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_a302.2 _a302.234309409045 |
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aPrime, Rebecca _eautore |
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| 245 | 1 | 0 |
_aHollywood Exiles in Europe : _bThe Blacklist and Cold War Film Culture / _cRebecca Prime. |
| 264 | 1 |
_aNew Brunswick, NJ : _bRutgers University Press, _c[2014] |
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| 264 | 4 | _c©2014 | |
| 300 |
_a1 online resource (264 p.) : _b23 photos |
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_atext _btxt _2rdacontent |
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_acomputer _bc _2rdamedia |
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_aonline resource _bcr _2rdacarrier |
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| 490 | 0 | _aNew Directions in International Studies | |
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_tFrontmatter -- _tCONTENTS -- _tAcknowledgments -- _tIntroduction -- _t1. The Radical Community in Hollywood -- _t2. Life on the Blacklist: Production and Politics in Postwar Europe -- _t3. The Blacklist and "Runaway" Production -- _t4. The Blacklist, Exile, and the Transatlantic Noir -- _t5. Cosmopolitan Visions, Cold War Fears -- _t6. Blacklisted Directors, Art Cinema, and the Caprices of Film Criticism -- _t7. The Legacy of the Blacklist -- _tConclusion -- _tNotes -- _tSelected Bibliography -- _tIndex -- _tABOUT THE AUTHOR |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
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| 520 | _aRebecca 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. | ||
| 530 | _aIssued also in print. | ||
| 538 | _aMode of access: Internet via World Wide Web. | ||
| 546 | _aIn English. | ||
| 588 | 0 | _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021) | |
| 650 | 0 |
_aBlacklisting of authors _zUnited States _xHistory _y20th century. |
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| 650 | 0 |
_aBlacklisting of entertainers _zUnited States _xHistory _y20th century. |
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| 650 | 0 |
_aCold War _xInfluence. |
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| 650 | 0 |
_aExpatriate motion picture producers and directors _zEurope _xHistory _y20th century. |
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| 650 | 0 |
_aMotion picture actors and actresses _zUnited States _xHistory _y20th century. |
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| 650 | 0 |
_aMotion picture industry _xPolitical aspects _zCalifornia _zLos Angeles _xHistory _y20th century. |
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| 650 | 0 |
_aMotion picture industry _xPolitical aspects _zEurope _xHistory _y20th century. |
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| 650 | 7 |
_aPERFORMING ARTS / General. _2bisacsh |
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| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.36019/9780813562636 |
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9780813562636 |
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_3Cover _uhttps://www.degruyter.com/cover/covers/9780813562636.jpg |
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