Annotated Bibliography:

Primary Sources

(24)
Communist Election Platform
1936. New York City: Workers Library, 1936. Internet Archive

.
Web. 13 Oct. 2016.
This primary source is the party platform for the Communist Party in 1936-- during the
Popular Front, when Earl Browder was at the head. It is particularly useful in terms of
determining the way Communist policy positions shifted alongside Moscow-- in previous
years, Communists had demonized President Roosevelt and the Socialist and Democratic
Parties in their platform; however, in 1936, Roosevelt is lightly critiqued for his
connections to big business yet is seen, on the large part, to be an ally in the fight for
societal change. Similar shifts occur in attitudes towards the Socialist Party, which is now
described as comrades who should join in alliance with the Communists, and the
Democratic Party, which now the Communists do not have major issues with-- they only
warn about those anti-New Dealer Democrats. This document illustrates not only the
historical context regarding how stark shifts in the Communist Party line could be, but
also how united the Popular Front seeked to be-- although the Communist Party was only
a small part of the coalition as a whole, it still tried to do its part in uniting the left.
"THE CONGRESS: From Wonderland."

Time 27 Oct. 1947. Time. Time Inc. Web. 1 Jan. 2017.

This an article from Time written in 1947 at the time of (and about) the first Hollywood
hearings. It concerns the beginning of the hearings, when friendly (cooperative)
witnesses testified. Reading contemporary reporting on this topic is quite useful for us; in
particular, the selected quotes from a candid interview of producer and MPA leader Sam
Wood help convey to us the tone of his testimony-- from the beliefs he espouses in the
quotes from the interview, it is clear that he was convinced of the dangers of Hollywood
communists and had little doubt in his mind as to the veracity of his values and the
necessity of his testimony. Additionally, the article informed us of Woods belief in
Communist power in the Screen Directors Guild (usually, this charge is levied towards
the Screen Writers Guild instead). It also contained dialogue between Wood and
Chairman Thomas (Thomas congratulated Wood on his great testimony), which
underscores how close HUAC and the cooperative witnesses were. Overall, this was
useful in establishing the atmosphere of the 1947 HUAC hearings, which contributed to
the tenor of the Tens stand.
Douglas, Kirk. "The Mike Wallace Interview." Interview by Mike Wallace. Harry Ransom
Center. University of Texas, 02 Nov. 1957. Web. 12 Jan. 2017.
This interview is an excellent source for us, from the University of Texas online
archives. Conducted while the blacklist was still in effect, this interview conducted by a
broadcast journalist, gives us much information on the kind of pressure someone would
face if they were rumored of breaking the blacklist. The interviewer asks Douglas many

questions about his relations with communism and if he would hire a communist.
Douglas tries to dance around the questions, but he is forced to disavow the communists,
as his reputation would have been shattered had he not. This shows how difficult it was
for anyone to profess even neutral opinions of communists, and gives some context
regarding Trumbos stand-- even the producer who later exuberantly publicized (and
exaggerated) his role felt confined to anti-communist attitudes.

Earl Browder:
Cover of Time Magazine. 1938. Time Inc. TIME. Web. 06 Jan. 2017.
This image, found on Time Magazines website, is a old cover from 1938 with the head
of the American Communist Party, Earl Browder, on the cover. Our inclusion of this
image stems from its contextual importance-- the fact that it clearly conveys Browders
search for mainstream American appeal, and the way in which Communism was a
somewhat acceptable-- or, to use Browders words, almost respectable-- organization
during the Popular Front. The Americanization of the CPUSA, this image displays, was
not just demonstrated through the Partys habit of referencing Washington, Lincoln, and
Jefferson with the same reverence as Marx, Engels, and Lenin; in addition to appealing to
Americans sense of history, the Communist Party actively tried to gain access to these
institutions and markers of American society they had been previously been locked out of
under all circumstances.
Ebert,
Roger. "Interview with Dalton Trumbo." Roberebert.com. Ebert Digital LLC. Web. 16
Oct. 2016.
Written by renowned film critic Roger Ebert, this article is an account of an interview
done by Roger Ebert. This interview shows us what Trumbo felt his job was like, and
provides information about how he wrote his movies. Most importantly for our purposes,
Trumbo goes over what writing Exodus and Spartacus was like. Additionally, Trumbo
talks about his anti-war feelings and his relationship with the radical left, both of which
are contextually useful. This interview helps us see some of what Trumbo thought of his
career (up to that point) and also what he thought of his roots. This interview is overall
excellent source for quotations, providing us with many excerpts usable for supporting
our thesis, which incorporates Trumbos stand, especially his chronicling of his personal
feelings on the blacklist.

"KENNEDY ATTENDS MOVIE IN CAPITAL: Slips Out of White House to See 'Spartacus'
With Sub-Cabinet Official." New York Times 5 Feb. 1961: 39. Proquest Historical
Documents: The New York Times. Web. 19 Oct. 2016.
This primary
source is the contemporary New York Times story (special to the Times, as it
notes) on Kennedys famous role in weakening the blacklist through going to watch a
showing of Spartacus (which one of the Ten, Trumbo, got credit for writing). We have
come across a significant amount of versions of the Kennedy story in secondary sources
throughout our research. Some these include, for example Kennedy crossing American
Legion picket lines, watching the film with his brother, Robert Kennedy, or with his wife,

Jackie Kennedy. All versions cannot possibly be true, so we looked to find a primary
source as we figured that would give us a better understanding of the circumstances of
the situation. We read about how, in this contemporary telling, Kennedy goes to a
showing not with his wife or brother but with the Under Secretary of the Navy, Paul
Burgess Fay, Jr, who had an extra ticket (although it should noted that it is unlikely
Kennedy could neutrally attend such a politically contested movie). Robert Kennedy, it
reports, had watched the film a week ago and then recommended it to him. There is no
mention of current picket lines, and but notes more a more interesting detail: Kennedy
spent over an hour meeting with the manager of the theatre, asking questions about the
motion picture industry. After the film, he asked about the success of the movie and took
a brochure about it. Notably, the Times quotes an theatre official in saying that this was
highly unusual, as presidents tend to give week-long notices before going to see a film.
Overall, this source helps us better understand the nature of Kennedys reaction to
Trumbos stand, and so better understand its effects.
Lardner, Ring, Jr. "American Skeptic." Interview by Barry Strugatz and Pat McGilligan. UC
Press E-Books Collection, 1982-2004. University of California. Web. 12 Jan. 2017.
This is an interview of Ring Lardner Jr, a member of the Hollywood Ten by one of the
co-authors of Tender Comrades, a major work on the Hollywood Ten. This interview is a
very good resource for us because the interviewers ask many question covering the full
scope of his life. This interview helps us learn more about the blacklist, and the
organizational details into the attempted stand of the Hollywood Ten. This interview also
provided us with many potential quotes for us to use if we wished, and over all gave us
more depth in our understanding of the topic.
Maltz, Albert. "Interview of Albert Maltz." Interview by Joel Gardiner. UCLA Center for Oral
History Research. UCLA. Web. 16 Oct. 2016.
This is an interview of Albert Maltz, a member of the Hollywood Ten. This marathon of
an interview covers every aspect of Maltzs life, but for our purposes his views on the
communist party and the blacklist are the most important. In this interview he mentions
specific details of what occurred during the blacklist, as well as accounts of his time in
prison. Additionally, he mentions what he thought of the other Hollywood Ten very often
and his accounts fill in many blanks in our knowledge of what happened. Additionally,
Maltz did extensive research before the interview, and he cited sources for many of his
statements regarding events he did not directly observe. This transcript gives us much
information on the Blacklist, and helps give us confirmation of what various secondary
sources have said.
Mandell, Andrea. "Kirk Douglas Reviews 'Trumbo'." USA Today. Gannett, 20 Nov. 2015. Web.
16 Oct. 2016.
This is an interview done by Andrea Mandell, a long time journalist from USA Today.
She interviews Kirk Douglas about Dalton Trumbo because a movie about Trumbo was

