center VIDEO/C 6589

Palmer, Tim
"Side of the Angels: Dalton Trumbo, the Hollywood Trade Press, and the Blacklist." Cinema Journal - 44, Number 4, Summer 2005, pp. 57-74
UC users only

Pechter, William ; Abraham Polonsky
"Abraham Polonsky and "Force of Evil." Film Quarterly Vol. 15, No. 3, Special Issue on Hollywood (Spring, 1962), pp. 47-54
UC users only

Potter, Nicole
"Tales of the red menace: the anti-communist movement's effect on the motion picture industry and its depiction in filmFilms in Review v. 47 (September/October 1996) p. 29-33
"The effect of the anticommunist movement on the American motion picture industry in the 1950s is discussed. Hollywood was one of the most visible battlefields for the debate over the perceived threat of a Soviet Communist takeover of America. The House Un-American Activities Committee (HUAC) subpoenaed many film industry witnesses during its investigations, many of whom were later blacklisted either for being found "unfriendly"--left-wing--or for refusing to incriminate others, resulting in many ruined careers. Many films have been made about these events: Some, such as the 1952 Big Jim McLain, made when Senator Joseph McCarthy was at his most popular, laud HUAC's activities; others, such as the 1991 Guilty by Suspicion, embrace the contemporary viewpoint, concentrating on the horror of the inquisition and the blacklist. The latter appears to serve as a somewhat standard and lukewarm warning to today's society to be mindful of basic human rights at a time in which conservative dogma is rising." [Art Index]

Prime, Rebecca.
"The Old Bogey': The Hollywood Blacklist in Europe." Film History, 2008, Vol. 20 Issue 4, p474-486, 13p, 4 bw
UC users only

Radin, Max
In the Supreme Court of the United States, October term, 1949: no. 248, John Howard Lawson, petitioner, vs. United States of America, respondent: no 249, Dalton Trumbo, petitioner, vs. United States of America,... [S.l.: .n.], 1949 (Los Angeles: Parker & Co.).

UCB Bancroft p PN1994 .R45

Radin, Max
In the Supreme Court of the United States, October term, 1949: no. 248, John Howard Lawson, petitioner, vs. United States of America, respondent: no 249, Dalton Trumbo, petitioner, vs. United States of America,... [S.l.: .n.], 1949 (Los Angeles: Parker & Co.).
UCB Bancroft BOX 1474 Master Negative

Radosh, Ronald.
"The Blacklist as History." New Criterion, vol. 16 no. 4. 1997 Dec. pp: 12-17.
UC users only
"The writer reviews a number of books about the Hollywood Blacklist of the 1950s, among them Edward Dmytryk's Odd Man Out: A Memoir of the Hollywood Ten and Walter Bernstein's Inside Out: A Memoir of the Blacklist. Dmytryk's book exposes the hypocrisy and corrupt behavior that the Hollywood communists often engaged in and also provides many examples of the Communist Party's dictatorial means of controlling its members. Bernstein viewed the Soviet Union through the rose-colored glasses of sentimental socialism: His book is a first-rate example of retrospective literary exculpation." [Art Index]

Radosh, Ronald.
Red star over Hollywood : the film colony's long romance with the left San Francisco : Encounter Books, [2005].
Full text available online (UCB users only)
MAIN: PN1998.2 .R33 2005

Radosh, Ronald.
"Scoundrel 'Times.'" (slander case regarding a New York Times' feature article on Victor Navasky's film,'Guilty by Suspicion')(American Document) (column)American Spectator v24, n6 (June, 1991):30 (2 pages).

Redish, Martin H.; McFadden, Christopher R.
"HUAC, the Hollywood Ten, and the First Amendment Right of Non-Association." Minnesota Law Review85 1669 (2000-2001)
UC users only

Rapf, Joanna E. (ed. and introd.)
"In Focus: Children of the Blacklist, an Extended Family." Cinema Journal, vol. 44, no. 4, pp. 75-114, Summer 2005
UC users only

Rampell, Ed.
"The Empire Strikes Back." In: Progressive Hollywood : a people's film history of the United States / by Ed Rampell. New York : Disinformation ; St. Paul, MN : Distributed in the USA and Canada by Consortium Book Sales and Distribution, c2005.
Main (Gardner) Stacks PN1993.5.U65 R27 2005
Moffitt PN1993.5.U65 R27 2005 R27 2005

