Críticas:
An enthralling read, beautifully written, immaculately detailed, and an absolute page turner, with each new chapter offering fresh insights on the lives and works of these talented artists forced to leave their homeland." (Film International 2014-02-01) (FIlm Comment 2014-02-01) "With its potent cocktail of Cold War political chicanery, farcical judicial horse-trading and all out betrayal, the Hollywood blacklist has long fascinated American film historians. Rebecca Prime's Hollywood Exiles in Europe is a compelling addition because she has chosen to broaden the picture by addressing the lives and work of the blacklisted Hollywood filmmakers who sought exile in Europe. Prime's book is far more than just about the settling of scores rather it gives a nuanced portrait of a turbulent time that begs not be repeated." (Hollywood Reporter 2014-02-01) "In Hollywood Exiles in Europe, Prime offers an analysis of the work of Hollywood exiles in Western Europe with extraordinary depth and clarity. It is a significant contribution to the field." (Rebecca M. Schreiber author of Cold War Exiles in Mexico: U.S. Dissidents and the Culture of Critical 2013-03-20) "Written with clarity, precision and verve, this fascinating new chapter in the history of the blacklist and in relationships between American and European film is jam-packed with admirably well-researched information." (Janet Bergstrom University of California, Los Angeles 2013-07-29) "A thorough and fascinating story of an often overlooked part of a shameful period in American history." - Journal of American Culture
Reseña del editor:
Rebecca 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 emigres 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 River Kwai (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 emigres 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.
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