about to be released. Though the article title says that Kirk is reviewing the movie, he is
in fact mostly reminiscing about his memories of Trumbo. This interview gives us
information about why Kirk hired Trumbo. Also included are Kirks opinion on what
Trumbo was like, and the reason why he felt Trumbo should be hired during the blacklist.
Assisting us with our vision of what Trumbo was like in private, this source informs us of
Kirks views on what happened. This source is overall very authoritative and helps us see
what Kirk thought of Trumbo himself, which helps us define Trumbos stand more
accurately.
McCarthy, Joseph. The Fight for America. New York: The Devin-Adair Company, 1952. Print.
Written by Senator McCarthy himself, this book is about McCarthyism, and is his own
view on the subject and his opinions on what he was doing. In particular this book
focuses on Documented answers to questions asked by friend and foe. This book is
mainly filled with attacks on people and institutions as well as endorsements of people
who he supported. In essence this book is that of any politician, attacking their opponents
and supporting their friends, though McCarthys is remarkable transparent. The contents
of the book provide a great catalogue of his actions up to the point of writing the book,
and his opinions on various different matters such as the Korean War and the earlier
Hollywood Blacklist. This book provides a window into the mind of the man, and tells us
what he was expecting to do with his crusade. It is important to hear both sides of the
story and though it may full of bias this book is an excellent tool for analyzing the
anti-Communist movement, and finding more context into it.
The Menace of "Hitlerism" in America. 1936. CSUN Oviatt Library, Northridge. CSUN Oviatt
Library. Web. 02 Dec. 2016.
This we found this image, a poster from a Hollywood Popular Front organization called
the Anti-Nazi League, at the CSUN Oviatt Librarys digital collection. We used it in
order to make a contextual argument about the strength of the Popular Front in
Hollywood. During this time, the lefts agenda, shared from liberals to Communists, was
united in opposition to fascism. This image, therefore, was very handy for illuminating
this era of mutual principles; it also illustrates just how political the Hollywood Left was,
not content to merely reflect their values within their work, they took a more concrete,
activist stance on issues most important to them.
Motion Picture Association of America, Inc. Statement from the Motion Picture Association of
America, Inc., November 25, 1947. American Heritage Center. University of Wyoming,
31 Oct. 2007. Web. 7 Dec. 2016.
This document is the document agreed upon by the major Hollywood producers (the
Motion Picture Alliance of America) after their discussions at the Waldorf-Astoria Hotel
regarding what to do about the 1947 HUAC Hearings. It begins the Hollywood blacklist,
as it says it will not hire ten or will not employ any communists in the future. This is
useful in comprehending just how badly the Ten failed to make an effective stand against

HUAC-- almost immediately after the Hearings, the motion picture industry put the
Blacklist in place. It is similarly useful in understanding the context of Trumbos stand,
as this statement sets the stage for a politically repressive atmosphere, which he is trying
to overcome through his individual stand later on.
Rand, Ayn. Screen Guide for Americans. Beverly Hills: Motion Picture Alliance for the
Preservation of American Ideals, 1947. Print.
Penned by right-wing screenwriter and thinker Ayn Rand, this pamphlet was written in
1947 (right at the start of the Second Red Scare) to spread the anti-communist mission of
the Motion Picture Alliance for the Preservation of American Ideals (MPA), of which
Rand was a member. In it, Rand asserts that Communists in the film industry have
peppered their films with subtle, effective propaganda. She proposes a strategy for
combatting this perceived onslaught: filmmakers must not smear free enterprise,
industrialists, the profit motive, or wealth; similarly, they must not deify the common
man (in total, she lists out 13 guidelines of this theme). Rand concludes her pamphlet by
asserting that the First Amendment does not require employers to be suckers. Through
this pamphlet, we learned more about the MPAs specific grievances against the left, and
the ways in which they intended to combat communism through the content of films.
This contextualizes the friction between the left and right wings of Hollywood, as well as
the motivations of the MPA.
Redfield. The Ruling Clawss. New York: Daily Worker, 1935. Wolfsonian FIU. Web. 12 Jan.
2017.
This is a collection of political cartoons. Published by The Daily Worker, a newspaper
itself published by the American Communist party. These cartoons are by and large
criticisms of the upper class and their ignorance and arrogance. These cartoons are very
important to us as they allow us to get inside the minds of the communist party and see
their views more easily. Serving as historical context, it also gives us an insight into the
time when this was published, The Great Depression, and how the anti-wealthy and hard
anti-nazi positions of the Communist Party drew many people to the party.
"The Red Scare: Interpreting the Red Scare through Political Cartoons." Gerald R Ford
Presidential Library & Museum. National Archives and Records Administration. Web. 9
Jan. 2017.
From the Gerald R. Ford Presidential Library and Museum website, we found two great,
primary source cartoons useful in our argument, both of them from newspapers published
during the First Red Scare. These cartoons, one depicting a bolshevik pulling a drowning
man down into the water, and another depicting an anarchist sneaking under the
American flag, accurately display the brand of paranoia that spread regarding left-wing
radicals and immigrants. We thought that they would be an elegant way to present our
argument regarding the societal effects of the First Red Scare, understanding the context

of which is essential to comprehending the later, Second Red Scare which the Ten were
later caught in the middle of.
Scott, Adrian. Letter to Mr. Scott and Anne Shirley. 19 May 1955. American Heritage Center:
Digital Collection. University of Wyoming, 22 Jan. 2007. Web. 12 Jan. 2017.
A letter from Adrian Scott, a member of the Hollywood Ten, to his wife and father, this
letter was written when he was trying to make end meet in Hollywood while blacklisted.
This document is valuable to us because it showed us much about the rigors of day to day
living while blacklisted. This letter tells us much about the psychological state of
someone who was blacklisted. Another important piece of information included in this
letter is the efforts that Scott took to try and get a job. This letter all in all gives us a
brilliant picture of the damage the Blacklist inflicted on those affected, the context for
Trumbos later stand.
Trumbo, Christopher. Interview by Larry Ceplair. Dec. 12 and 24, 2010, Center for Oral History
Research, UCLA Library, http://oralhistory.library.ucla.edu/viewTextFile.do?itemId=283
9159&fileSeq=5&xsl=nul. Accessed Oct. 14 2016.
An interview of Dalton Trumbos son by a professor of history at Santa Monica
University that covers the Dalton Trumbos experiences during the HUAC hearings and
the Hollywood blacklist. It provided us with details on Trumbos time in prison (for
contempt of Congress) and in Mexico, the latter of which pushed him to decide to try
breaking the blacklist. It also shed a light on the practical injustices and difficulties of the
blacklist; the amount of negative publicity made it significantly more difficult to do
normal tasks like a buy a house or get a mortgage. In regards to the HUAC hearings,
Trumbos son recollects that no one expected a blacklist prior to them, including the
Hollywood establishment-- it was only after the hearings that the situation changed.
Perhaps more importantly, it gave more information into how writers operated under the
blacklist-- Trumbos son describes it as a black market. In order to protect this black
market for other blacklistees, Trumbo could not reveal his authorship of Roman Holiday
and The Brave One, both of which won Academy Awards. Additionally, Trumbos son
reveals that Trumbos stand against (and destruction of) the blacklist was an individual
undertaking-- it set a new precedent, which the rest of the blacklistees then had to make
apply to themselves somehow.
Trumbo, Dalton. Additional Dialogue; Letters of Dalton Trumbo, 1942-1962. Ed. Helen
Manfull. New York: M. Evans, 1970. Print.
This collection of Dalton Trumbo letters includes his correspondence from the 1940s to
the 1960s-- a timespan that encompasses his early career, the HUAC hearings, his prison
term for contempt of Congress, his career under the Blacklist, and his post-Blacklist
career. As they cover the entire scope of our topic, these letters were very useful in
gaining insight into Trumbos perspective on various events, in particular the Blacklist
and the hearings. It was also useful in terms of providing more information on Trumbo

