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Traditional interpretations of the 1950s have emphasized how American anti-communists deployed censorship and the blacklist to silence dissent, particularly in the realm of foreign policy. Yet those efforts at repression did not always succeed. Throughout the early years of the Cold War, a significant number of writers and performers continued to express controversial views about international relations in Hollywood films, through the new medium of televi-sion, on the Broadway stage, and from behind the scenes. By promoting superpower cooperation, decolonization, nuclear disarmament, and other taboo causes, dissident artists such as Lillian Hellman, Arthur Miller, Rod Serling, Dalton Trumbo, Reginald Rose, and Paddy Chayefsky managed both to stretch the boundaries of Cold War ideology and to undermine some of its basic assumptions. Working at times under assumed names and in some cases outside the United States, they took on the role of informal diplomats who competed with Washington in repre-senting America to the world. Ironically, the dissidents’ international appeal eventually persuaded the U.S. foreign policy establishment that their unconventional views could be an asset in the Cold War contest for “hearts and minds,” and their artistic work an effective means to sell Ameri-can values and culture abroad. By the end of the 1950s, the Eisenhower administration not only appropriated the work of these talented artists but enlisted some of them to serve as official voices of Cold War cultural diplomacy.

This revealing study looks at the influences and creative impulses that shape one of today’s most progressive, thoughtful filmmakers. Charlie Kaufman is one of the few screenwriters moviegoers recognize by name. He was ranked on Premiere 's Power 100 list and in 2004 was named by Time magazine as one of the 100 most influential people of all time. The Oscar-winning Kaufman is known for quirky, innovative stories that set him apart from his Hollywood brethren. Charlie Kaufman got his start in television, but it was his first film, the eccentric Being John Malkovich , that won notice for his unique storytelling style. With the aid of a plethora of contributions from those with whom the writer has worked, Charlie Kaufman: Confessions of an Original Mind presents the intriguing story of that movie and others as it examines one of the most innovative voices in modern film. This exhaustive study of Kaufman's life and work is organized chronologically to cover his early influences as well as his most-recent ventures. Highlights include explorations of Kaufman’s collaboration with Being John Malkovich director Spike Jonze—who stood him up for their first meeting—and the writer’s conflict with George Clooney (about whom Kaufman says, “I can tell you that George Clooney is my least favorite person\"). There are analyses of Human Nature Adaptation , and the hauntingly beautiful Eternal Sunshine of the Spotless Mind , which led to an Academy Award. The book also studies Kaufman's sound plays for Theatre of the New Ear and his directorial debut, Synecdoche, New York Title Features • Includes more than 20 original interviews with Charlie Kaufman's producers, cinematographers, editors, actors, and film crews • Provides a gallery of photographs from Kaufman's movies Highlights • Is the first book to provide an in-depth analysis of Kaufman's life and writing • Covers his early writing, breakout work for television, book adaptations, and original screenplays • Draws on the author's access to producers, filmmakers, and production supervisors to provide readers with a private pass into the behind-the-scenes process of translating Kaufman's writing to the big screen

No detailed description available for \"Horton Foote\".

Alan Ball: Conversationsfeatures interviews that span Alan Ball's entire career and include detailed observations and insights into his Academy Award-winning filmAmerican Beautyand Emmy Award-winning television showsSix Feet UnderandTrue Blood. Ball began his career as a playwright in New York, and his work soon caught the attention of Hollywood television producers. After writing for the sitcomsGrace Under FireandCybill, Ball turned his attention to the screenplay that would becomeAmerican Beauty. The critical success of this film opened up exciting possibilities for him in the realm of television. He created the critically acclaimed showSix Feet Under, and after the series finale, he decided to explore the issue of American bigotry toward the Middle East in his 2007 playAll That I Will Ever Beand the filmTowelhead, which he adapted and directed in the same year. Ball returned to television once again with the seriesTrue Blood--an adaptation of the humorous, entertaining, and erotic world of Charlaine Harris's vampire novels. In 2012 Ball announced that he would step down as executive producer ofTrue Blood, in part, to produce both a new television series and his latest screenplay,What's the Matter with Margie?

