Hollywood Blacklist

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During the late 40's and 50's there was a blacklist in Hollywood on which there were artists that were suspected to be affiliated to communism. These artists couldn't work in Hollywood anymore.

I was curious about a detail on the list, do some of you know if there was an actual list? Like a piece of paper on which all the names were inscribed?

Or there wasn't an actual list, just a bunch of name that people knew about?

I'm curious about that because I tried to find the list and can't find it, so it might be because there are no lists.

Thanks!
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You can find a pretty thorough listing of those blacklisted on the Hollywood Blacklist Wikipedia page. You might also want to do a little research on the "Hollywood 10" or similar. Theres actually been whole books written on the subject.
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Well, blacklists are basically a form of collusion, which is potentially illegal depending on the specifics, so I would think anyone engaging in it would be reticent to pass around a lot of documents formalizing the list.



The way I understand it it was totally legal, it was the HUAC (a committee that deals with un-american affairs) who issued the list and some of the Hollywood 10 (the first people on the list) went to prison for it, it seems to me that it was legally accepted.



The House Un-American Activities did not issue a blacklist. HUAC investigated many citizens of the U.S. who were suspected of having Communist ties, which most did. Of that group many were in the film industry. The Hollywood 10 were among those who would not answer the HUAC's questions, and were subsequently convicted for contempt of Congress.

As a result, the Hollywood studios eventually blacklisted reportedly 300 people. This was a film studio blacklist, not a governmental one.

~Doc



Watch 'Citizen Cohn" (Cohn was Trumps lawyer and mentor, and 'The Front".
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Please Quote/Tag Or I'll Miss Your Responses
"Every time the Russians threw an American in jail, WE threw an American in jail, to show the Russians they couldn't get away with it." - Mort Sahl

I don't know if the country ever recovered from the blacklist.



The House Un-American Activities did not issue a blacklist. HUAC investigated many citizens of the U.S. who were suspected of having Communist ties, which most did. Of that group many were in the film industry. The Hollywood 10 were among those who would not answer the HUAC's questions, and were subsequently convicted for contempt of Congress.

As a result, the Hollywood studios eventually blacklisted reportedly 300 people. This was a film studio blacklist, not a governmental one.

~Doc
Thank you, that's what I wanted to know.

Do you have any idea why the film studios decided to go along with HUAC's idea of being scared of communism?



You can't win an argument just by being right!
Thank you, that's what I wanted to know.

Do you have any idea why the film studios decided to go along with HUAC's idea of being scared of communism?
Eh? Just about the whole western world was scared of the Red Peril.

If you want a movie on it. I havent seen it for years but I found it engrossing.








Eh? Just about the whole western world was scared of the Red Peril.

If you want a movie on it. I havent seen it for years but I found it engrossing.





Thank you! I had never heard of the film and it seems very interesting.



You can't win an argument just by being right!
Thank you! I had never heard of the film and it seems very interesting.
I had never heard of it either but found it by accident. I really enjoyed it. From what I recall that was based on a director who was one of the ten on the list.



We've gone on holiday by mistake
Wonder how many poor actresses were blacklisted by Harvey.
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It's a shame that the Blacklist snuffed out the career of probably the best post-war American director: Jules Dassin. Thankfully he was able to complete shooting Night and the City (1950) before he was banned from all studio property (which means he didn't get to oversee any post production on the film). But ****, it's almost worth it, because Rififi (1955), which was made in exile in France, is soo awesome. But I often imagine what Dassin's (who directed some of the best noirs of the period: Brute Force (1947), The Naked City (1948), and Thieves Highway (1949)) career would have been if he was able to continue his work, unmolested (No Weinstien yet), in the states.