himself-- as they are his personal letters, they reveal quite clearly his sharp, witty, and
bold personality, as well as his strong sense of humor. Especially applicable for us were
Trumbos letters regarding the chain of events that ended with his breaking the blacklist
and the strategy he chose in regards to this stand against McCarthyism. In one, Trumbo
complains of the American Communist Partys willingness to endlessly use him to
promote their array of causes, rather than help him and other blacklistees stand up to the
blacklist. He notes that for the past eleven years, the Party has forced him to attend
banquets and events all over the country, none of which helped to advance this goal. Such
circumstances led him to believe that the only strategy that would work in successfully
standing up against the blacklist was individual small guerilla warfare-- an assertion
which, through Spartacus and Exodus, he proves to be correct.
United States, Congress, House of Representatives, Committee on Un-American Activities.
Hearings Regarding the Communist Infiltration of the Motion Picture Industry.
Washington: Government Printing Office, 1947. 80th Congress, First Session. Internet
Archive. Web. 8 Oct. 2016.
This source is the transcript of the HUAC hearings in 1947, printed by the Government
Printing Office. It includes the testimonies of both friendly (like Ronald Reagan and Ayn
Rand) and unfriendly (like the Hollywood Ten and Dalton Trumbo) witnesses.
Particularly useful to us were the testimonies of Trumbo and the rest of the Ten, as we
had previously encountered summaries of their conduct through secondaries, although the
actual dialogue had not been available to us. Therefore, we gained a much clearer
understanding of the disruptive behavior-- mostly interruptions and yelling-- that resulted
in charges for Contempt of Congress, as well as the disastrous effects of the dont
answer but claim that you did strategy the Ten employed at the urging of their lawyers.
This source also gave us a better comprehension of the sharp contrast between the
treatment of the friendly witnesses and unfriendly witnesses; Ayn Rand is allowed a
lengthy, thorough commentary of the inaccuracies of Song of Russia, whereas Trumbo
cannot read out his previously prepared statement. Similarly, Trumbos request to submit
his film scripts to the record (which would have forced the committee to look deeper into
the charges of communist propaganda in the movies) was swiftly denied. This testimony
illuminates for us the specifics of Trumbos stand against the McCarthy Era; in particular,
how his stand was combative and loud, and clearly influenced by feelings of resentment
towards the HUACs treatment of him.
United States. Federal Bureau of Investigation. Subject: Hedda Hopper. Webharvest.gov.
National Archives and Records Administration. Web. 04 Jan. 2017.
This primary sources is a scanned version of an FBI file on Hedda Hopper, renowned
Hollywood socialite and gossip columnist, located at the National Archives. Mrs. Hopper
was very political, and was a rabid anti-communist. She posted many articles favorable
towards the FBI and they assisted her with some extortion and blackmail problems. This
file is very useful to us as it gives us an insight into the cooperation between the

anti-communists and the FBI in order to eliminate the communist threat, which gives
us more context into the network of anti-communist institutions in Hollywood.
Variety Staff. Review of Crossfire, directed by Edward Dmytryk. Variety, 31 Dec. 1946,
http://variety.com/1946/film/reviews/crossfire-1200415120/. Accessed on 27 Nov. 2016.
This primary source is a review of the movie Crossfire by Variety Magazine, which was
released in 1947. Crossfire, directed by Edward Dmytryk (one of the Hollywood Ten)
and produced by Adrian Scott (another one of the Hollywood Ten) is a model example of
the social issues pictures that became popular during the Popular Front and the brief
window of renewed liberal-Communist (unified left-wing) collaboration during the early
post-war years. One of the early reactions to the film, this review displays one
publications contemporary reactions and attitudes towards the social issues genre. The
bluntness of the films ideological message is illustrated when the magazine staff refers
to its frank spotlight on anti-Semitism, and its applauding appraisal of the movie as a
hard-hitting film whose whodunit aspects are fundamentally incidental to the overall
thesis of bigotry and race prejudice. This reaction illustrates for us that the messages of
the social issues pictures could be blatant and extremely upfront; additionally, the Variety
staffs positive reception of it demonstrates that these pictures, despite being bombarded
with criticisms by the MPA, did have their admirers in the film world-- the right-wing did
not have a monopoly over Hollywood. Overall, this review of Crossfire helps us
construct a more realistic image of Hollywoods political and cultural context-- it better
illuminates the nature of left-wing filmmakers positive reception.
Watch for the Ambulance from Hollywood to Spain! 1937. Digital Poster Collection. Digital
Poster Collection. Web. 01 Jan. 2017.
This image, a poster from the Hollywood Popular Front organization called the Motion
Picture Artists Committee, was found in the Digital Poster Collection, an online archive
of old posters. We used it in order to strengthen our contextual argument about the
strength of the Popular Front in Hollywood. During this time, the lefts agenda, shared
from liberals to Communists, was united in opposition to Franco, supporting the
Republicans during the Spanish Civil War (some, like Alvah Bessie, were so devoted that
they went to Spain to fight in the Abraham Lincoln Brigade). This image, therefore, was
very effective in illuminating this era of mutual principles; it also depicts just how
political the Hollywood Left was, not content to merely reflect their values within their
work, they took a more concrete, activist stance on issues most important to them.
Wolfe, Ross. CPUSA Meeting in Chicago 1939. 1939. Chicago. Democratic Socialists of
America. Web. 06 Nov. 2017.
We found this image on the DSA website, and decided to put it on our site, on the
Communism and anti-Communism context page, due to the important, unique message it
conveyed as well as the fact that it appeared as an image on a review of two history books
and the reviewer was Paul Buhle, Professor Emeritus of Brown University, whom we

both cite and interview. This image, taken of a CPUSA rally in Chicago, illuminates one
of the key points regarding the Communist Party during the 1930s-- the spirit of
Americanism which Browder (and Moscow) tried to imbue into the Party, with
tremendous success. What appears to be at least hundreds of spectators have gathered
underneath the gigantic bust of Abraham Lincolns head-- a fulfillment of the CPUSAs
Popular Front-era attitude towards the United States: Communism is twentieth-century
Americanism! as well as a great example of the Partys penchant for revering the
pantheon of American legends right alongside Marx, Engels, and Lenin. This photograph,
as a result, is especially valuable in spotlighting the power and seriousness of this
message-- succinctly illustrating the spirit of the Popular Front-era CPUSA which would
serve as the context for the Communist movement in Hollywood that many of the Ten
became attracted to and joined.
World War Two Propaganda Poster. 1942. Northwestern University Library, Evanston. Bethel
University. Web. 05 Jan. 2017.
This State Department propaganda poster, found on the website of Bethel University,
helped us make our argument regarding the status held by the Soviet Union in the United
States during World War II. As the United States attempted to positively depict its ally,
posters such as these and movies such as Mission to Moscow and Song of Russia were
produced. It was in this pro-Russian atmosphere that the Communist Party-- so clearly
connected to Moscow-- managed to regain some of its former status (after its abrupt
switch in Party line due to the earlier MolotovRibbentrop Pact). Although the Popular
Front was weaker due to the suspicion of liberals and non-communist leftists, it still
existed; and it certainly was not hurt by propaganda from the United States own
government encouraging a positive civilian perspective on the Russians, who fight for
freedom. This poster, therefore, is usual as an alternative to words in telling the
contextual story of the United States public warming to Soviet Union during their World
War II alliance, and, when paired with the right quote, the subsequent ability of the
Communist Party to use this shift in foreign relations to their advantage.
Secondary Sources (42)
Arthur Miller, Elia Kazan and the Blacklist: None Without Sin. American Masters, directed by
Michael Epstein, season 18, episode 1, PBS, 03 Apr. 2003.
This documentary episode, produced by PBS, is one episode of the renowned American
Masters series, which has won forty-eight various awards, including twenty-seven
Emmys and some Peabody Awards (awarded for distinguished and meritorious public
service). This episode focuses in on the Second Red Scare, and in particular, its effects on
the motion picture industry. Although it focuses on Elia Kazan and Arthur Miller, both of
which are important parts of Hollywood HUAC hearings that occur after 1947, the
different points of view both men represent are essential to understanding the moral
complexity regarding testifying (whether or not an accused person should name names).
By exhibiting both mens belief in the morality of their own ultimate decisions, and their

