« The motion picture is potentially one of the greatest weapons for the safeguarding of democracy » : activisme et censure dans le monde hollywoodien des années 1930
This paper addresses the issue of political commitment within the Hollywood community during the most partisan decade in the history of the film industry, when social-minded artists and anti-fascist émigrés came together in the cultural front. With its growing body of liberal and radical intellectua...
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| Format: | Article ou chapitre numérique |
| Langue: | Français |
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2004
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RFEA_102_0062 |
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cairn-RFEA_102_0062RFEARevue française d’études américaines https://shs.cairn.info/revue-francaise-d-etudes-americaines-2004-4-page-62?lang=fr https://doi.org/10.3917/rfea.102.0062 « The motion picture is potentially one of the greatest weapons for the safeguarding of democracy » : activisme et censure dans le monde hollywoodien des années 1930 Elefteriou-Perrin, Véronique2004 années 1930censureHollywoodindustrie cinématograhique1930scensorshipfilm industryHollywoodfre Revue française d’études américaines | 102 | 4 | 2004-12-01 | p. 62-81 | 0397-7870 RFEA_10243 This paper addresses the issue of political commitment within the Hollywood community during the most partisan decade in the history of the film industry, when social-minded artists and anti-fascist émigrés came together in the cultural front. With its growing body of liberal and radical intellectuals, Hollywood had become a potentially rich source of anti-fascism ; while in the early and middle 1930s the activism of film industry employees had focused on domestic issues, in the latter part of the decade the defense of the Spanish Loyalists galvanized them as had no other single cause. Off-screen activities (consciousness-raising, fund-raising, petitions and telegrams sent to President Roosevelt) were effectively organized but the politically-aware film artists wondered whether they could also hope to affect the form or content of studio productions. Their desire to attune story material to contemporary concerns was however thwarted by the political limitations imposed on them by their employers, pressure from both within (self-regulation) and without (local and state censorship boards as well as national interest groups) and by America’s traditional isolationism.Cairn free access |
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Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| topic |
années 1930 censure Hollywood industrie cinématograhique 1930s censorship film industry Hollywood |
| spellingShingle |
années 1930 censure Hollywood industrie cinématograhique 1930s censorship film industry Hollywood Elefteriou-Perrin, Véronique « The motion picture is potentially one of the greatest weapons for the safeguarding of democracy » : activisme et censure dans le monde hollywoodien des années 1930 |
| topic_facet |
années 1930 censure Hollywood industrie cinématograhique 1930s censorship film industry Hollywood |
| description |
This paper addresses the issue of political commitment within the Hollywood community during the most partisan decade in the history of the film industry, when social-minded artists and anti-fascist émigrés came together in the cultural front. With its growing body of liberal and radical intellectuals, Hollywood had become a potentially rich source of anti-fascism ; while in the early and middle 1930s the activism of film industry employees had focused on domestic issues, in the latter part of the decade the defense of the Spanish Loyalists galvanized them as had no other single cause. Off-screen activities (consciousness-raising, fund-raising, petitions and telegrams sent to President Roosevelt) were effectively organized but the politically-aware film artists wondered whether they could also hope to affect the form or content of studio productions. Their desire to attune story material to contemporary concerns was however thwarted by the political limitations imposed on them by their employers, pressure from both within (self-regulation) and without (local and state censorship boards as well as national interest groups) and by America’s traditional isolationism. |
| author |
Elefteriou-Perrin, Véronique |
| author_facet |
Elefteriou-Perrin, Véronique |
| author_sort |
Elefteriou-Perrin, Véronique |
| title |
« The motion picture is potentially one of the greatest weapons for the safeguarding of democracy » : activisme et censure dans le monde hollywoodien des années 1930 |
| title_short |
« The motion picture is potentially one of the greatest weapons for the safeguarding of democracy » : activisme et censure dans le monde hollywoodien des années 1930 |
| title_full |
« The motion picture is potentially one of the greatest weapons for the safeguarding of democracy » : activisme et censure dans le monde hollywoodien des années 1930 |
| title_fullStr |
« The motion picture is potentially one of the greatest weapons for the safeguarding of democracy » : activisme et censure dans le monde hollywoodien des années 1930 |
| title_full_unstemmed |
« The motion picture is potentially one of the greatest weapons for the safeguarding of democracy » : activisme et censure dans le monde hollywoodien des années 1930 |
| title_sort |
« the motion picture is potentially one of the greatest weapons for the safeguarding of democracy » : activisme et censure dans le monde hollywoodien des années 1930 |
| publishDate |
2004 |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-francaise-d-etudes-americaines-2004-4-page-62?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rfea.102.0062 |
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