Red Channels: The Report of Communist Influence in Radio and Television. New York, N.Y.: American Business Consultants, 1950.
No Berkeley holdings
UCD Shields HE8698.A63
UCSD SpecColl HX83 R44 1950 Rare
SRLF A 0007535131 DD> SRLF Spec.Col. HE 8698 A51r Request at UCLA Special Collections.
CSL State Lib 384.5 A512 Reference Center

Red Hollywood[videorecording]
Film fragments and interviews provide a survey of the filmwork created by the victims of the Hollywood Blacklist. Includes Alfred Levitt, Paul Jarrico, John Berry, Joseph Losey, Dalton Trumbo, Cy Endfield and Abraham Polonsky who were involved as directors and/or writers. An effort has been made to separate the authors' ideology from their contributions to Hollywood cinema. This is not a film about their politics or their martyrdom. In the film, excerpts that follow credits are limited to screenwriters and directors who were Communists, ex-Communists, and occasional sympathizers.
Media Resources Center Video/C MM431

Reed, Jeremy.
Angels, divas and blacklisted heroes London: Peter Owen, 1999.
MAIN: PR6068.E34 A56 1999

Robb, D.
"Naming the Right Names: Amending the Hollywood Blacklist." Cineaste. 1996 Volume 22 Number 2 pp: 24
UCB users only
" The Hollywood blacklist for screenwriters was drawn up in the 1950s when some writers, directors and producers refused to cooperate with the House Un-American Activities Committee. The contemporary Writers Guild of America (WGA) is seeking recognition and due compensation for some blacklisted writers by forming the Blacklisted Writers Committee. Since the blacklist was eliminated in 1965, however, only seven blacklisted writers have been given credit for their work by the WGA, including Dalton Trumbo for 'Roman Holiday' and Carl Foreman and Michael Wilson for 'Bridge on the River Kwai.'" [Expanded Academic Index]

Rosenbaum, Jonathan
"Guilty by omission: political aspects of filmmaking: the study of film directors." Film Comment v. 27 (September/October 1991) p. 42-6+
"Recent research has sought to correct the tendency of American film criticism and historiography to ignore or depoliticize films of social protest. A recent biography of director Nicholas Ray redresses the conventional limited view of his career by putting his films of the 1950s in the context of his radical background in the 1930s and 1940s and by tracing the persistence of his radicalism after his break with commercial filmmaking in 1963. Received wisdom has it that the filmmakers victimized during the Hollywood anti-Communist blacklist were chiefly hacks whose politics were irrelevant to their work, but a reevaluation of blacklisted directors Cyril Endfield and John Berry suggests a different story. Endfield's The Underworld Story (1950) and Try and Get Me! (1951) are corrosive works of social criticism, and Berry's From This Day Forward (1946) and Claudine (1974) portray the experience of urban poverty with feeling and insight.

Rosenfeld, Stephen S.
"Looking back on the blacklisted." (50th anniversary of House Un-American Activities Committee's work to blacklist Hollywood writers, actors and directors)(Column) Washington Post v120 (Fri, Nov 28, 1997):A27, col 1, 17 col in.

Ross, Lillian.
"Introducing the Blacklist." New Yorker v70, n5 (March 21, 1994):176 (9 pages).
"Hollywood screenwriters and producers were forced to change their scripts and general motifs during the McCarthy era of the 1940s. The classic story of the little man succeeding against the odds was considered pro-Communist." [Magazine Index]

Roth, Philip.
I Married a Communist / Philip Roth. Boston: Houghton Mifflin, 1998.
UCB Main PS3568.O855 I18 1998

Rothman, Cliff.
"Shud He Have Been a Contendah?" (Elia Kazan)Nation v268, n13 (April 5, 1999):57 (1 page).
The decision of the Academy of Motion Picture Arts and Sciences to award Elia Kazan the lifetime achievement award, despite Kazan's alleged involvement in naming communists in the entertainment industry is examined. In the era of Linda Tripp some appear more willing to understand Kazan's conduct, though others who were affected by Kazan's disclosures are not so forgiving.

Rothstein, Edward.
"On naming the names in life and in art." (director Elia Kazan is still pigeon-holed, scorned, for having cooperated with anti-Communist investigations by Sen. Joseph McCarthy, despite the quality of his... New York Times v146 (Mon, Jan 27, 1997):B1(N), C13(L), col 1, 27 col in.