reaction to each others, PBS evinces the divisions that characterize not only the
historiography (this rift is the reason why both Naming Names and Red Star over
Hollywood can convey a tone of total moral certainty, despite being diametrically
opposed) but also the reactions of the American public-- even into the modern day. All in
all, this documentary episode was particularly useful in contextualizing and
comprehending both historiographical and public opinions of the Hollywood Tens stand
and blacklisting.
Barnhill, John Herschel. "Immigrants and the Red Scare." Encyclopedia of American
Immigration. Ed. James Ciment. Vol. 1: Immigration History; Immigration Issues, Part I.
Armonk, NY: Sharpe Reference, 2001. 144-149. Gale Virtual Reference Library. Web.
25 Sept. 2016.
An article about The Red Scare relating to United States immigrant policy, this work
details the initial transfer from anti-German prejudice in the United States immigration
policies, to the socialists. The article mentions all the actions of Mitchell Palmer, a
politician famous for anti-immigrant operations. These actions included deportations of
people, primarily Russians, with no criminal record whose only crime was being radical.
Among Palmers powers was the creations of a penal colony in Guam for American
radicals who could not be deported. This era of anti-socialist sediment was the first Red
Scare, and many of the countermeasures to Socialist Plots have lasting historical
significance. During this First Red Scare, Mitchell Palmer founded the organization that
would become the FBI, placing an ambitious young agent named J. Edgar Hoover, who
would become a major figure in the Second Red Scare (and its investigations into
Hollywood) to run it, facts which are valuable to discerning the historical context of
anti-communism.
Buhle, Paul. "Interview with Paul Buhle." Telephone interview. 6 Dec. 2016.
We interviewed Paul Buhle, Professor Emeritus of Brown University, over the phone.
During our interview the major topic of discussion was his own historiographical views.
We previously had been familiar with the historiographical organization of John Earl
Haynes, who divided historians into traditionalists and revisionists. Generally, the
former label refers to right-wing scholars who emphasize the Communist Partys ties
with Moscow, while the latter label refers to the left-wing scholars who emphasize the
Communist Partys essential role in social activism. However, Buhle voiced his
displeasure with these labels, effectively referring to them as partisan tools-- however,
when asked how he would organize the historiography, he said that we should not try to
organize historiography in the first place, due to its complexity. He also voiced his
opinions on Haynes himself, showing us that the historiographical debates are far from
over. Additionally, we asked him about one of Haynes specific claims, which Buhle, as a
New Left scholar, was uniquely equipped to answer. On this topic, whether the New Left
can serve as a catalyst for changes in historiographical treatment of American
anti-Communism and Communism, Buhle once again aired his displeasure with Haynes
theories, saying that Haynes was attempting to discredit left-wing scholars through

incorrect theories. Overall, talking to Buhle illuminated to us the depth of the

historiographical divide, and how even how to talk about that divide is a source of
contention-- useful for showing the significance of the interplay of our topics with views
of anti-Communist campaigns in the United States, which would later influence the New
Left.
Buhle, Paul, and Dave Wagner. Hide in Plain Sight: The Hollywood Blacklistees in Film and
Television, 1950-2002. New York: Palgrave Macmillan, 2003. Print.
Written by a senior lecturer at Brown University, this book deals with the work of the
Hollywood blacklistees from a solidly left-wing perspective. It covers the careers of a
variety of characters and analyzes a variety of films. In particular, Buhle and Wagners
work gave us a better understanding of the difficulties the majority of blacklistees faced,
and how they dealt with them-- most went into New Yorks TV industry, with others
testing their luck in the French, English, or Mexican film industries (showing Trumbos
extensive use of pseudonyms and fronts more atypical than we previously perceived). For
those who did use similar tactics to Trumbo, artistic experimentation became ironically
easier through the veil of anonymity. This was also useful in providing details into The
Brave One, one of Trumbos films that won an Oscar he could not receive (it was
addressed to one Robert Rich). Altogether, this source gave us abundant context into
the environment of Hollywood towards the blacklistees, as well as context into the rather
unusual nature of Trumbos stand against the Blacklist itself.
Ceplair, Larry. Anti-Communism in Twentieth-Century America. Santa Barbara: Praeger, 2011.
Print.
Written by Larry Ceplair, a professor of history at Santa Monica University, this book
explores the major Red Scares as well as various bouts of political repression in-between
from a solidly left-wing standpoint. Ceplairs work focuses on distinguishing what he
considers different brands of anti-communism prevalent in twentieth-century American
society: official, institutional, ex-communist, conservative, liberal, and left-of-liberal.
Regarding official anti-communism, the area most relevant to our research, Ceplair
explains that the First Red Scare allowed anti-communism to create a dependable
bureaucratic niche within the United States government. He also elaborates on the
precursors to the House Un-American Activities Committee, such as the Fish Committee
and Dies Committee, the latter of which targeted the film industry as well, but with much
less success. As the work informed us of the earlier attempts at political repression, it was
very useful in gaining insight into the context of officially-sanctioned anti-communism.
Additionally, by better understanding the role of precursors to the HUAC, the high
significance of Trumbos stand becomes more clear-- by the late 1940s, the culture of
anti-communism had been deeply embedded in American governance for quite a while.
Ceplair, Larry. "The Squishiness of Current Blacklist Documentaries." Cinaste 16.4 (1988):
26-27. JSTOR. Web. 30 Oct. 2016.

This source is an academic journal article penned by a professor of history at Santa

Monica College who has extensively studied anti-communism in Hollywood. Notably,
Ceplair has a left-wing perspective. This article concerns itself with the apoliticism of
documentaries regarding the Hollywood Blacklist, which Ceplair finds disingenuous-according to Ceplair, how can you tell the stories of blacklistees while glossing over the
catalyst for their blacklisting? He criticizes the tendency of documentaries ranging from
Seeing Red to the Legacy of the Hollywood Blacklist to present a one-sided and skewed
perspective on the events of the blacklist, which stems from their producers
unwillingness to broach the issue of their beliefs. The decision to focus on blacklistees
victimhood rather than their political motivations confines their films to the category of
films which Ceplair refers to as moderately informative and moving. This article was
useful for us as it demonstrated the hold of the story of the blacklist on the American
public for years afterwards; the historical significance of our topic can be demonstrated in
the fact that it has become a popular fascination-- and thus has been presented in a
simplified, mythologized manner, much to the dismay of historians such as Ceplair.
Communist Position in 1936. 1936. University of Hawai'i-Manoa, Manoa. Social Movements.
Web. 02 Jan. 2017.
This image, found in the digital collection of the University of Hawaii Manoa, is the
cover of a Communist pamphlet published in New York. On the cover, Earl Browder
delivers a speech into a CBS microphone, which precisely complements our fact
regarding how major networks began to cover Browders speeches.
Davis, Natalie Zemon. "Trumbo and Kubrick Argue History." Raritan 22.1 (2002): 173-90.
Albion College. Web. 23 Oct. 2016.
This academic journal article, written by a former president of the American Historical
Association, chronicles the disagreements of Trumbo and Stanley Kubrick during the
making of Spartacus, which the latter directed. Through her article, Davis chronicles
their political, historical, and artistic disagreements; for instance, Kubrick shoots a scene
of a village and Trumbo criticizes the absence of women, or Kubrick cuts a line about
being taught to read from a romantic scene (which Trumbo insists illustrates how love
should coincide with learning), or Kubrick cuts Trumbos mass-wedding scene because
he felt it blurred the horrors of history which had previously occurred in the film (which
Kubrick was especially attuned to, considering it was after World War II). As Spartacus
is one of the two films key to the breaking of the blacklist, learning about these issues in
more detail was very useful for us. It provided valuable context into the atmosphere of
conflict that surrounded Spartacus development, even as Kubricks movie would
become one of the first to credit Trumbo in defiance to the Blacklist.
Friedrich, Otto. City of Nets: A Portrait of Hollywood in the 1940s. New York: Harper & Row,
1986. Print.

