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In 1947, the House Un-American Activities Committee rudely interrupted the successful career and life of Edward Dmytryk, citing him with contempt of Congress. As a result, Dmytryk was fired by RKO and spent three years in England before returning to the United States to serve a six-month jail sentence and undergo a second round of hearings, during which he recanted and provided evidence against several of his former colleagues. In this personal and perceptive book, Dmytryk vividly chronicles the history of a particularly turbulent era in American political life while examining his own life before and after the events universally called the witch hunts. He details his brief membership in the Communist Party of America, explaining his initial commitment to what he perceived as communist ideals of civil liberties, economic justice, and antifacism, followed by his eventual disillusionment with the party as it betrayed those ideals. He goes on to provide a fair assessment of what then happened to him and the effect it had on the rest of his life. Dmytryk describes the activities, prejudices, and personal behaviors of all the parties enmeshed in the congressional hearings on communism in Hollywood. His reactions to other members of the Hollywood Ten and his recollection of conversations with them lend his book an immediacy that is not only informative but also absorbing. Most importantly, he does not uphold an ideology but rather presents the events as he perceived them, understood them, and responded to them.

Motion picture producers and directors --- Communism and motion pictures --- Music, Dance, Drama & Film --- Film --- Communism and moving-pictures --- Motion pictures and communism --- Motion pictures --- Biography --- Dmytryk, Edward. --- Dmytryk, Edward, --- Dymtryk, Edward, --- Miller, Moe, --- Dmytryk, Edward --- Miller, Moe

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As part of its effort to rid the nation of Communist influence and infiltration, the House Un-American Activities Committee subpoenaed hundreds of actors, screenwriters, producers, and directors with suspected ""Red"" leanings in 1947. Some of these film industry veterans, including screenwriter Paul Jarrico (1915--1997), refused to testify on Capitol Hill and were denied subsequent employment. In The Marxist and the Movies, Larry Ceplair illuminates the life, career, and political activism of Jarrico, the recipient of an Oscar nomination for his screenplay for Tom, Dick, and Harry (1941) a

Communism and motion pictures --- Blacklisting of entertainers --- Motion picture industry --- Screenwriters --- Communism and moving-pictures --- Motion pictures and communism --- Motion pictures --- Jarrico, Paul. --- Achilles, Peter, --- United States. --- HUAC --- Hollywood (Los Angeles, Calif.) --- History. --- HUAC (United States. Congress. House. Committee on Un-American Activities) --- House Un-American Activities Committee (U.S.)

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This book explores how Soviet film worked with time, the past, and memory. It looks at Stalinist cinema and its role in the production of history, the conversion of the present and experience into history, mechanisms of transfer, and what is located between history and the past. The representation of history is always the representation of power. The institution of legitimization and the mechanism for the production of identity, history is the past, constructed and served by the authorities who are attempting to curtail the experience by packaging it into a literary narrative and new visual im

Motion pictures --- Motion pictures and history. --- Motion pictures in propaganda --- Communism and motion pictures --- Communism and moving-pictures --- Motion pictures and communism --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- History and motion pictures --- Moving-pictures and history --- History --- History.

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Film and Revolution is an arresting new contribution to film studies by a critic who has constructed an aesthetic of the cinema grounded in Marxian ideology. The longest part of the book, devoted to Jean-Luc Godard, shows how Godard hopes to make his contribution to the revolution of society by inventing a revolutionary cinema. Essays present intelligent, probing analyses of Godard's later major films: Two or Three Things I Know about Her, La Chinoise, Made in USA, Weekend, Le Cai Savoir, One Plus One, Wind from the East, British Sounds, and Tout va bien. Part II,"Film and Revolution on Many Fronts," turns to film making in the Third World and elsewhere, analyzing films by Solanas, Kramer, Rossellini, Makavejev, Ophuls, Harris, and Petri. In Part Ill MacBean examines the semiology of the cinema proposed by Christian Metz and attacks his failure to come to terms with ideology. Finally, MacBean attempts to demystify the ideological package offered by the mass media, particularly the class struggle that is eclipsed by TV and the cinema. Illustrated with more than forty black-and-white stills.

Revolution. --- Film. --- Motion pictures --- Communism and motion pictures. --- Cinema --- Political aspects. --- Aspect politique. --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Communism and moving-pictures --- Motion pictures and communism --- History and criticism --- Film history, theory & criticism

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How do museums and cinema shape the image of the Communist past in today’s Central and Eastern Europe? This volume is the first systematic analysis of how visual techniques are used to understand and put into context the former regimes. After history “ended” in the Eastern Bloc in 1989, museums and other memorials mushroomed all over the region. These efforts tried both to explain the meaning of this lost history, as well as to shape public opinion on their society’s shared post-war heritage. Museums and films made political use of recollections of the recent past, and employed selected museum, memorial, and media tools and tactics to make its political intent historically credible. Thirteen essays from scholars around the region take a fresh look at the subject as they address the strategies of fashioning popular perceptions of the recent past.

Communism and motion pictures. --- Communisme et cinéma --- Communisme et cinéma --- Communism and moving-pictures --- Motion pictures and communism --- Communism --- Motion pictures --- Museums. --- Bolshevism --- Communist movements --- Leninism --- Maoism --- Marxism --- Trotskyism --- Collectivism --- Totalitarianism --- Post-communism --- Socialism --- Village communities --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Cinéma --- Communisme --- Musées --- Communism and motion pictures --- Museums --- E-books --- Cultural studies, Fascism, Film, Media, Memory in art, Memory politics, Museums, Postcommunism.