TY - BOOK ID - 78143933 TI - Hollywood Exiles in Europe PY - 2014 SN - 0813562635 9780813562636 9780813562629 0813562627 9780813562612 0813562619 PB - New Brunswick, NJ DB - UniCat KW - PERFORMING ARTS / Film & Video / History & Criticism. KW - Cold War KW - Blacklisting of authors KW - Blacklisting of entertainers KW - Motion picture industry KW - Motion picture actors and actresses KW - Expatriate motion picture producers and directors KW - Entertainers KW - Authors KW - Mass media KW - Exiled motion picture producers and directors KW - Exiles KW - Motion picture producers and directors KW - Film actors KW - Film stars KW - Motion picture stars KW - Movie stars KW - Moving-picture actors and actresses KW - Stars, Movie KW - Actors KW - Actresses KW - Film industry (Motion pictures) KW - Moving-picture industry KW - Cultural industries KW - Influence. KW - History KW - Political aspects KW - Blacklisting KW - Censorship UR - https://www.unicat.be/uniCat?func=search&query=sysid:78143933 AB - Rebecca Prime documents the untold story of the American directors, screenwriters, and actors who exiled themselves to Europe as a result of the Hollywood blacklist. During the 1950s and 1960s, these Hollywood émigrés directed, wrote, or starred in almost one hundred European productions, their contributions ranging from crime film masterpieces like Du rififi chez les hommes (1955, Jules Dassin, director) to international blockbusters like The Bridge on the RiverKwai (1957, Carl Foreman and Michael Wilson, screenwriters) and acclaimed art films like The Servant (1963, Joseph Losey, director). At once a lively portrait of a lesser-known American "lost generation" and an examination of an important transitional moment in European cinema, the book offers a compelling argument for the significance of the blacklisted émigrés to our understanding of postwar American and European cinema and Cold War relations. Prime provides detailed accounts of the production and reception of their European films that clarify the ambivalence with which Hollywood was regarded within postwar European culture. Drawing upon extensive archival research, including previously classified material, Hollywood Exiles in Europe suggests the need to rethink our understanding of the Hollywood blacklist as a purely domestic phenomenon. By shedding new light on European cinema's changing relationship with Hollywood, the book illuminates the postwar shift from national to transnational cinema. ER -