Written by a Harvard-educated historian and journalist, this book is a portrait of the

American film industry during the 1940s. It covers such varying topics such as societal
prejudice, wartime propaganda, and connections to organized crime, though its
information on the HUAC hearings was most relevant to our topic. We learned more
details about the hearings themselves; in particular how chaotic the hearings of the
Hollywood Ten were and how much support the Nineteen garnered amongst their friends.
As the HUAC aimed to gain publicity during the hearings, the celebrity friends of the
witnesses (like Lauren Bacall and Humphrey Bogart) fought back with their own
publicity campaign, organizing a plane trip to Washington to provide an audience at the
hearings, although they also made stops along the way to deliver speeches in support of
the witnesses. In addition to gaining context regarding the atmosphere of the film
industry in the 1940s, we also gained more information regarding the significance of
Trumbos stand against McCarthyism. In standing up against the HUAC, Trumbo and the
Ten stood up to the HUACs publicity campaign and formulated their own.
Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood. New York: Crown,
1988. Print.
Penned by a historian with advanced degrees in film and American culture, this oft cited
book chronicles the development of the American film industry with a focus on the
central role of Jewish Americans. It provided us with valuable context into the cultural
atmosphere of early Hollywood, while also informing us on the background of HUAC.
HUACs precursor, the McCormack-Dickstein Committee, was originally founded to
investigate Nazi propaganda, although it faced such a wave of anti-Semitism that it tabled
Rep. Samuel Dicksteins later motions to continue investigations. Rep. Martin Dies, in
response, proposed a new investigating committee which later became HUAC-- one
completely unconnected with Dickstein. Dies quickly began investigating communism,
and according to Gabler, for him the line between Marxism and Judaism seemed to be
indistinct. Notably, the same month the Dies Committee turned its attentions to
communists in Hollywood, it also investigated a supposed Jewish plot to seize the US
government and manipulate the stock market (Dies was informed of this plot by two
known anti-Semites). After Dies left, the infamously anti-Semitic Rep. John Rankin
headed the committee. Additionally, Gablers work gave us more information into how
the MPA (which had a anti-Semitic tinge to it) collaborated with HUAC: they even
invited them to come investigate Hollywood multiple times. It informed us that ten of the
Hollywood Nineteen were Jewish, and gave us more information on the perspective of
the movie studios. Overall, Gablers book contextualizes for us how anti-Semitism
overlapped with anti-communism in the minds of many perpetrators of the
anti-communist campaigns, and provides us with ample historical context into many of
the institutions-- the MPA, HUAC, and the movie studios-- and their relation with
anti-Semitism and Judaism.
Giblin, James Cross. The Rise and Fall of Senator Joe McCarthy. Clarion Books, 2009. Print.

Another biography about McCarthy, this shorter volume does a great job of condensing
the information on McCarthy's life into a more readable format. This book is good for
quick fact checking and will do well for us as a tool for quick attempts to find
information. More accessible than the other biography, it is much easier to find
information in this volume. An unforeseen use of this volume is the frequent reprints of
political cartoons from the time, as well as photographs of McCarthy and events
surrounding his life. This book gives us more information on peoples views of
McCarthyism and the anti-communist movement than other sources do, and is also a
good source for showing what made McCarthys speeches good. This book goes into
detail about what qualities he had that made people listen to him, and we feel it gives a
good idea of why someone would believe and go along with what McCarthy was saying.
Gentry, Curt. J. Edgar Hoover: The Man and the Secrets. New York: Norton, 1991. Print.
An excellent biography of J. Edgar Hoover, and his many activities, this book provides
excellent detail on how Hoover helped create Mccarthyism and of how his organization
the FBI facilitated the red scare and broke laws to allow them to go after anyone who was
deemed a threat to America. This book is a well known source on Hoover, and it helped
us immensely in our attempt to look further into Hoovers involvement with
Mccarthyism. The only possible problem in this book is a heavy bias against Hoover.
Although it is generally known that he can be considered a bad person, the author takes
the idea of Hoovers illegal policies and turns him into a man who wanted to rule
America as a police state. All in all this book is a better source on what Hoover did than
on what he was like.
Haynes, John Earl. "An Essay on Historical Writing on Domestic Communism." John Earl
Haynes Historical Writings. Web. 27 Nov. 2016.
Authored by a specialist in 20th-century political history in the Manuscript Division of
the Library of Congress who aligns with the traditionalist (conservative) perspective on
the Red Scare, this essay summarizes what Haynes sees as the four major
historiographical movements on the topic of communism. The first wave, according to
Haynes, was driven mostly by anti-communist liberals energized by the defeat of Popular
Front liberals. He characterizes it as viewing communism as an anti-democratic system
and considering CPUSA under Moscows control. The second wave was marked by a
focus on the evils of anti-communism, for which the blame was placed on
anti-Communist liberals-- Haynes calls them revisionists and criticizes their lack of
focus on Communism and its ties to the authoritarian USSR. (Interestingly, in his
critique, he mentions (negatively) the essay collection The Specter, which is one of our
other sources.) Haynes says that traditionalists like him-- also known as Draperians or
orthodoxs-- were a small minority during the third wave; the field was dominated by
those who hated anti-communism, and (unlike the second wave) did not marginalize
communists but celebrated them. Particularly useful to our interpretation of historical
significance was his reference to Maurice Issermans argument that these scholars were
largely veterans of the New Left. The fourth wave has been largely colored by the

post-Cold War fights between the revisionists and traditionalists over the extent of
Soviet espionage. Altogether, Haynes essay gives us a better understanding of the
historical significance of our topic in turns of the influence of the New Left on
historiography; it also gives immense context into the nature of the sources we consult
themselves, although we have to keep in mind the influence of Haynes own views on his
perspective.
IMDb | Home. IMDb. IMDb.com. Web. 12 Jan. 2017.
As our project is centered around the motion picture industry, we used this movie
database to obtain posters and pictures of Hollywood producers, stars, and directors that
would not appear in most university databases. These images we used to put faces to
names or movie posters to titles, mostly on the contextual pages, but there are a few
scattered throughout.
"IMP Awards - All the Latest Movie Posters." Internet Movie Poster Awards. Internet Movie
Poster Awards. Web. 04 Jan. 2017.
As our project revolves around the film industry, we needed more images of movie
posters-- especially older, more difficult to find movie posters. Therefore, we used this
movie database in order to obtain more posters for our context pages, in particular, the
one on Hollywoods Politics and the one on the anti-Communist Network.
Klehr, Harvey. "Interview of Harvey Klehr." Telephone interview. 11 Jan. 2017.
This interview was of Harvey Klehr, author of many of one of our major secondary
sources and expert on the United States Communist Party. We gained a lot of information
to fill holes in our knowledge, a well as provide support to arguments we were having
trouble articulating. Mr Klehr also said several lines that made for great quotes, and he
gave us some new perspectives and knowledge about the American Communist party. He
provided answers information which helped us learn more about the historical context of
the rise of anti-communism. He talked about how the American Communist Party gained
members, and of how it tried to protect itself during the height of anti-communism. He
also mentioned the long term significance of the anti-communist movement, mentioning
that the stand against anti communism was important because the publicity of this trial
allowed the Ten to show America what was occurring.
Klehr, Harvey. The Heyday of American Communism: The Depression Decade. New York:
Basic, 1984. Print.
Written by Harvey Klehr, a professor of Political Sciences at Emory University known
for his work on the American Communist movement, this book is an excellent source of
information the Communist Party just prior to and during the Second World War. A book
about Communism during the Great Depression, as it tells the story of the American
Communist Party during the decade of the Great Depression. This book is an in depth

