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If Dick (emer., Fairleigh Dickinson) had put off publication a few more months, he could have included the Coen brothers Hail, Caesar, which spoofs ?commies? portrayed in Hollywood movies in the 1940s and the 1950s, the Cold War, the HUAC period, Senator Joe McCarthy, and the replacement of the Yellow Peril with the Red Menace. Susan Sontag's ?The Imagination of Disaster? (collected in her Against Interpretation, CH, Jul'66) is possibly the first critical piece on monster movies spawned by the atom and hydrogen bombs, but Dick does not emphasize the moral implications of these films as much as Sontag does. He sees communists. He sees them everywhere, and he is not wrong in his ideologically oriented study of how it was necessary for Hollywood to maintain a strong anti-communist line (just as, ironically, Hollywood kept Hitler happy in the 1930s and very early 1940s). Dick devotes chapters to John Wayne and Alfred Hitchcock, and he is especially strong on Dr. Strangelove, Fail-Safe, and the Cold War symbolism of Invasion of the Body Snatchers and High Noon. But he is not beyond noting Flight to Nowhere, a 1940s B movie. In other words, Dick is encyclopedic. The book includes a full filmography.

Motion pictures --- Motion picture industry --- Communism and motion pictures --- Cold War in motion pictures. --- Guerre froide au cinéma --- Political aspects --- History --- History. --- Cinéma --- Communisme et cinéma --- Aspect politique --- Industrie --- Cold War in motion pictures --- Guerre froide dans le cinéma --- Koude oorlog in de film --- Cinéma --- Communisme et cinéma --- Guerre froide au cinéma --- United States --- 20th century --- Film --- Los Angeles [California]