Rouverol, Jean.
Refugees from Hollywood: a journal of the blacklist years / Jean Rouverol. 1st ed. Albuquerque: University of New Mexico Press, c2000.
Main Stack PN1998.2.R68 2000

Ryskind, Allan H.
"The truth about the Hollywood Ten." Human Events, 01/02/98, Vol. 54 Issue 1, p11, 6p
UC users only
"Presents the truth about the US House Committee on Un-American Activities (HCUA) hearings and the Hollywood Ten, the blacklisted members of the motion picture industry. Communist background of each of the ten members of the movie colony; Group's decision to continue as a front for Joseph Stalin's criminal conspiracy against the West." {EBSCO]

Sahagun, Louis; Welkos, Robert W.
"Ring Lardner Jr., Last of the Hollywood 10, Dies; Cold War: Oscar-winning writer was jailed, blacklisted for refusing to testify about his Communist affiliation." (Part A)(Obituary) Los Angeles Times (Nov 2, 2000):A-1.

Salzman, Jack.
Albert Maltz Boston : Twayne Publishers, c1978.
MAIN: PS3525 .Ma58Z8; Storage Info: B 4 723 124

Sayre, Nora.
"Fifty years and counting: the power of the blacklist." (Writers Guild of America restores screenplay credits to writers who were forced to change their names in the 1950s following congressional investigation...Los Angeles Times v116 (Sun, April 13, 1997):M1, col 1, 28 col in.

Sbardellati, John
"Brassbound G-Men and Celluloid Reds: The FBI's Search for Communist Propaganda in Wartime Hollywood." Film History: An International Journal, vol. 20, no. 4, pp. 412-436, 2008
UC users only

Sbardellati, John
"'The Maltz Affair' revisited: How the American Communist Party relinquished its cultural influence at the dawn of the Cold War." Cold War History, Nov2009, Vol. 9 Issue 4, p489-500, 12p
UC users only

Scandalize my name stories from the blacklist [Video]
Seattle, WA: Unapix Entertainment, Inc., [2000] Media Center VIDEO/C 789

Schickel, R.
"Return of the Hollywood Ten." Film Comment v. 17 (March/April 1981) p. 11-5+

Schultheiss, John.
"A season of fear: the blacklisted teleplays of Abraham Polonsky." (includes filmography)Literature-Film Quarterly v24, n2 (April, 1996):148 (17 pages).
"Screenwriter Abraham Polonsky continued to work during the 1950s, despite being blacklisted, by using fronts to write for television, and much of his work received critical acclaim. Producer Charles Russell was willing to hire blacklisted writers for the CBS show "You Are There." These assignments allowed Polonsky, Walter Bernstein and Arnold Manoff to write historical accounts of individuals who managed to control their fates despite adverse conditions. Their teleplays were infused with issues of enduring social significance." [Magazine Index]

"Seeing Red." PBS: October 24, 1997 Newshour Transcript
In 1947, the House Un-American Activities Committee began its investigation of suspected communists in the film industry. The investigation ruined hundreds of careers. After excerpts from the PBS documentary "The Legacy of the Hollywood Blacklist", Elizabeth Farnsworth talks with writer/producer Paul Jarrico and actress Marsha Hunt about their experiences on the blacklist.

Sigal, Clancy.
"Hollywood During The Great Fear."Present Tense 1982 9(3): 45-48.
"Discusses the impact on the Hollywood Jewish community of McCarthyism, blacklisting, and the investigations of the House Committee on Un-American Activities, focusing on the position of Jews, including the author, who worked in the movie industry." [from ABC-CLIO America: History & Life]

Slide, Anthony.
Actors on red alert: career interviews with five actors and actresses affected by the blacklist Lanham, Md.: Scarecrow Press, 1999.
MAIN: PN1590.B5 S65 1999;

Stein, Elliott
"Un-American Tragedy." The Village Voice, Oct 21, 1997
Recently the Writers Guild of America announced that the credits on close to 50 films made in Hollywood during the Cold War were being altered to display the names of their true authors, many of whom were blacklisted writers. The Hollywood Ten, a group of blacklisted writers with two surviving members, is discussed.

Strugatz, Barry.
"Lardner." (Ring Lardner Jr., blacklisted writer in the 1950's) (interview) Film Comment v24, n5 (Sept-Oct, 1988):52 (15 pages).

