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Könyv Un-Americans Joseph Litvak

Un-Americans

Jews, the Blacklist, and Stoolpigeon Culture

Szerző: Joseph Litvak
Nyelv: Angol
Kötés: Kemény kötésű
Kiadó: Duke University Press
Elérhetőség: 50 % esély
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57 968 Ft
In a bold rethinking of the Hollywood blacklist and McCarthyite America, Joseph Litvak reveals a pol...

Információk a könyvről

Szerző
Joseph Litvak
Nyelv
Angol
Kötés
Könyv - Kemény kötésű
Kiadva
2009
oldal
304
EAN
9780822344674
ISBN
082234467X
Enbook ID
04938940
Kiadó
Duke University Press
Súly
567
Méretek
157 x 236 x 23

Teljes leírás

In a bold rethinking of the Hollywood blacklist and McCarthyite America, Joseph Litvak reveals a political regime that did not end with the 1950s or even with the Cold War: a regime of compulsory sycophancy, in which the good citizen is an informer, ready to denounce anyone who will not play the part of the earnest, patriotic American. While many scholars have noted the anti-Semitism underlying the House Un-American Activities Committee's (HUAC's) anti-Communism, Litvak draws on the work of Max Horkheimer, Theodor W. Adorno, Hannah Arendt, and Alain Badiou to show how the committee conflated Jewishness with what he calls 'comic cosmopolitanism', an intolerably seductive happiness, centred in Hollywood and New York, in show business and intellectual circles. He maintains that HUAC took the comic irreverence of the 'uncooperative' witnesses as a crime against an American identity based on self-repudiation and the willingness to 'name names'. Litvak proposes that sycophancy was (and continues to be) the price exacted for assimilation into mainstream American culture, not just for Jews, but also for homosexuals, immigrants, and other groups deemed threatening to American rectitude. Litvak traces the outlines of comic cosmopolitanism in a series of performances by Jewish artists and intellectuals such as Zero Mostel, Judy Holliday, and Abraham Polonsky: performances in film and theater and before HUAC. At the same time, through an uncompromising analysis of work by informers including Jerome Robbins, Elia Kazan, and Budd Schulberg, he explains the triumph of a stoolpigeon culture that still thrives in the America of the early twenty-first century.

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