study of American Communist groups during the Great Depression. This book gave
contextual information about the pivotable period of growth for the Communist Party,
and this was when many members of the film industry joined the American Communist
Party. This book also gives us knowledge about the reasons many people joined the
Communist Party.
"Los Angeles Times." Los Angeles Times. Los Angeles Times. Web. 14 Dec. 2017.
This news organization, located in the same part of California as many of the events we
covered, provided a few very useful images, most of them to provide a visual of
someone. The most significant image we used from them was a picture of an anti-Kazan
protest, located on the A Popular Tragedy page, which we needed in order to illustrate
the anti-Kazan sentiment expressed by our quotes.
May Day Parade Float with Male Statue Reading the Daily Worker. c1930s. National
Archives of Estonia. National Archives of Estonia: Flickr. Web. 03 Jan. 2017.
This image, of a New York May Day parade float reading the Daily Worker, we found
in the National Archives of Estonia. It is part of Estonias collection of images associated
with the New York Estonian-language communist newspaper Uus Ilm, which was
published in the 1930s. We utilized this image to serve as a companion for one of our
facts-- that the Daily Worker reached a circulation of 100,000 during the Popular Front
period.
McDuffie, Erik S. Review of Black Struggle, Red Scare: Segregation and Anti-Communism in
the South, 1948-1968, by Jeff Woods. Labour/Le Travail 57 (2006): 227+. World History
in Context. Web. 25 Sept. 2016.
This article is a review of the book, Black Struggle, Red Scare: Segregation and AntiCommunism in the South, 1948-1968, the reviewer is an associate professor of
African-American Studies at the University of Illinois at at Urbana-Champaign. The
review tells the reader about the Southern Red scare and its interaction with the racist
policies of Southern Whites. The Red Scare was tightly linked with the civil rights
movements, and the fear of communism translated into the fear of black rights. The
author mentions how the Southern Red Baiters and Black Baiters were very similar
to each other, and this sources did a good job of mentioning this neglected part of the red
scare.
Morgan, Ted. Reds: McCarthyism in Twentieth-Century America. New York: Random House,
2003. Print.
This book, written by a Pulitzer Prize-winning biographer, focuses on McCarthyism
throughout the twentieth century. He argues that anti-communism was a staple of
American politics from as far back as the Bolshevik Revolution. His work provided us
with valuable context into the responses of communists to the anti-communist crusade,

and information on how partisanship often looped in with anti-communist crusades.

Additionally, and most notably, it provided us with another perspective into the
development, existence, and endurance of McCarthyism. This helped us better
understand the significance of Trumbos (and the Hollywood Tens) stand against
McCarthyism, as its focus on what Morgan considers the entire span of McCarthyism-roughly a century-- further illustrates this movements immense significance throughout a
prolonged period of time.
"Movie Poster DB." Movie Poster Database. Movie Poster Database. Web. 14 Dec. 2016.
As our project is centered around the film industry, we needed more images of rare movie
posters for Popular Front or FBI-suspected movies. Therefore, we used this movie
database in order to obtain more posters to illustrate our points on our context pages, in
particular, The Politics of Hollywood and Hollywoods Anti-Communist Network.
"New York Public Radio." WNYC. New York Public Radio. Web. 03 Jan. 2017.
New York Public Radio, a member of National Public Radio, had pictures from stories on
Eric Johnston (MPAA leader, MPA member, and former president of the Chamber of
Commerce), and Billy Wilkerson (founder of the Hollywood Reporter). We used both
images twice, to go with their names and quotes, on the Hollywoods politics and the
anti-Communist network pages.
Radosh, Ronald, and Allis Radosh. Red Star over Hollywood: The Film Colony's Long Romance
with the Left. San Francisco: Encounter, 2005. Print.
Written by a professor of history emeritus at the City University of New York and a
former program officer at the National Endowment for the Humanities, this book
provides a solidly conservative perspective on the events of the Second Red Scare in
Hollywood. The authors argue that the members of the American Communist Party were
first and foremost loyal to Joseph Stalin, and that Soviet propaganda was common in the
content of American films. They are staunchly critical of the Ten, the Popular Front, and
of the American left as a whole. Primarily useful for us for gaining a right-wing
perspective on the hearings and the blacklist, it also was useful in terms of illuminating
the context of the internal disagreements between the Ten and filling the gaps regarding
the Communist Partys motives during the hearings and the blacklist-- gaining lots of
publicity through the Hollywood Ten. The book also included useful details on Trumbos
troubled relationship with the Party in the years following the hearings and the hierarchy
between the producers and the screenwriters in the film industry. This source helps us
better understand the significance of Trumbos (and the Tens) stand against
McCarthyism through the hearings and the blacklists as it demonstrates its cultural
significance-- it is still hotly debated across the political spectrum, half a century away.

"The 'Red Scare' in Education." American Decades. Ed. Judith S. Baughman, et al. Vol. 6:
1950-1959. Detroit: Gale, 2001. 132-134. Gale Virtual Reference Library. Web. 25 Sept.
2016.
Written for junior and high school students and teachers, public librarians and general
researchers who need to document and analyze periods of contemporary American social
history, this article goes over the specifics of the Red Scare in the field of education,
bring to light how the lense of anti-communism caused all manners of American society
to be viewed with scrutiny. With teachers being fired and books being burned, this article
paints a dark picture of censorship and of the anti-Communism movement in general. The
article mentions how the movement was so strong that even Eisenhower, a Republican
president, did not want to get in the way of Senator McCarthy and his sub-committee.
Reds. Cold War, season 1, episode 1, CNN, 1998. Internet Archive,
https://archive.org/details/Cold_War_1998_CNN_Kenneth_Branagh.
This documentary episode is a part of the CNN-produced series Cold War, which won a
Peabody Award (recognizes distinguished and meritorious public service). This episode
covers the scope of the domestic Cold War. Accordingly, it spends a fair number of
minutes discussing the Hollywood Ten and the 1947 hearings. This source was
particularly useful for us as it contains lots of footage from the testimonies of both
cooperative and uncooperative witnesses. Although we have already read the transcript of
the hearings, watching the footage provided us with a much fuller understanding of the
speakers tone and intent, not to mention their body language. The documentarys
extremely confrontational excerpts from John Howard Lawsons testimony and the calm,
yet utterly lost testimony of Gary Cooper illustrate better than written words the
difference of treatment between the uncooperative and cooperative witnesses, as well as
the absolutely unruly behavior of the accused. In this way, this documentary clip was
very useful in exploring the tone of the Hollywood Tens stand.
Reeves, Thomas C. Are You Now Review of Many Are the Crimes: McCarthyism in
America, by Ellen Schrecker. New York Times, 14 Jun. 1998,
www.nytimes.com/books/98/06/14/reviews/980614.14reevest.html. Accessed on 1 Oct.
2016.
This source is a New York Times review of Ellen Schreckers Many Are the Crimes by
Thomas C. Reeves, a former professor of history at the University of Wisconsin-Parkside
with a decidedly right-wing perspective (whereas Schreckers is left-wing). Reeves
maintains that the left has understandably authored much of the history of McCarthyism,
as it was essentially an attack on the people, values, and institutions of the American
left from liberalism to communism. However, according to Reeves, it is the moderate
and conservative scholars who approach the era correctly-- the further a historian is
situated on the left, the more intense the violent condemnation of everyone involved
in the anti-Communist drive and the stronger the view that it resulted in a devastating
impact. Reeves characterizes Schrecker as a woman of the far left who, for this reason,

