"Pre-Code Hollywood" explores the fascinating period in American motion picture history from 1930 to 1934 when the commandments of the Production Code Administration were violated with impunity in a s
Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Ame
In 1947, the Cold War came to Hollywood. Over nine tumultuous days in October, the House Committee on Un-American Activities held a notorious round of hearings into alleged Communist subversion in the
The abundance of WWII-era documentaries and the huge cache of archival footage that has emerged since 1945 make it seem as if cinematic images of the Nazis were always as vivid and plentiful as they
Dr. Abraham Van Norstrand, who resigned from a Civil War Army hospital in the face of a scandal, brought his shaky ethical principles and bad temper to Wisconsin's first mental hospital. His tenure as
From 1934 to 1954 Joseph I. Breen, a media-savvy Victorian Irishman, reigned over the Production Code Administration, the Hollywood office tasked with censoring the American screen. Though little know
From 1934 to 1954 Joseph I. Breen, a media-savvy Victorian Irishman, reigned over the Production Code Administration, the Hollywood office tasked with censoring the American screen. Though little know
Thomas Doherty reveals how and why Hollywood marshaled its artistic resources on behalf of the war effort and interprets the cultural meanings and enduring legacies of the motion picture record of the
In 1947, the Cold War came to Hollywood. Over nine tumultuous days in October, the House Un-American Activities Committee held a notorious round of hearings into alleged Communist subversion in the mo
Conventional wisdom holds that television was a co-conspirator in the repressions of Cold War America, that it was a facilitator to the blacklist and handmaiden to McCarthyism. But Thomas Doherty argu
Doherty (American studies, Brandeis U.) examines the cultural history of the United States of the McCarthy period through the window of the television screen. Although the treatment of the House Un-Am
Benjamin’s famous “Work of Art” essay sets out his boldest thoughts—on media and on culture in general—in their most realized form, while retaining an edge that gets under the skin of everyone who rea
