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By Rebecca Prime

Rebecca top records the untold tale of the yank administrators, screenwriters, and actors who exiled themselves to Europe as a result Hollywood blacklist. in the course of the Nineteen Fifties and Nineteen Sixties, those Hollywood émigrés directed, wrote, or starred in nearly 100 ecu productions, their contributions starting from crime movie masterpieces like Du rififi chez les hommes (1955, Jules Dassin, director) to overseas blockbusters like The Bridge at the River Kwai (1957, Carl Foreman and Michael Wilson, screenwriters) and acclaimed artwork movies like The Servant (1963, Joseph Losey, director).

At as soon as a full of life portrait of a lesser-known American “lost new release” and an exam of a big transitional second in eu cinema, the ebook bargains a compelling argument for the importance of the blacklisted émigrés to our realizing of postwar American and eu cinema and chilly battle kinfolk. best offers distinct debts of the construction and reception in their eu motion pictures that make clear the ambivalence with which Hollywood used to be seemed inside of postwar ecu tradition. Drawing upon huge archival learn, together with formerly labeled fabric, Hollywood Exiles in Europe indicates the necessity to reconsider our realizing of the Hollywood blacklist as a only family phenomenon. through laying off new mild on eu cinema’s altering dating with Hollywood, the publication illuminates the postwar shift from nationwide to transnational cinema.

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Extra resources for Hollywood Exiles in Europe: The Blacklist and Cold War Film Culture

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While many of the Hollywood Left were communists, what this meant to them differed dramatically from the Cold War stereotypes of spies, conspirators, and violent revolutionaries. Instead, it manifested itself in the “generalized political awareness” referred to by Abraham Polonsky and which did find expression in numerous films from the 1940s, as the Hollywood radicals tried to address through film some of the same pressing social issues they tackled through their political activism. Just as the Left had raised awareness of Los Angeles’s racial problems through their organized response to the Sleepy Lagoon Case (in which twenty-four Mexican American youths were indicted for the murder of José Diaz) in 1942 and the Zoot Suit riots (in which small altercations between Mexican Americans and white sailors escalated into a full-on attack on the youths of the barrio by thousands of whites) in 1943, films such as Losey’s The Lawless (1950) and the underground blacklisted production Salt of the Earth (dir.

Dalton Trumbo collaborated clandestinely with Hugo Butler (who would not be blacklisted until 1951) on the screenplays for He Ran All the Way (1951)—directed by John Berry, starring John Garfield, and produced by Garfield’s independent production company, Roberts Productions—and The Prowler (1951), directed by Joseph Losey. 72 While independent productions did present Hollywood’s radical filmmakers with greater opportunities for self-expression than studio productions, they were still ultimately commercial enterprises in which the producers—not the writers or directors—had the last word.

7 A glance at the exiles’ filmographies during these early years in Europe suggests the challenges they faced finding work. Between 1949 and 1954, blacklisted Americans contributed to only seventeen European productions, whereas they would go on to direct, write, or perform in more than forty-four films between 1955 and 1960. Cy Endfield was able to stay employed by directing two lowbudget British B-movies: The Limping Man (1953) and Impulse (1954). Joseph Losey returned to the theater and directed two plays in London’s West End.

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