must be driven by passion in her studies. Although he lauds her sophistication and the
depth of her research, he figures that her conclusions are inevitably tainted by her
political beliefs, which he thinks prompts her to be unfair to the historical record. As a
result, Reeves assessment of Many Are the Crimes is that it is the best example of the
leftist tirades against anti-communism, which he claims picked up in the 1960s-- which
was when the New Left began. This statement, because of our focus on the historical
significance of New Left historiography, was useful for us. Additionally, particularly
relevant to our research was his praise of Schreckers research and assessment of the
FBIs role in the Second Red Scare-- as it indicates broad support for the notion that the
FBI was central to its machinery. Overall, this source provides a right-wing perspective
on left-wing scholarship, which helps contextualize the historiographical divide and
informs us on the points of consensus.
Reeves, Thomas C. The Life and Times of Joe McCarthy: A Biography. New York: Stein and
Day, 1982. Print.
Written by a Thomas C. Reeves, a Professor of History at the University of
Wisconsin-Parkside, this biography of Joseph McCarthy provided an in depth look at the
senator from Wisconsin. This book provided a large quantity of information about
Senator McCarthy, allowing us to see his life in a non-biased light, as the author
intentionally included both pro and anti-McCarthy opinions and sources in his work.
Overall this book is useful to us, as it gives us much contextual information on the
senator and his opinions and actions. McCarthy and his crusade were a direct result of
the rulings on the Hollywood Blacklist, and this book gives us the information required to
prove it.
Sbardellati, John. "Brassbound G-Men and Celluloid Reds: The FBI's Search for Communist
Propaganda in Wartime Hollywood." Film History 20.4 (2008): 412-36. JSTOR. Web. 25
Sept. 2016.
This academic journal article was written by an associate professor at Waterloo
University. It follows the FBIs search for Communist influence in filmmaking. It
includes a lot of information on the scope of the FBIs involvement, not just with the
anti-communist movement at large, but more specifically with the film industry-- the
focus of our project. Sbardellati writes that the FBIs suspicion of Hollywood had its
roots in the First Red Scare, although a full investigation was only launched much later,
in the midst of World War II. The FBIs motivation in this, Sbardellati demonstrates, was
an exaggerated fear that leftists in the movie industry were churning out Communist
propaganda, undermining Americans faith in their own society. He also illuminates the
political culture of Hollywood during the Popular Front in the 1930s, a time when
Trumbo was not a member of the Communist Party but closely aligned to them. Overall,
this source gave us not only context into the FBIs relationship with Hollywood and the
nature of the Popular Front, but also helped us better understand the significance of the
Hollywood Ten as they faced challenges not just from the HUAC but also from FBI.

Sbardellati, John. J. Edgar Hoover Goes to the Movies: The FBI and the Origins of Hollywood's
Cold War. Ithaca: Cornell University Press, 2012. Print.
Authored by an professor of history at the University of Waterloo, this book chronicles
the sources of Hoovers prolonged interest in Hollywood, as well as the forces acting on
the content of the films themselves-- how the values of left-wing filmmakers resulted in
social problems films and how the United States government pushed its preferred
presentation of both the Cold War and the Communist threat onto the film industry.
Sbardellatis work was particularly useful for us as it helped fill the gaps, context-wise,
regarding Hoovers fixation with the film industry. It was also informative in terms of
illuminating the mutually beneficial relationship between the MPA, the HUAC, and the
FBI-- how their anti-communist campaigns reinforced each other and collaborated with
each other. This collaboration between these three major organizations underlines the
significance of the Hollywood Tens stand, as they went up against such a powerful
combination of conservative anti-communist groups.
Sbardellati, John, and Tony Shaw. "Booting a Tramp: Charlie Chaplin, the FBI, and the
Construction of the Subversive Image in Red Scare America." Pacific Historical Review
72.4 (2003): 495-530. JSTOR. Web. 29 Sept. 2016.
Written by a professor at the University of Hertfordshire and a professor at the University
of Waterloo, this academic article focuses on the FBIs operations during the McCarthy
era regarding the film industry. The authors use Chaplin as an example for the FBIs
treatment of suspected communists and communists, and assert that Hoover believed that
the cultural threat from the Communist Party was just as dangerous as the political threat
(espionage, labor activity, fight against racial injustice). Particularly applicable to our
research into Trumbo and the HUAC hearings was the information that the both
Chairman and Chief Counsel of the HUAC convinced Hoover to bring the FBI on board
with their anti-communist/counter-subversive campaign; in doing so, the HUAC gained
access to information supplied by the FBI that allowed them to narrow down those called
to stand before the committee to the Hollywood Ten-- this information, much of it
obtained illegally through break-ins and wiretaps, contained enough substantive evidence
of the Tens associations with the Communist Party that it ensured that the HUAC would
not be embarrassed because of false accusations during the hearings. In learning this, we
gained a more nuanced understanding of the relationship between the FBI and HUAC, as
well as the dynamic of the FBI/HUAC and the Hollywood Ten. This context
demonstrates the importance of the Tens stand against McCarthyism, as it illustrates
how they went up against both the FBI and HUAC, two of the most important groups in
the Second Red Scare.
Schmidt, Regin. Red Scare: FBI and the Origins of Anticommunism in the United States,
1919-1943. Copenhagen: Museum Tusculanum, University of Copenhagen, 2000. Print.
This book, written by a professor at the University of Copenhagen, focuses on the origins
of the Federal Bureau of Investigations political power. He argues that the FBI has had a

far greater political role than is generally understood, from as far back as 1919. The Red
Scare began the FBIs surveillance of political activities, which then became entrenched
in the US political system. Schmidt also focuses on the Dies Committee, a precursor to
the HUAC, which is a committee central to our topic. He supplies plenty of context in
regards to the Dies Committee, which employed a partisan brand of anti-communism
against FDRs administration and the New Deal. In public hearings, it frequently claimed
that the Roosevelt Administration was being influenced by Communists. The FBI sided
with Roosevelt (since Hoover had close ties with the president and the FBI considered the
Dies Committee a rival), and so when the Dies Committee became permanent as the
HUAC in 1943, Roosevelt made the FBIs loyalty program permanent in response.
Understanding the scope of the FBIs involvement in anti-communism-- stretching all the
way back to the First Red Scare-- and in addition, the importance of anti-communism to
the FBIs consolidation of power, clarifies the political environment of the Second Red
Scare, and therefore indicates the significance of the film industrys stand against
McCarthyism.
Schrecker, Ellen. "The Growth of the Anti-Communist Network." The Age of McCarthyism: A
Brief History with Documents. Boston: St. Martin's, 1994. University of Illinois at
Urbana-Champaign. University of Illinois Board of Trustees, 31 May 2007. Web. 10
Oct. 2016.
This source is a website page regarding the growth of the anti-communist network in the
twentieth century. It was written by Ellen Schrecker, notable McCarthy scholar and a
professor of history at Yeshiva University. The page provides a solidly left-wing
perspective on the development of anti-communism, with particular attention to the its
institutional aspects. This source was particularly useful for us as it provided us with
context into the fallout of the Nazi-Soviet Nonaggression Pact-- the Popular Front
collapsed and the American Communist Party lost its credibility due to the obvious
Moscow-controlled shift away from antifascist policy. It also gave us information
regarding how the First Red Scare resulted in the American Legions formation and how
the Roosevelt Administration created some of the institutional techniques later used in the
Second Red Scare when dealing with American Communist-based opposition to World
War II. Schreckers webpage helped us better understand the significance of Trumbos
stand through illuminating how deeply the anti-Communism he and the Ten were
standing up against was embedded in both American government and American society.
Schrecker, Ellen. Many Are the Crimes: McCarthyism in America. Boston: Little, Brown, 1998.
Print.
Authored by a professor of history at Yeshiva University and noted McCarthy scholar,
this book is an interpretation of McCarthyism and anti-communism in the United States
from the left. It was useful in its illumination of the context surrounding Trumbos stand
against the HUAC. In addition to providing us with details on the American Communist
Party and American Communism as a movement, it also provided us with an abundance
of information regarding the various shifts in attitudes towards communism in the United