Abraham Polonsky (1910-1999), screenwriter and filmmaker of the mid-twentieth-century Left, recognized his writerly mission to reveal the aspirations of his characters in a material society structured to undermine their hopes. In the process, he ennobled their struggle. His auspicious beginning in Hollywood reached a zenith with his Oscar-nominated screenplay for Robert Rossen's boxing noir,Body and Soul(1947), and his inaugural film as writer and director,Force of Evil(1948), before he was blacklisted during the McCarthy witch hunt. Polonsky envisioned cinema as a modern artist. His aesthetic appreciation for each technical component of the screen aroused him to create voiceovers of urban cadences--poetic monologues spoken by the city's everyman, embodied by the actor who played his heroes best, John Garfield. His use of David Raksin's score inForce of Evil, against the backdrop of the grandeur of New York City's landscape and the conflict between the brothers Joe and Leo Morse, elevated film noir into classical family tragedy. Like Garfield, Polonsky faced persecution and an aborted career during the blacklist. But unlike Garfield, Polonsky survived to resume his career in Hollywood during the ferment of the late sixties. Then his vision of a changing society found allegorical expression inTell Them Willie Boy Is Here, his impressive anti-Western showing the destruction of the Paiute rebel outsider, Willie Boy, and cementing Polonsky as a moral voice in cinema.

On October 30, 1947, the House Committee on Un-American Activities concluded the first round of hearings on the allege Communist infiltration of the motion picture industry. Hollywood was ordered to \"clean its own house,\" and ten witnesses who had refused to answer questions about their membership in the Screen Writers Guild and the Communist party eventually received contempt citations. By 1950 the Hollywood Ten, as they quickly became known, were serving prison sentences ranging from six months to a year. Since that time the group, which included writers, directors, and a producer, have been either dismissed as industry hacks or eulogized as Cold War martyrs, but never have they been discussed in terms of their profession. Radical Innocenceis the first study to focus on the work of the Ten: their short stories, plays, novels, criticism, poems, memoirs, and, of course, their films. Drawing on myriad sources, including archival materials, unpublished manuscripts, black-market scripts, screenplay drafts, letters, and personal interviews, Bernard F. Dick describes the Ten's survival tactics during the blacklisting and analyzes the contribution of these ten individuals no only to film but also to the arts.Radical Innocencecaptures the personality of each of the Ten -- the arrogant Herbert J. Biberman, the witty Ring Lardner, Jr., the patriarchal Samuel Ornitz, the compassionate Adrian Scott, and the feisty Dalton Trumbo.

James Salter (1925-2015) has been known throughout his career as a writer's writer, acclaimed by such literary greats as Susan Sontag, Richard Ford, John Banville, and Peter Matthiessen for his lyrical prose, his insightful and daring explorations of sex, and his examinations of the inner lives of women and men. Conversations with James Salter collects interviews published from 1972 to 2014 with the award-winning author of The Hunters, A Sport and a Pastime, Light Years, and All That Is. Gathered here are his earliest interviews following acclaimed but moderately selling novels, conversations covering his work as a screenwriter and award-winning director, and interviews charting his explosive popularity after publishing All That Is, his first novel after a gap of thirty-four years. These conversations chart Salter's progression as a writer, his love affair with France, his military past as a fighter pilot, and his lyrical explorations of gender relations.The collection contains interviews from Sweden, France, and Argentina appearing for the first time in English. Included as well are published conversations from the United States, Canada, and Australia, some of which are significantly extended versions, giving this collection an international scope of Salter's wide-ranging career and his place in world literature.

A Hollywood screenwriting and movie-making icon, Ernest Lehman penned some of the most memorable scenes to ever grace the silver screen.Hailed by Vanity Fair as \"perhaps the greatest screenwriter in history,\" Lehman's work on films such as North by Northwest , The King and I , Sabrina, West Side Story , and The Sound of Music helped define a.