Sefcovic, Enid M.I.
"Cultural memory and the cultural legacy of individualism and community in two classic films about labor unions." Critical Studies in Media Communication Sept 2002 v19 i3 p329(23)

Sito, Tom
"The war of Hollywood and the blacklist: 1945-1953." In: Drawing the line : the untold story of the animation unions from Bosko to Bart Simpson / Tom Sito. Lexington, Ky. : University Press of Kentucky, c2006.
Main (Gardner) Stacks NC1766.U5 S58 2006

Strugatz, Barry.
"Notes on the Blacklist: Lardner." Film Comment. Oct 1988. Vol. 24, Iss. 5; p. 52 (16 pages)
UC users only

Suber, Howard.
"Politics And Popular Culture: Hollywood At Bay, 1933-1953." American Jewish History 1979 68(4): 517-534.
"The politics of hysteria and repression that overtook the United States found an easy scapegoat in Hollywood for the fearful, the demagogic, political adventurers, union busters, and latent anti-Semites, as much as fellow travelers and crypto-Communists. Makes clear that long-term labor union and political conflicts in the film industry contributed significantly to the second Red Scare of 1947 with its "Hollywood Ten" and its blacklist." [from ABC-CLIO America: History & Life]

Szamuely, George.
"The Way They Are." (House Un-American Activities hearings of 1951 in film; new liberal Hollywood) National Review v43, n6 (April 15, 1991):48 (3 pages).

Trumbo, Dalton
Additional dialogue; letters of Dalton Trumbo, 1942-1962. Edited by Helen Manfull. New York, M. Evans; distributed in association with Lippincott [1970]
Main Stack PS3539.Tr928.Z53 >

Trumbo, Dalton
The Time of the Toad; A Study of Inquisition in America By One of the Hollywood Ten. [Hollywood, Calif., Hollywood Ten, 1950?].
UCB Bancroft F867.M6T74

Trumbo, Nikola
"A Different Childhood." Cinema Journal, vol. 44, no. 4, pp. 96-100, Summer 2005
UC users only

"Un-American" Hollywood : politics and film in the blacklist era
Edited by Frank Krutnik ... [et al.]. New Brunswick, N.J. : Rutgers University Press, c2007.
Full text available online (UCB users only)
MAIN: PN1995.9.P6 U5 2007
MOFF: PN1995.9.P6 U5 2007

The Un-Americans [Video]
New York, NY: Filmakers Library, [2000?]
Media Center DVD X8637;

United States. Congress. House. Committee on Un-American Activities.
Thirty years of treason; excerpts from hearings before the House Committee on Un-American Activities, 1938-1968. Edited by Eric Bentley. New York, Viking Press [1971].
Main Stack E743.5.B4
Main Stack E743.5.B4

Van Dusen, Geraldine
"Behind the Curtains: The Blacklist Years." Cinema Journal - 44, Number 4, Summer 2005, pp. 100-104
UC users only

Vaughn, Robert
Only Victims; A Study of Show Business Blacklisting. With a foreword by George McGovern. New York, Putnam [1972]
Main Stack PN1590.B5.V3 1972a

Vaughn, Stephen
"Political censorship during the Cold War : the Hollywood ten." In: Movie censorship and American culture / edited by Francis G. Couvares. Washington : Smithsonian Institution Press, c1996.
Main Stack PN1995.62 .M68 1996
Moffitt PN1995.62 .M68 1996
Law Lib KF4300 .M68 1996PN1995.62 .M68 1996

Waxman, Sharon.
"Blacklist: Hollywood's raw wound; ruined artists finally get measure of respect." Washington Post v120 (Sun, Nov 23, 1997):G1, col 1, 71 col in.

Waxman, Sharon.
"For Eliz Kazan, a contentious moment of glory; blacklist meets A-list." (Academy Awards ceremony) Washington Post (Mon, March 22, 1999):C1, col 1, 19 col in.

Waxman, Sharon.
"Reelpolitik at the Oscars; honor for Elia Kazan stirs up those blacklisted in McCarthy era." Washington Post (Thu, Feb 25, 1999):C1, col 5, 25 col in.
Weber, Bruce
"A film by Alfred Palca; a blacklisted writer-producer finally gets credit." (producer blacklisted during the McCarthy era is to have his name rightfully restored by the Writers Guild of America to the credits for his film 'Go, Man, Go!' about the Harlem Globetrotters)(New York Report Pages) The New York Times August 20, 1997 v146 pA22(N) pB1(L) col 2 (28 col in)

Weiner, Rex.
"Hollywood Warms up to Activism." (political activism)(special section - 50th anniversary of the beginning of the anti-communist blacklist/Red Scare persecutions in the US entertainment industry)(Cover Story)Variety v364, n6 (Sept 9, 1996):124.
"Activism by entertainers and writers was blunted by the 1946-1960 blacklist, but many current stars are very outspoken, including Susan Sarandon, Tim Robbins, and Barbra Streisand. However, both Vanessa Redgrave and Edward Asner, among others, have lost job opportunities because of their politics." [Magazine Index]

Weiner, Rex.
"Solo thinker." (actor Robert Vaughn, author of 'Only Victims' about the Hollywood blacklst for a Phd. thesis)(Lost & Found)(special feature on 50th anniversary of the start of Red Scare/anti-communist...Variety v364, n6 (Sept 9, 1996):7 (1 page).