States. Although the repressions of the First Red Scare resulted in a huge to blow to the
Communist Partys perception in the United States, the adoption of a more moderate,
antifascist posture during the New Deal era ushered in thousands of new members and
gave the party a newfound legitimacy. However, this was soon lost with the signing of
the Soviet-Nazi Non-Aggression Pact, which triggered a massive ideological shift in the
party that alienated and confused its members, as well as the liberals who had previously
been its allies. As a result, by the time the end of World War II came about, it was much
easier for J. Edgar Hoover and other anti-communist activists to convince the federal
government to endorse and legitimize their anti-communist crusades. By gaining a fuller
comprehension of the history of attitudes towards Communism in the United States, we
are able to put the HUAC investigation into the film industry in a much clearer context.
The situation that resulted in Trumbos stand against McCarthyism and the HUAC is
more evident, and the significance of the Hollywood Ten in standing up against
McCarthy era repression is greater due to the central role played by the federal
government in maintaining an atmosphere of political repression.
Selverstone, Marc J. "A Literature So Immense: The Historiography of Anticommunism." OAH
Magazine of History 24.4 (2010): 7-11. JSTOR. Web. 14 Oct. 2016.
Written by an associate professor at the University of Virginia, this academic journal
article chronicles the historiographical debate over Cold War anti-communism.
Selverstone compares the approaches to McCarthyism taken by traditionalist and
revisionist historians, and details the sources of their disagreement: whether or not
communism was a significant threat, whether the American Communist Party should be
treated as a force for progressive change in the United States as or a mere appendage of
the Soviet Union, and whether it was the elites, partisanship, or grassroots population that
drove the anti-communist movement. Additionally, he explains the four main waves of
scholarship that dominated the studies: one dominated by traditionalists (1950s-60s),
one by revisionists (1960s-70s), one lending a critical view of McCarthyism from both
traditionalists and revisionists (1970s-90s), and one that emerged in, and was
characterized by, the aftermath of the Cold War, which initiated still more arguments
between the two groups. His overview was very advantageous to us, as we learned about
the broader historiographical trends that defined the disagreements we previously
observed between our secondary sources. Additionally, we found his focus on some of
our own sources, such as Reeves biography of Hoover, and Schreckers and Morgans
studies of McCarthyism, particularly informative. Altogether, Selverstone's overview of
anti-communism historiography contextualized the differing approaches of many of our
secondary sources.
Shaw, Tony. Hollywood's Cold War. Amherst: University of Massachusetts, 2007. Print.
Written by a professor at the University of Hertfordshire and published by a university
press, this book details the complex relationship between Hollywood and Washington
during the Cold War, with a focus on how the government used the private nature of the
film industry to produce subtler propaganda. Particularly useful to us was the detailing of

how powerful anti-communist forces were in Hollywood in the 1940s-- the decade when
the HUAC hearings took place. Both the Catholic National Legion of Decency and the
Motion Picture Alliance for the Preservation of American Ideals (MPA) took a policing
role in the film industry, contributing to a considerable climate of fear. The latter of these
two organizations aimed to turn off the faucets which dripped red water into film
scripts, and included members such as Ayn Rand, noted right-wing thinker and one of
the testifiers at the HUAC hearings. The American Legion, with a membership of nearly
3 million, also had significant power in the film industry, which it wielded through
boycotting and campaigning against those deemed communists by the Legion of
Decency, the MPA, HUAC, and the FBI. By illuminating the political context of
Hollywood in the 40s, this book gave us a better understanding of the significance of the
Hollywood Tens stand against McCarthyism.
Starobin, Joseph R. American Communism In Crisis, 1943-1957. Cambridge: Harvard University
Press, 1972. Print.
Printed by Harvard University Press, this book is an account of American Communisms
decline in the 1940s and 1950s. It is written by a former communist who was involved in
the movement early on, which gives the book the unique advantage of a perspective
formed at least partially through personal experience, although this also forces the reader
to keep in mind potential emotional biases while analyzing it. It was useful in providing
some statistics regarding Communisms height during Popular Front-- not only did the
CPUSA-affiliated Daily Worker have a circulation of 100,000, but other Communist
publications held substantial influence: Peoples World, Midwest Record, and
International Publishers, as well as over a dozen different foreign language news
sources. Starobins information regarding the extent of the Communist Partys influence
at its height was usual for contextualizing the atmosphere in which many in Hollywood
considered the small, controversial party attractive enough to join.
Tender Comrade Movie Poster. 1943. Wolfsonian-FIU Library. Web. 12 Nov. 2016.
This image, a poster for a Popular Front film directed by Edward Dmytryk (one of the
ten) and written by Dalton Trumbo (another one of the ten), we found in one of the sites
of the Wolfsonian-FIU Library. We used it on our contextual Hollywoods Politics page,
to go with our analysis of the films political principles.
Theoharis, Athan. Chasing Spies: How the FBI Failed in Counterintelligence But Promoted the
Politics of McCarthyism in the Cold War Years. Chicago: Ivan R. Dee, 2002. Print.
Authored by a professor of history at Marquette University who has extensively studied
both the FBI and J. Edgar Hoover, this book focuses on the bureaus central role in the
Second Red Scare and its failures of the bureau to apprehend Soviet spies. It provided us
with ample information regarding the illegal methods employed by the FBI in both their
investigation of Hollywood and their opposition to the Hollywood Tens legal fight for
appeals. Specifically, it detailed the covert relationship between the FBI and HUAC

during the 1947 hearings; Theoharis explains how the FBI provided HUAC with blind
memoranda and the party cards of witnesses. The work also contained a wealth of facts
regarding the illegal wiretapping (which violated the 1934 Communications Act and two
Supreme Court rulings) of the Tens lawyers-- Bartley Crum, David Wahl, and Martin
Popper-- during the appeals process. The knowledge gleaned from these wiretaps, which
included the Tens legal and public relations strategies, were provided to the
prosecutors-- the Attorney General and Assistant Attorney General-- through regular full
briefings by Hoover. Due to this arrangement, they were always a step ahead. Theoharis
book illustrates both contextual details into how the FBI operated and the circumstances
of the Tens stand against McCarthyism during the 1947 Hollywood Hearings and the
legal battle-- because of the FBIs covert tactics, they were essentially fighting a losing
battle.
"USC Libraries." USC Libraries. University of Southern California. Web. 11 Jan. 2017.
The online, digitized collection of Californian photographs accessible through the
University of Southern California was very helpful in providing a few unique, otherwise
rare images of Trumbo boarding a plane, or of the lesser-known members of the Ten.
These were used more to illustrate the topics of our argument rather than to make it.
Wall, Wendy. "Anti-Communism in the 1950s." The Gilder Lehrman Institute of American
History. The Gilder Lehrman Institute of American History. Web. 15 Sept. 2016.
Written by an associate professor of history at Binghamton University, this essay gives a
brief overview of the anti-communist movement in the United States. The essay provides
good information on the growth of the US Communist party and of communist ideals
during the Great Depression. The article proceeds to provide an excellent timeline of
anti-communism, starting with the Federal Loyalty-Security Program in through Senator
McCarthy's downfall during the Army vs. McCarthy trial. This article is written by
Wendy Wall, a history professor who specializes in post-World War II America. The
essay covers all its bases providing details on important events in the history of
anti-communism while still managing to touch on all parts of the topic. The article even
includes some mention of the so called Lavender Scare against homosexuals, a often
unknown side effect of the McCarthy period.