As part of its effort to expose Communist infiltration in the United States and eliminate Communist influence on movies, from 1947--1953 the House Committee on Un-American Activities subpoenaed hundreds of movie industry employees suspected of membership in the Communist Party. Most of them, including screenwriter Paul Jarrico (1915--1997), invoked the Fifth Amendment and refused to answer questions about their political associations. They were all blacklisted. In The Marxist and the Movies, Larry Ceplair narrates the life, movie career, and political activities of Jarrico, the recipient of an Oscar nomination for his screenplay for Tom, Dick and Harry (1941) and the producer of Salt of the Earth (1954), one of the most politically besieged films in the history of the United States. Though Jarrico did not reach the upper eschelon of screenwriting, he worked steadily in Hollywood until his blacklisting. He was one of the movie industry's most engaged Communists, working on behalf of dozens of social and political causes. Song of Russia (1944) was one of the few assignments that allowed him to express his political beliefs through his screenwriting craft. Though MGM planned the film as a conventional means of boosting domestic support for the USSR, a wartime ally of the United States, it came under attack by a host of anti-Communists. Jarrico fought the blacklist in many ways, and his greatest battle involved the making of Salt of the Earth. Jarrico, other blacklisted individuals, and the families of the miners who were the subject of the film created a landmark film in motion picture history. As did others on the blacklist, Jarrico decided that Europe offered a freer atmosphere than that of the cold war United States. Although he continued to support political causes while living abroad, he found it difficult to find remunerative black market screenwriting assignments. On the scripts he did complete, he had to use a pseudonym or allow the producers to give screen credit to others. Upon returning to the United States in 1977, he led the fight to restore screen credits to the blacklisted writers who, like himself, had been denied screen credit from the late 1940s to the mid-1960s. Despite all the obstacles he encountered, Jarrico never lost his faith in the progressive potential of movies and the possibility of a socialist future. The Marxist and the Movies details the relationship between a screenwriter's work and his Communist beliefs. From Jarrico's immense archive, interviews with him and those who knew him best, and a host of other sources, Ceplair has crafted an insider's view of Paul Jarrico's life and work, placing both in the context of U.S. cultural history.

Until now, Hollywood's political history has been dominated by a steady stream of films and memoirs decrying the “nightmare\" of the Red Scare. But in Red Star over Hollywood, Ronald and Allis Radosh show that the real drama of that era lay in the story of the movie stars, directors and especially screenwriters who joined the Communist Party or traveled in its orbit, and made the Party the focus of their political and social lives. The authors also show the Party's attempts at influencing filmmaking; their greatest achievement being the film “Mission to Moscow,\" which justified Stalin's great purge trials. Using material from the papers of Dalton Trumbo, Dore Schary, Albert Maltz, Melvyn Douglas and the FBI's Hollywood file, and from the newly released testimony of formerly closed HUAC Executive Session hearings, the authors trace the growth of the Communist Party from the 1930s, when many notables toured the Soviet Union and came back converted, through the 1950s when Party members were held to account for their allegiance to another country. The Radoshes' most controversial discovery is that during the investigations of the House Committee on Un-American Activities, the Hollywood Reds themselves were beset by doubts and disagreements about their disloyalty to America, and their own treatment by the Communist Party. Their allegiance to the Communist Party and its ever changing line, combined with their outlandish behavior before HUAC, turned old liberal allies against them, and left them vulnerable to the eventual blacklist. One case study, of actor John Garfield, looks at the strategy he tried to employ to avoid the blacklist, while working to keep the support of both the studios and the Hollywood Left. Acting more as an opportunist than an idealist, Garfield moved to espouse a strong anti-Communism, while at the same time avoiding naming the names of his old radical associates, by pretending to only have been a dupe. In constant agony, his evasions satisfied no one, and led to his fatal heart attack shortly before he as to again appear before HUAC, where he would have finally had to make a decision as to where he actually stood. Based on a new and extensive interview with writer Budd Schulberg, Red Star over Hollywood opens up the Party cells and discussion groups that defined Hollywood radicalism. Ronald and Allis Radosh also bring their story into the present, describing how the men and women who agitated for Communism a half-century ago created a legacy used by Jane Fonda and others of the Hollywood Left of the 1960s, and by celebrities such as Tim Robbins, Susan Sarandon, Richard Dreyfuss and Sean Penn in the turbulent filmland politics of today.