Weinraub, Bernard.
"Amid protests, Elia Kazan receives his Oscar." (Living Arts Pages) New York Times (Mon, March 22, 1999):B3(N), E3(L), col 1, 13 col in.

Weinraub, Bernard.
"Blacklisted screenwriters get credits." (Arts & Ideas)(Writers Guild of America gives credits on 14 films between 1951 and 1964) New York Times (Sat, August 5, 2000):A18(N), B12(L), col 1, 15 col in.

Weinraub, Bernard.
"Credits for 23 films restored." (Writers Guild of America restores credits on films written by blacklisted writers) New York Times v147 (Wed, Oct 1, 1997):B9(N), E3(L), col 1, 15 col in.

Weinraub, Bernard.
"From the days of McCarthy, a lingering chill." (American Film Institute passes up Elia Kazan for lifetime achievement award; Senator Joseph McCarthy) (Living Arts Pages) New York Times v146 (Thu, Jan 16, 1997):B1(N), C15(L), col 1, 39 col in.

Weinraub, Bernard.
"Naming names part II." (Writers Guild of America restores names of blacklisted writers to motion pictures produced during era of political persecution) The New York Times April 6, 1997 v146 s4 pE2(N) pE2(L) col 3 (7 col in)

Weinraub, Bernard.
"Time frees the Hollywood one." (honorary Academy Award to be given to Elia Kazan, who was blacklisted during the McCarthy-era) New York Times, sec4 (sun, Jan 24, 1999):WK1(L), col 2, 20 col in.

Wells, Zach
"'Are You a Member of the Communist Part?' The House Un-American Activities Committee and the Hollywood Blacklist." Perspectives in History, XXIII, 2007-2008

Wertheim, Larry M.
"Nedrick Young, Et Al. V. Mpaa, Et Al.: The Fight Against The Hollywood Blacklist." Southern California Quarterly 1975 57(4): 383-418.
"Traces the efforts to obtain an official judgment against the blacklisting of writers, actors, and directors by the motion picture industry. The famous Hollywood Ten actually included over 200 artists adversely affected by the Hollywood blacklist from 1948 until - for some - the 1970's. The litigation endured numerous obstacles, including lack of funds, the difficulty of proving the existence of an official blacklist, and adverse court decisions. Further hampering the effort was the view of some blacklisted writers such as Dalton Trumbo who held that everyone had suffered and that there could only be victims. Trumbo, disgusted with the legal maneuvering involved in the courts, called for individual rather than collective effort. The entire campaign was characterized by a lack of collective support, reluctance to reignite the controversy, and self-interest. The case, which began in 1960 with demands for $7.65 million in damages, was settled out of court in 1965 for $100,000. Suggests not only that Communists made no impression in Hollywood before 1947, but also that the blacklistees demonstrated a clear lack of radicalism in their efforts to reinstate themselves in the motion picture industry." [from ABC-CLIO America: History & Life]

Wheatcroft, Geoffrey.
"The waterfront all over again; he told the truth. They lied for communism. And he's the bad guy?" (controversy over special Academy Award for Elia Kazan)(Column) Wall Street Journal (Fri, March 19, 1999):W17(E), col 4, 22 col in.

Wood, Daniel B.
"This time, controversy isn't behind the scenes." (director Elia Kazan, who turned-in peers during the 1950s Communist scare, to receive 'lifetime achievement' award at 1999 Academy Awards) Christian Science Monitor v91, n78 (Fri, March 19, 1999):1, col 2, 27 col in.

Ybarra, Michael J.
"Blacklist Whitewash: The Real Story of the Hollywood Ten. (media portrayals of Hollywood communists too flattering) New Republic Jan 5, 1998 Vol/Num: v. 218, n. 1-2, p. 20 (4 pages)
UC users only
"The Hollywood Ten and other communists in the film industry have traditionally been treated as victims of an oppressive political climate. Mention has rarely been made that their status as communists meant that they were employed in the service of Joseph Stalin." [Magazine Index]



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